Cot in the Act: Jazz Ensemble Conductor Score & Parts

Goodwin writes for student ensembles with the same sophistication and groove he brings to his professional Big Phat Band recordings. Every section gets genuine solo space and melodic material, which keeps ensemble members engaged and motivated. The funky piano intro and hip grooves make this chart immediately appealing to student musicians, while the Grade 5 complexity demands real musicianship and ensemble discipline.

Funky and confident, with a hip piano introduction that immediately sets the tone. The chart swings with contemporary jazz vocabulary; it feels less like a standard jazz tune and more like the kind of energetic, groove-driven music Goodwin writes for his own professional ensemble.

Advanced jazz ensemble directors who want to program music with real character and groove for skilled musicians. This works equally well for high school and college jazz bands looking for a contemporary piece that demands musicianship without becoming stuffy.

• Lock the rhythm section (piano, bass, guitar, drums) as a unit before rehearsing horns. The groove foundation must be solid and swinging; this determines whether the whole chart feels funky or labored.
• Shape the piano intro deliberately. This is your hook. The piano player should voice it with space and attitude, letting each chord land clearly before moving to the next.
• Honor the solo sections by giving soloists room to breathe and interpret. Goodwin wrote the framework, but the band's energy and responsiveness behind each soloist will determine whether these moments sparkle.
• Balance the brass voicings carefully, especially when all three voices move together. At this grade level, intonation in jazz voicings can blur quickly; precision makes the chart sound professional.

Program this as a concert centerpiece or as part of a jazz showcase where you want to feature soloists. At 2:16, it fits well in a mixed program, and its contemporary sound pairs nicely alongside both traditional and modern jazz repertoire.

• Comping and time-feel in contemporary jazz styles
• Solo improvisation with structured chord changes
• Balance and blend in jazz voicings for horn sections
• Listening and responding to ensemble rhythm section in real time
• Phrasing and interpretation within written solo sections