Horn of Puente: 2nd Percussion

Goodwin's writing balances infectious rhythmic drive with genuine harmonic sophistication, and this cha cha delivers both. The trumpet soloist gets genuine space to shine with written figures and improvised sections, while the ensemble parts stay engaged throughout with unison figures and syncopated backgrounds that demand tightness and musicality.

Propulsive and joyful. The cha cha rhythm moves with genuine Latin flavor, driven by the piano's authentic ostinato and energized by the ensemble's hot unison lines. The trumpet solos burst with personality against warm horn backgrounds, creating moments of individual expression nested inside a tightly crafted ensemble sound.

Advanced jazz ensembles ready for Grade 5.5 difficulty, festival-bound groups seeking contemporary big band literature, and ensembles with a strong trumpet soloist who can handle both written passages and improvisation. Conductors programming Latin jazz that avoids cliché will find Goodwin's sophisticated approach refreshing.

• Lock the trumpet soloist and rhythm section together first. The written figures and transitions between scripted and improvised sections need to feel seamless, so rehearse these touchpoints in isolation before running the full chart.
• Establish the Latin ostinato in piano early and keep it anchored throughout rehearsals. This pattern is the heartbeat of the piece; every other section locks to it.
• Balance the optional alto sax doubling against the soprano and flute on the first alto part. If you use the additional alto, make sure it sits underneath the higher voices rather than competing for space.
• Pay attention to the unison lines as ensemble moments. These are where precision and blend matter most; mark them in parts and drill them separately to ensure clarity and punch.

Place this on a jazz festival or concert set where you want to showcase both ensemble tightness and soloist artistry. It pairs well with other contemporary big band charts but stands alone as a high-energy closer or opener that audiences remember. The piece's accessibility (despite its advanced technical demands) and popularity from the Big Phat Band recording make it an excellent programming choice.

• Playing syncopated unison figures with precision and blend
• Comping and responding to trumpet soloist phrasing in written and improvised sections
• Latin rhythm section coordination (particularly authentic cha cha feel)
• Optional doubling and doublet voicing management (soprano/flute on first alto)
• Listening skills in response-based ensemble writing