I Remember You (arr. Mark Taylor): Jazz Ensemble Conductor Score & Parts

Mark Taylor's arrangement captures what makes this standard endure: a melody that sits beautifully in the saxophone section, surrounded by brass voicings that sparkle without overshadowing. The built-in alto and tenor solo spots give your section leaders room to shine, and the entire piece has the quality of sounding more polished than the rehearsal hours required suggest.

Elegant and conversational, this chart feels like a well-dressed ensemble standing around the piano, trading observations over drinks. The swing flows naturally, and the writing sits in a sweet spot where technical demands stay reasonable while the musical payoff feels generous.

Jazz ensembles at the intermediate level who want a piece that sounds sophisticated without requiring advanced soloing chops or complex harmonic navigation. This works equally well for groups building confidence in section playing and those ready to highlight emerging soloists.

• Balance the sax soli carefully so the melody sings through the ensemble; these moments should feel conversational, not desperate for the solo spots that follow.
• Establish a relaxed swing feel early in sectionals. The medium fast tempo can tighten if players aren't confident in their pocket, so lock the quarter-note pulse before worrying about articulation.
• Shape the brass responses to the sax passages like commentary on a story. They're not accompanying; they're adding their own voice to the conversation.
• Give alto and tenor soloists clear space to breathe. Cue them well and keep the rhythm section patient, letting the solo breathe rather than pushing it forward.

Consider this a centerpiece for a standards-focused set or as the opening number for a concert celebrating American songbook jazz. Its approachable difficulty and instantly recognizable melody make it an excellent choice for early-season programming when you need something that builds ensemble confidence and delivers musical satisfaction quickly.

• Swing articulation and phrasing in section passages
• Listening and responding to ensemble members during ensemble soli
• Solo construction over jazz changes (alto and tenor)
• Balance and blend across two or more sections playing simultaneously
• Jazz rhythm section foundation and pocket awareness