Chicago (That Toddlin' Town): 2nd Baritone T.C.

Alan Baylock's arrangement captures the swagger of a classic American tune while delivering exactly what a Grade 3.5 jazz ensemble needs: a funky, groovy chart that sounds professional without demanding virtuoso chops. The built-in solo space gives your soloists a featured moment, and the suggested written solos provide scaffolding that less experienced improvisers can use as a springboard.

Chicago swings with attitude and groove. There's a relaxed confidence to the rhythm, a sense of playful funk that sits somewhere between Sinatra-era sophistication and modern R&B swagger. When the ensemble locks in, it feels like a real band cooking together.

Jazz ensemble directors seeking a high-energy opener or feature tune that works for Grade 3.5 groups. Students benefit from playing a song they likely recognize, which builds confidence and engagement while they develop swing feel and funk rhythms.

• Lock the rhythm section into the half note=96 swing groove before sectionals. The pocket is everything here; get your bass and drums locked first, then build the rest of the ensemble around that foundation.
• Balance the alto and trumpet 2 solos so they sit comfortably above the groove without overpowering the ensemble sound. These solos should float over the accompaniment, not fight it.
• Articulate the funk figures cleanly in the brass and reeds. The syncopated rhythms depend on crisp, unified tonguing to cut through the groove.
• Let the lead trumpet soar into that high B-flat register with confidence. Emphasize that this is a moment of glory, not something to shy away from.

Open a jazz concert with this to get the audience immediately engaged and your ensemble warmed up with something accessible yet swinging. It pairs well with ballads or more complex charts later in the set, offering contrast in both energy and style.

• Swing eighth-note feel and pulse at moderate tempo
• Funk and syncopated rhythmic figures across the ensemble
• Solo space navigation with suggested written material to guide improvisation
• Balancing solo voices over a locked groove
• Lead trumpet range extension into the upper register