Jump Street Boogie: E-flat Alto Saxophone

Hodges brings four decades of band directing experience directly into his writing, and it shows in how well this chart sits in young players' hands. The piece manages to pack genuine jazz vocabulary—blues changes, call-and-response phrasing, and a driving shout section—into Grade 1.5 difficulty without sacrificing any swing or personality. For many students, this will be their first real encounter with how big-band jazz actually sounds and feels to play.

Infectious and fun. The piece bounces along with the easy confidence of a classic big-band number, complete with blues inflection and conversation between sections that keeps everyone engaged. Players and listeners alike will feel the pull to move—this is music built for joy.

This chart works beautifully for first- and second-year concert bands eager to move beyond march and hymn-style arrangements while staying within a comfortable technical range. It's equally suited for middle school ensembles taking their first steps into jazz and for community or recreational bands looking to add some swing to their repertoire.

• Establish the swing eighth-note feel early in rehearsal by having the rhythm section lock the groove first, then layer in the rest of the band. A steady pulse from drums and bass makes everything else fall into place.
• Balance the optional solos carefully; they should cut through but not overwhelm the ensemble background. Use sectional rehearsals to ensure accompaniment figures stay tight and supportive.
• Lean into the blues idiom's laid-back phrasing. Young players often rush jazz, so explicitly conduct with a relaxed, flowing beat and encourage them to sit slightly behind the pulse rather than on top of it.
• The shout chorus needs energy and commitment. Once the band hears how exciting it sounds with full voicing and confident articulation, they'll lock in naturally.

Program this alongside more traditional concert fare to show audiences the full range of what a concert band can do. It works especially well on spring concerts or casual performance events where you want to shift the mood toward entertainment and lighter energy. The accessible difficulty makes it ideal for festival play early in the season when the ensemble is still building chops.

• Swing eighth-note articulation and feel
• Blues chord progression recognition and improvisation (for soloists)
• Call-and-response ensemble coordination
• Sectional independence within a homophonic texture
• Dynamics and balance across changing instrumental roles