Hey Taxi!: Jazz Ensemble Conductor Score & Parts

López writes with genuine understanding of what early jazz ensembles need: straightforward rhythmic foundation, flexible voicing options that let students succeed whether playing solo lines or in sections, and genuine humor. The taxi horn effect transforms a simple rock groove into something memorable and thematic, giving younger players a real reason to care about precision and character.

Playful and urban. The straight-eighth rock feel gives it immediate forward motion, while the taxi horn effects create a bright, street-level energy that captures the charm of city life. It's the kind of piece that makes young players smile when they nail the groove.

Beginning jazz ensembles looking for material that teaches rhythmic precision and sectional balance without overwhelming young musicians. This works well for Grade 1 programs serving players with limited jazz exposure who still need to sound and feel like a real ensemble.

• Lock the rhythm section (piano, bass, drums) into that straight-eighth groove first. The whole chart depends on their pocket staying consistent, so rehearse them separately before adding horns.
• Treat the taxi horn punctuations like a percussion part with definite articulation and accent. They're not background texture; they're the hook.
• For the wind solo section, designate who plays when during early rehearsals, then gradually shift players in and out. This flexibility written into the chart is an asset, not something to ignore.
• Balance the sung "Hey Tax-i!" lyric so it sits comfortably over the groove without overpowering the band. Keep it light and conversational.

Program this early in a jazz concert to set an upbeat tone and build audience engagement through the novelty of the taxi horns and sung punctuation. It also works as a winter or spring showcase piece for demonstrations to middle school students considering jazz studies.

• Straight-eighth groove foundation and time feel
• Rhythmic precision in ensemble context
• Written and improvised solo execution
• Part flexibility (playing full sections versus individual lines)
• Integration of vocal and instrumental textures
• Articulation and punctuation for comedic and musical effect