Hit the Bricks: Jazz Ensemble Conductor Score

Goodwin writes with a keen sense of what early jazz ensembles can actually pull off without sacrificing authentic groove and harmonic interest. The funk foundation feels genuine rather than simplified, and the optional parts mean you're not locked into a fixed instrumentation. Your ensemble will sound like they're playing real jazz, not a watered-down version.

Funky, energetic, and immediately engaging. The chart swings with attitude while staying accessible, creating that satisfying moment when a young ensemble suddenly locks into the groove and feels the difference between playing the notes and playing the music.

First-year jazz ensembles and developing musicians who are ready for genuine funk repertoire without excessive technical demands. This works equally well as a standalone feature or as part of a broader early jazz curriculum where students need successful performance experiences.

• Lock the eighth-note pocket early in rehearsal. At 136 BPM, the groove lives in precision of articulation across the rhythm section and lower brass.
• Feature the written alto sax and trombone solos as genuine opportunities for improvisation and interpretation rather than fixed performances. Encourage the soloists to own their sections.
• Balance the optional doubling parts (flute, clarinet, vibes) so they enhance the harmonic color without obscuring the core ensemble sound. Use them strategically for textural variety across the form.

Perfect for a jazz-focused concert or as a crowd-pleasing opener when you need to showcase your ensemble's ability to handle contemporary idiom with confidence. It sits naturally alongside other Belwin First Year titles if you're building a full student jazz program.

• Reading and executing funk rhythms at a steady tempo
• Balancing written lines with the underlying groove pocket
• Performing composed solos with stylistic authority
• Managing optional instrumentation and doubling parts
• Articulation control in a rhythm section context