Both Hands Swingin': Trumpet 2

This arrangement demonstrates real compositional craft in its whole tone introduction, which immediately signals to listeners that they're hearing something musically thoughtful rather than a straightforward swing tune. The decision to base changes on Take the A-Train gives the piece harmonic familiarity while Vuono's original melody and voicings make it feel fresh. Written solos for both tenor 1 and trumpet 2 mean your ensemble sounds polished whether your soloists are confident improvisers or still building that skill.

The whole tone opening has a slightly modern, slightly mysterious quality that draws listeners in before the melody arrives with undeniable swing energy. Once the changes kick in, the piece settles into a groove that feels both familiar and unexpected, with enough harmonic movement to keep players engaged but not so much that the form becomes difficult to follow.

Grade 4 jazz ensembles with solid fundamentals in swing style and basic jazz vocabulary. Directors seeking a chart that sounds contemporary and energetic without requiring advanced improvisation skills from every soloist will find this particularly valuable.

• Let the whole tone introduction breathe. Resist rushing through those opening bars; the unusual harmonic color works only if the ensemble plays it with intention and slight space between phrases.
• Balance the tenor and trumpet solos carefully so neither overpowers the section backgrounds. The written solos are marked in the parts, making rehearsal straightforward.
• Lock the rhythm section into a true swing feel rather than straight eighth notes. The groove beneath this chart is what sells the energy and propels the melody forward.
• Use the transition back to the head as an opportunity to build dynamic contrast. If the solos are set at one level, bring the full ensemble back with slightly more weight on the return.

Program this as a centerpiece number on a jazz concert where you want to showcase ensemble sophistication and feature your soloists. It works equally well mid-set as an energy builder or as a closing number that leaves the audience wanting more. The written solos also make it an excellent teaching tool for students who want to analyze how an arranger approaches solo construction.

• Swing style and feel, particularly maintaining rhythmic precision while playing expressively in a jazz context
• Reading and performing whole tone harmony in an ensemble setting
• Solo spotlight performance with prepared written solos as a bridge to free improvisation
• Section balance and blend when supporting a featured soloist
• Following harmonic changes based on a jazz standard while adapting to original melody and arrangement