Chicago (That Toddlin' Town): Jazz Ensemble Conductor Score

Alan Baylock's arrangement captures the infectious energy that made this tune a standard while building in exactly the kind of solo space that keeps your ensemble engaged and challenged. The funky swing groove at half note=96 sits in a comfortable pocket for teaching time feel and ensemble cohesion, and the suggested written solos give your alto and trumpet 2 players a scaffolded entry point into improvisation without requiring them to navigate a blank page.

A confident strut. The funky swing groove sits in your chest, the horn lines sparkle with personality, and the solo space invites playfulness and risk-taking. This is the kind of tune that makes an ensemble sound bigger and more cohesive than it is.

Jazz ensemble directors looking for an accessible opener that teaches groove and ensemble listening without oversimplifying the arrangement. This score works equally well for intermediate high school jazz bands and advanced middle school groups ready to explore swing style with some harmonic sophistication.

• Lock the rhythm section (piano, bass, drums) into the half-note pulse before adding horns. This groove lives and dies on a solid internal clock.
• Have your lead trumpet track that B-flat above the staff in rehearsal as an isolated passage. The range is reachable at Grade 3.5, but it needs specific air support and voicing to sit cleanly over the ensemble.
• Work the written solos with your alto and trumpet 2 players in sectional rehearsals first. Once they own the suggested lines, encourage them to ornament or answer their own phrases on repeats to build confidence for eventual improvisation.
• Keep the tempo honest at half note=96. Young ensembles often rush a funk groove out of excitement; a metronome click on beat 2 can anchor the feel while giving the band room to breathe.

Use this as a concert opener to set an upbeat, sophisticated tone immediately. It also pairs naturally with other swing standards and funk-influenced jazz repertoire, making it a strong anchor for a set built around groove-based jazz.

• Maintaining a half-note groove feel in swing time
• Reading lead trumpet range extending above the staff
• Trading solos between sections and listening across the ensemble
• Balancing written ensemble lines with rhythmic space for soloists
• Understanding arrangement texture and orchestration in jazz