Hit the Bricks: Jazz Ensemble Conductor Score & Parts

Goodwin has an instinct for what works on the high school bandstand: grooves that lock instantly, solos that showcase individual players without requiring virtuosity beyond reach, and a funky pocket that students actually want to play. The optional parts mean you can pull this together whether you have a full jazz complement or are building toward one.

Funky and propulsive, with a driving rhythm section feel that keeps the energy up throughout. The brass parts sit comfortably in accessible ranges, allowing players to focus on tone and phrasing rather than technical difficulty. It's the kind of chart that feels immediately playable yet maintains sophistication in its orchestration.

First-year jazz ensembles and developing programs that need accessible material with real groove and personality. The written solos remove the improvisation barrier, making this ideal for groups still building solo confidence while the optional parts let you scale the piece to your instrumentation.

• Nail the pocket first. The funk feel at 136 BPM lives or dies on the rhythm section locking into a cohesive groove; have the drums, bass, and piano sit together before running the full ensemble.
• Let the soloists breathe. The alto sax and trombone features are written out, which means your soloists can focus on phrasing and expression rather than worrying about changes.
• Balance the horns carefully. With easy brass ranges, the tendency is to let the section play loud; dial back the volume so the rhythm section and soloist stay in focus.
• Keep it swinging but grounded. This is funk first, so maintain the straight-eighth feel even when the written lines suggest swing articulation.

Open a winter or spring concert with this piece to establish energy and audience engagement from the first tune. The funky character also makes it a natural fit alongside blues-based jazz standards or as a contrast piece in a program mixing swing and contemporary styles.

• Locking into funk and straighteighth feels
• Reading and executing written solo sections with musical intent
• Balancing ensemble sound across horn sections with accessible ranges
• Navigating optional instrumentation and doubling parts
• Responding to groove-based leadership and rhythmic direction