Let's Face the Music and Dance (arr. Michael Philip Mossman): Jazz Ensemble Conductor Score & Parts

Mossman's instinct to reimagine Berlin's elegant song as a mambo is inspired. Rather than force the melody into an unfamiliar idiom, the arrangement lets the tune breathe while the rhythm section establishes that propulsive mambo groove, creating something that feels both respectful and genuinely swinging. The varied scoring keeps it interesting without overwhelming developing players.

Sophisticated but never stuffy. The mambo context gives the piece a sun-soaked, infectious energy while Berlin's melodic gift keeps everything melodically coherent. It's a chart that makes players feel like they're part of something both classy and genuinely fun.

Grade 4 jazz ensembles with a solid rhythm section and at least one alto saxophonist ready for solo space. This works equally well for groups looking to expand their standard repertoire or those seeking accessible contemporary jazz arrangements that still demand musicianship.

• Lock the mambo clave in the rhythm section before rehearsing anything else. This groove is the arrangement's backbone, and soloists will sound ten times better once the foundation is solid.
• Shape the alto sax solo by encouraging your player to listen to blues-inflected phrasing rather than straight classical tone. This solo is a conversation with the band, not a classical gesture.
• Balance the harmonic color in the ensemble sections. Mossman's writing includes some unexpected chord extensions, so make sure the top notes don't disappear under the lower voices.
• Keep the tempo steady but relaxed. A mambo that feels rushed loses its essential sway.

Pair this on a spring concert with other standards or Broadway pieces, or use it as your opener on a jazz evening to establish energy and sophistication right away. The shorter duration and upbeat character make it ideal for a program that needs both crowd appeal and musical substance.

• Reading and maintaining Latin clave rhythms in ensemble context
• Solo phrasing and responding to harmonic changes
• Balancing melody and harmony within arranged scores
• Playing with swing and relaxation in a mambo feel