I Get a Kick Out of You: 1st Trombone

Wolpe's chart gives your vocalist room to breathe while keeping the ensemble engaged throughout. The dual-key format (B-flat and E-flat on reversible parts) means you can cast this standard with confidence, whether your singer sits low or high, without reprinting a single page. The alto solo and clean ensemble writing make this feel like a genuine jazz conversation, not a backing track.

Sophisticated and swinging, with the ease of a seasoned performer settling into a familiar song. The arrangement lets the vocal melody float above crisp ensemble writing while maintaining the playful confidence the tune demands. You'll hear why this is a jazz repertoire staple.

Jazz singers building a standards book, and directors seeking a reliable vocal feature that sounds polished without sacrificing intimacy. This works for advanced high school jazz ensembles and college groups where the vocalist is the centerpiece of your sound.

• Balance the vocalist's phrasing with the ensemble's swing feel; Wolpe leaves generous space, so use it to let your singer shape the melody without rhythmic pressure from the band.
• The alto solo deserves a strong player who can trade energy with the vocalist; rehearse that exchange separately so it feels like a real musical moment.
• Lock the rhythm section (piano, bass, drums) first, then layer the horns; this chart's cohesion depends on a solid harmonic pocket underneath.

Feature this in a jazz concert's second set, where audiences have settled in and expect a showcase moment. It pairs naturally with other vocal standards and gives your ensemble a chance to shine as accompanists rather than soloists. Consider programming it near other Wolpe arrangements for a cohesive sound throughout the evening.

• Comping rhythmically and harmonically behind a vocalist
• Trading solo space (alto with vocalist) while maintaining ensemble cohesion
• Interpreting swing phrasing in a section setting
• Reading and performing from reversible parts in multiple keys