I Get a Kick Out of You: Vocal Solo with Jazz Ensemble Conductor Score & Parts

Wolpe writes with the vocalist first, creating genuine musical space rather than crowding the soloist with busy ensemble parts. The reversible parts system solves a real logistical problem: you can use the same printed charts for both B-flat (female) and E-flat (male) keys simply by flipping the page, saving money and rehearsal confusion. His alto solo gives the band something memorable to play when the vocalist isn't singing, keeping the ensemble engaged throughout.

Classic swing with elegance and restraint. The arrangement breathes like a real jazz standard should, with enough ensemble support to feel full without ever overshadowing the story the vocalist is telling. There's warmth in the harmony and genuine swing in the rhythm section.

Jazz ensemble directors working with vocalist soloists at the intermediate to advanced level. This is also a strong choice for vocalists building a jazz performance portfolio, as the arrangement is sophisticated enough to showcase musicianship without requiring a virtuosic voice.

• Balance the ensemble dynamics so the vocalist can float easily over the top; Wolpe's voicings sit naturally under a solo line, but only if the band remembers they're the foundation, not the feature.
• Let the alto soloist have real ownership of that break. It's written to land cleanly and deserves a moment to breathe rather than being rushed through.
• Set the tempo with the vocalist in mind. The chart is clocked at just over four minutes, which gives you room to find a groove that feels relaxed rather than driven.

Feature this as a centerpiece on a jazz concert or within a mixed program of standards and original compositions. The tune works equally well as a showcase for a featured vocalist or as part of a larger jazz set where your ensemble gets to demonstrate ensemble writing and solo work in a single chart.

• Balancing solo melody with ensemble accompaniment
• Swing phrasing and rubato over a steady rhythm section
• Reading reversible parts in multiple transpositions
• Small ensemble voicing and voice leading
• Trading solos and trading sections between voice and instruments