Boss City: 1st B-flat Trumpet

This arrangement captures the infectious energy that made Montgomery's music so accessible without sacrificing jazz credibility. Michael Kamuf has written a chart that balances ensemble drive with individual voice, giving multiple players featured solo space while keeping the rhythm section grounded in that irresistible boogaloo pocket.

A confident, swinging groove with irresistible momentum. The stop-time hits punch hard, and the solos invite players to stretch comfortably within the boogaloo's relaxed pocket. There's a real sense of the rhythm section and ensemble working as one instrument, infectious enough for any audience to recognize the funk without losing the sophistication underneath.

Jazz ensembles at the intermediate level (Grade 2.5) who are ready to tackle contemporary arrangements with genuine funk and bebop language. Directors looking for a crowd-pleasing chart that still demands musicianship across the section, with meaningful solo opportunities that build student confidence and ear training.

• Lock the groove at 126 BPM by having drums and bass establish the pocket before the ensemble enters; the stop-time sections will feel tighter when the foundation is rock-solid.
• Feature each soloist in turn during the alto, tenor, trumpet, and trombone breaks, allowing ensemble members to listen actively and support the improviser's phrasing rather than rushing ahead.
• Shape the drum solo interludes as genuine conversations; the drummer sets the energy level, and the chart returns with renewed focus when the ensemble reenters.
• Manage the lead trumpet's range carefully at the G above the staff; ensure your lead player has addressed this demand and that the section knows when to thin texture to support rather than compete.

Ideal as a closing piece on a jazz concert or pops program where you want to send the audience home energized and satisfied. Pair it with a ballad or bebop standard earlier in the set to showcase your ensemble's range, or program it alongside other funk-inflected charts to build a cohesive first half.

• Playing in a consistent funk/boogaloo groove at a steady tempo
• Trading solo space and listening actively during stop-time sections
• Reading jazz ensemble voicings and rhythm section figures
• Managing upper register demands in the lead trumpet part
• Responding to drum solo cues and reentering with ensemble precision