It's All Right with Me: Jazz Ensemble Conductor Score & Parts

Alan Baylock's arrangement captures the elegance of Porter's composition while injecting contemporary groove and energy. The half-time funk feel breathes fresh life into a standard without losing the harmonic sophistication that makes Porter's writing so compelling for jazz ensembles. The rolling melody that moves through sections keeps every player engaged and gives your band a chart that swings hard while remaining musically substantial.

Smooth, propulsive, and undeniably cool. The half-time funk feel glides rather than pounds, giving the piece an effortless sophistication that fits both casual and formal concert settings. Porter's melodic gift shines through Baylock's modern voicings, creating something that feels both timeless and immediately current.

Jazz ensembles working at the Grade 3 level who want a Standard with swagger and contemporary production value. This arrangement rewards tight rhythm sections and engaged soloists while remaining accessible enough that developing players can contribute meaningfully to the overall sound.

• Establish the half note = 96 BPM as your anchor early in rehearsal; the half-time funk feel depends on players feeling that pulse clearly rather than fighting against it.
• The trumpet soloist should understand the range demand (written to B-flat) as a stamina consideration; build confidence in the upper register during sectional work.
• Balance is critical when the melody rotates between sections. Rehearse each entrance so the next section picks up the phrase naturally without dropping the pocket or overplaying the handoff.
• Feature the alto sax soloist prominently during rehearsals so they own that moment and understand how their voice sits in the ensemble texture around their break.

This works beautifully as a concert closer or festival submission where you want to demonstrate ensemble maturity and swing sensibility. Pair it with a ballad or uptempo bebop number to show range, or program it alongside other contemporary jazz arrangements to showcase how arrangers are reimagining the Great American Songbook.

• Half-time funk feel and how it relates to written note values
• Sectional melody exchange and smooth handoffs between trumpet, alto sax, and trombone
• Solo development over jazz changes with harmonic awareness
• Rhythmic precision in a groove-oriented context at medium tempo
• Balance and blend when orchestral doubling shifts between parts