Love Is Here to Stay: 2nd Baritone T.C.

Paul Baker's arrangement captures the swagger and punch of the Basie band sound without overcomplicating the ensemble's parts. The written-out solos for alto 1 and trumpet 2 give less experienced improvisers concrete material to learn from, while the shout chorus and those sax solis deliver the authentic small-group energy that makes this era of jazz so infectious. For a grade 2 group, this hits the sweet spot of sounding professional and fun to play.

Propulsive and joyful, with that particular Basie-band lightness in the rhythm section and warmth in the horns. The melody sits right in the pocket, and the arrangement gives you space to breathe between the hits. It swings without strain.

This arrangement serves grade 2 jazz ensembles with strong readers but developing improvisers. Programs looking to build confidence in less experienced soloists will benefit from the written parts for trumpet 2 and alto 1, while stronger players anchor the section work and featured passages.

• Shape the melody with clear articulation in the lead trumpet part. The top G demands confidence, not force; let the range feel natural by supporting it with steady air and solid fundamentals.
• Lock the written solos (alto 1 and trumpet 2) into the rhythm section's pocket. These aren't improvised; treat them as composition and nail the rhythmic precision and dynamic shaping.
• Find the push in the shout chorus. This section needs ensemble unity and a sense of building momentum. Mark your attacks and releases clearly in rehearsal so everyone feels the same pulse.
• Lift the sax solis with a conversational tone. They're asking and answering, so vary your approach across the different solos. One might be punchy; another might float. Let that personality come through.

Pair this with other Gershwin-era standards to create a short suite that explores American songwriting and jazz arranging traditions. It works equally well as a festival piece or as part of a concert celebrating the Great American Songbook. The moderate difficulty and audience familiarity make it a solid closer or anchor in a jazz concert set.

• Articulation and phrasing in jazz idiom (swing feel, ghost notes, dynamic shaping)
• Reading and interpreting written solo lines with jazz vocabulary
• Ensemble balance and listening in Basie-style voicings
• Rhythmic precision in shout sections and tight ensemble figures
• Lead trumpet range extension to written G with secure intonation
• Section work with clear part independence and textural awareness