Fascinating Rhythm: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Dave Wolpe's arrangement captures the swagger and momentum of this Gershwin standard while keeping the ensemble writing accessible for Grade 3.5 groups. The two keys accommodate both vocal ranges without compromise, and the written-out tenor sax solo gives your section a genuine feature moment rather than a generic improvisation section. At 160 BPM, the groove drives forward naturally, making this a crowd-pleaser at festivals and concerts.

Pure New York energy. The piece bounces and grins from the opening trumpet statement through the final shout chorus, with an unstoppable forward momentum that makes both singers and players feel the thrill of live performance. The vocal line sits naturally in the body of the jazz ensemble rather than floating above it, creating an integrated, conversational sound.

Singers with solid intonation and jazz sensibility who can phrase conversationally over a swinging ensemble. Jazz ensembles at the intermediate level with reliable rhythm section and soloists who can handle written material confidently. This is an excellent choice for groups entering competitions or performing at jazz festivals.

• Lock the ensemble into the swing feel before the vocalist enters; the rhythm section needs absolute clarity on the backbeat and eighth-note feel or the whole piece will drag.
• Bring out the trumpet lead in the opening statement so the vocalist has a clear harmonic reference when they come in.
• Shape the tenor sax solo as a story: it should build in intensity and complexity as it develops, then resolve smoothly back into the ensemble texture for the final chorus.
• Balance the vocal line carefully; the vocalist should project effortlessly over the ensemble without the band pulling back artificially.

Program this as your closer or a strong mid-set feature; the infectious groove and familiar melody generate immediate audience connection. Pair it with other jazz standards or Gershwin works to build a cohesive set, or contrast it with a ballad earlier in the concert to showcase both the ensemble's swing and lyricism. The two-key option lets you program both a treble-voice and lower-voice soloist across different performances.

• Swinging eighth-note subdivision and feel at fast tempo
• Reading and executing written jazz solos with stylistic phrasing
• Balancing vocal soloist with ensemble texture
• Trading sections and call-and-response phrasing between voice and instruments
• Interpreting jazz articulation and dynamics in conductor parts