Maynard & Waynard: Jazz Ensemble Conductor Score & Parts

Goodwin's original Big Phat Band chart translates seamlessly into this accessible arrangement without sacrificing the swagger and musicality that makes his writing so engaging. Peter Blair's adaptation respects the composer's voice while keeping the technical demands realistic for developing players, and the built-in flexibility (written-out trumpet soli for all three parts, optional doubling parts) means you can program this confidently regardless of your section depth.

Infectious, groovy, and immediately recognizable as genuine big band swing. The arrangement bounces with the kind of ease and joy that makes young players want to nail their parts and swing hard, never feeling like a scaled-down version of the real thing.

This chart works perfectly for first-year jazz ensembles, developing high school jazz bands, and community jazz groups building confidence with swing repertoire. Directors seeking accessible big band charts that don't sound simplified will find Goodwin's harmonic sophistication and professional phrasing intact.

• Lock the articulation within each section before adding swing feel. The saxes need unified tonguing on the soli passages, and the brass rhythm section requires crisp, synchronized attacks to nail the groove.
• Use the written-out trumpet solos as learning tools. Since all three parts have the solo notated, younger players can listen to section mates navigate phrasing and time feel rather than watching a single lead player.
• Balance the sax soli dynamically. These passages sit on top of the ensemble, so dial back the background figures slightly in rehearsal so the soloists can hear their own voice without straining.

Open a jazz concert or spring pops program with this. It establishes energy and musicality right away, gives your ensemble confidence after mastering a Grade 1 chart, and plays well alongside other Goodwin arrangements or classic swing standards in the First Year Charts series.

• Swing articulation and feel (straight eighths vs. swung eighths)
• Section cohesion in soli passages
• Dynamics and balance in ensemble voicings
• Reading and performing jazz phrasing and time feel
• Improvisation foundation (notated solos as models for phrasing)
• Flexibility within written parts (optional doublings and alternate voicings)