Get Out Of Town [Jazz version] (from Leave It To Me) (arr. Brent Edstrom): Piano Vocal

Brent Edstrom's jazz arrangement captures the theatrical sass of Porter's original while opening up space for real improvisation. The piano writing is idiomatic without being showy, and the vocal line sits naturally for singers who want to explore jazz phrasing without fighting the material.

Urbane and slightly mischievous, with the kind of rhythmic sophistication that makes simple phrases feel clever. The arrangement settles into a jazz pocket that feels intimate even in a performance space, inviting the listener closer with each phrase.

Jazz singers working on the American Songbook, vocalists preparing for musical theater auditions, and pianists who want repertoire that combines technical interest with approachable performance contexts. Teachers can also use this with advanced high school singers exploring jazz standards in a classical training environment.

• Let the harmonic movement breathe; Porter's chord changes are the conversation, so resist rushing through them even when the tempo feels up.
• Shape the lyrical phrases with the jazz sensibility Edstrom's voicings invite; conversational delivery suits this song far better than operatic phrasing.
• Use the piano part as a dialogue partner rather than accompaniment. The arranger has given the pianist interesting counterlines and syncopation that push the vocalist's phrasing in productive directions.

Pair this with other Porter standards in a concert that celebrates American songwriting, or feature it as a lighter moment in a recital that might otherwise lean classical. It also works as a teaching piece in a jazz ensemble or voice class focused on standards and improvisation.

• Jazz interpretation and swing phrasing over a standard 32-bar form
• Reading and responding to jazz chord voicings and harmonic movement
• Coordination between rhythmic independence in piano and vocal lines
• Lyrical clarity and storytelling in an uptempo jazz context