Don't Get Around Much Anymore: Jazz Ensemble Conductor Score & Parts
As performed by Bob Russell / Arranged by Mark Taylor
Grade: 3-4
Item: 35-PK00413513
$45.00
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Description
Here is a creative chart in the little big band format on Duke Ellington's classic swing tune. Solos are included for tenor sax and trumpet.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00413513
More about this title
About the Artist: Bob Russell
Bob Russell was a lyricist and songwriter whose career spanned decades, crafting words for some of the Great American Songbook's most enduring melodies. His ability to match sophisticated, conversational lyrics with memorable hooks made him a sought-after collaborator for film and stage productions. Russell's work on "Don't Get Around Much Anymore" exemplifies his gift for writing lyrics that feel both urbane and singable, earning the tune a permanent place in jazz repertoire.
Why we love this
Mark Taylor's arrangement strikes that rare balance between accessibility and genuine swing flavor. The solos for tenor sax and trumpet are graceful enough for developing improvisers to handle without feeling dumbed down, and the ensemble writing swings with clarity even at Grade 3 levels. It's the kind of chart that plays well at jazz festivals and sounds equally good in a student concert setting.
What to expect
Relaxed and urbane, with that classic Ellington swagger softened into something a touch more intimate. The tune hums along with the ease of a well-worn conversation, dipping into the blues changes with unhurried grace while the soloists take their turn in the spotlight.
Who it's for
Jazz ensembles working at the intermediate level will find this arrangement both rewarding and achievable. It serves section leaders and educators who want to program a well-known standard without sacrificing musical substance.
How to get the most out of it
- Anchor the rhythm section on the blues changes underlying this tune. Have your bass player and pianist lock into the form during rehearsals before the soloists start shaping their lines.
- Balance the two solo voices carefully in the mix. The tenor sax and trumpet should trade phrases with enough presence that both sing through, but not so loud that the ensemble loses focus when they reenter.
- Shape the opening head with swing inflection but keep it articulate. Ellington wrote this tune with crisp melodic definition, so avoid smearing the phrasing even as you swing the eighths.
- Give your soloists space to breathe between choruses. A half-measure of ensemble comping or a simple vamp creates lift and lets the next soloist enter with fresh energy.
How to use it
Pair this with other Ellington standards or position it as a lighter moment in a jazz concert, offsetting more uptempo or contemporary charts. It works especially well mid-set when you want to reset the energy and showcase individual soloists without the demands of a high-energy burn.
Skills your students will build
- Swing articulation and phrasing in a melody-driven context
- Blues harmony navigation for improvising soloists
- Listening and responding to solo voices while maintaining section cohesion
- Flexible tempo and time feel in the rhythm section
- Collective ensemble interpretation of a standard arrangement