Little Liza Jane: 1st B-flat Trumpet

Collins-Dowden understands exactly what first-year jazz ensemble players need, and this New Orleans swing delivers it without condescension. The written solos sit comfortably in the range of developing players while preserving the spirit of authentic jazz vocabulary, and the optional parts give you genuine flexibility as a director without sacrificing the groove.

Warm and infectious. The New Orleans swing style carries an infectious groove that makes students smile the moment they lock in, and the relatively straightforward melody and harmonies let them focus on feel rather than fighting the chart. It sounds like a real jazz tune, not a training exercise.

First-year jazz ensemble students and their directors. This chart meets young players where they are, offering achievable ranges and parts while maintaining genuine jazz character. It's equally useful as a confidence-builder early in the ensemble's formation or as a fun addition to a full concert later in the year.

• Establish the New Orleans swing feel in early rehearsals by having students listen to the recording and count swing eighth notes; the 158 BPM sits perfectly for first-year players to internalize the pocket without rushing.
• Let soloists know they can play the written parts as written or use them as a starting point for their own ideas; this encourages ownership and reduces anxiety about improvisation.
• Assign solos strategically across your section once everyone is secure on the head; rotating performers builds confidence and gives more students a chance to step forward.
• Keep the rhythm section tight and locked; they anchor everything, so spend rehearsal time there before diving into the brass soli.

Program this early in the year to establish ensemble identity and build momentum before tackling more complex charts. It also works well as a closer on a pops concert or as part of a jazz standards set when you want to remind audiences and students alike why they love playing together.

• Understanding and performing swing eighth-note feel
• Reading and responding to jazz articulations and dynamics
• Building comfort with basic jazz soloing using written frameworks
• Ensemble balance and listening across a four-part jazz lineup
• Time feel and pocket awareness in a rhythm section context