Everything: Vocal Solo with Jazz Ensemble Conductor Score

Scott Ragsdale's orchestration preserves the sophisticated warmth of the original while creating an arrangement that sits perfectly within a jazz ensemble sound. The addition of scat singing lines gives your vocalist a genuine improvisational element without overwhelming a developing singer. This is exactly the kind of contemporary crossover material that keeps jazz ensembles relevant while maintaining genuine musical substance.

Sophisticated and effortlessly cool, with the kind of intimate vocal quality that draws listeners in immediately. The arrangement moves between straight-ahead swing sections and smoother, more rubato passages that give the vocalist room to breathe and phrase expressively. There's genuine elegance here, not pretense; the tune feels like a conversation between the singer and the band.

This arrangement works beautifully for jazz ensembles with an advanced high school or college-level vocalist who can handle smooth phrasing and light scat. Directors seeking contemporary material that appeals to audiences while remaining musically substantive will find this a strong choice. It's equally valuable as a feature for a strong vocalist or as an engagement piece for a jazz concert.

• Work with your vocalist on the distinction between the lyrical sections and the scat passages; each requires a different approach to phrasing and breath control.
• Lock the rhythm section (bass, drums, piano, guitar) on a consistent groove before bringing in the horns; this arrangement depends on a solid rhythmic foundation.
• Balance the lead trumpet articulation carefully against the vocal line so the two parts support rather than compete with each other.
• Have the vocalist listen to the Michael Bublé recording to understand the emotional delivery, but encourage your singer to develop their own interpretation within the vocal range provided.

Place this on a winter or spring concert to connect your jazz program with contemporary music that parents and non-musician audience members will recognize and enjoy. It works particularly well as an opener to a set featuring vocal jazz, or as a bridge piece between a more traditional big band standard and closing numbers. The 3:44 length makes it ideal for concert programming alongside longer instrumental features.

• Balancing vocal projection with jazz ensemble sound without pushing or oversinging
• Scat singing with proper diction and rhythmic placement
• Responding to an ensemble accompaniment while maintaining interpretive control of phrasing
• Understanding commercial jazz arrangements and contemporary vocal jazz style
• Managing a moderate vocal range (F below middle C to third space C) in a performance context