Do Nothin' Till You Hear from Me: Choral Octavo SoundTrax CD

Darmon Meader's arrangement captures the conversational ease of Ellington's original without oversimplifying the harmonic language. The medium swing tempo gives singers room to phrase naturally, and the full piano accompaniment makes this feel like a complete musical experience rather than a skeletal reduction.

Warm and conversational, with the ease of someone telling a story over a drink. The arrangement settles into a relaxed medium swing where nothing feels rushed; instead, every phrase lands with understated charm and subtle sophistication.

Choirs comfortable with swing feel and jazz voicings, particularly programs that perform popular standards or Great American Songbook material. This works well for ensembles ages 14 and up who want to explore a different sound from traditional choral literature while staying grounded in a famous tune.

• Let the rhythm section breathe. This isn't a march; the swing feel depends on the bass and drums finding their pocket together first, then the voices settling into that groove.
• Shape the melody through dynamics rather than tempo changes. The lazy quality comes from restraint, not from slowing down.
• Balance the upper and lower voices equally. The harmony is more interesting when all four parts are heard, especially in the phrases that diverge from the melody.
• Use the SoundTrax to rehearse blend first, then gradually shift to the optional jazz trio parts once the choir is secure. This gives singers a reference point before adding live musicians.

Place this alongside other Ellington works if you're building a Duke-focused concert, or use it as a bridge piece on a program mixing classical and jazz traditions. It's strong enough to hold its own as a standalone feature but light enough not to disrupt pacing if you're working from a longer set list.

• Reading jazz voicings and seventh chords in four-part texture
• Singing with swing articulation and phrasing
• Responding to the beat without rushing or dragging
• Balancing blend in harmonically complex passages
• Coordinate with rhythm section musicians and follow their pulse