Do Nothin' Till You Hear From Me: Jazz Ensemble Conductor Score & Parts
By Bob Russell / By Duke Ellington / Arranged by John Clayton
Grade: 5
Item: 35-PK00164561
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Description
Adapted from the arrangement that John Clayton did for Dianne Reeves and the WDR radio big band in Cologne, Germany, here is a moderately slow and sulty swing version of the Duke Ellington favorite. According to John, "it's about grooving and having fun."
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00164561
More about this title
About the Composer: Bob Russell
Bob Russell wrote some of the most enduring popular songs of the mid-20th century, often collaborating with composers like Duke Ellington and David Raksin. His gift for crafting lyrics that felt both conversational and sophisticated made standards like "Do Nothin' Till You Hear From Me" timeless vehicles for jazz interpretation.
Why we love this
John Clayton's arrangement captures the essence of Ellington's harmonic language while keeping the ensemble grounded in genuine swing. Your students will feel the groove immediately, and the moderately slow tempo gives you room to work on phrasing, balance, and that intangible quality that separates adequate ensemble playing from real musicianship.
What to expect
Sultry and relaxed, with the easy confidence of a late-night club rather than a concert hall. The moderate tempo and smooth harmonic movement create space for every player to contribute texture while the rhythm section locks into an irresistible swing feel.
Who it's for
Jazz ensembles working at Grade 5 level and looking for a legitimate standard that teaches swing without oversimplifying the harmonic or rhythmic content. This arrangement serves groups that want to program something singers enjoy as much as instrumentalists do.
How to get the most out of it
- Let the rhythm section breathe before the ensemble enters. A tight walk from bass and drums creates the pocket that makes everything else click.
- Shape the melody with long lines rather than punching each phrase. This ballad demands legato thinking even within a swing context.
- Balance saxophone voicings by having players listen inward to each other rather than projecting outward. Clayton's harmonies are rich and deserve clarity without stridency.
- Encourage soloists to reference the recorded version with Dianne Reeves and the WDR big band. Hearing a master class in swing phrasing will do more for your students than any verbal instruction.
How to use it
Pair this with other Ellington standards or place it in a concert segment devoted to American songbook interpretations. It's ideal for a mid-season program where your ensemble is solid enough to handle lyrical playing and mature enough to avoid rushing the tempo.
Skills your students will build
- Swing phrasing and articulation in a blues-influenced harmonic context
- Reading and executing syncopated rhythm patterns across multiple voices
- Balancing ensemble voicings in close harmonies
- Listening to and supporting soloists in a small group setting
- Understanding Ellington-based chord substitutions and how they affect melodic interpretation