Ocean Drive: Alto Sax 1

Biondi nails the difficult task of writing a relaxed, groovy piece that doesn't sacrifice musicality. The bossa foundation keeps everything locked and simple, but featuring the alto on both written and jazz solos gives your lead player real moments to shine, and the flugelhorn voicings create a sophisticated shimmer that sounds expensive without demanding advanced technique.

Like a warm afternoon breeze off the ocean. The gentle bossa pulse floats beneath smooth horn colors and an easy swagger, creating a piece that feels sophisticated and unhurried rather than frenetic.

Grade 3 jazz ensembles that need a confident breath in their program. Directors working with solid rhythm sections and an alto soloist ready for some spotlight will find this especially rewarding.

• Establish the bossa beat early in rehearsals using the rhythm section; lock the bass line and drums before layering horns.
• Give your alto soloist time to internalize the swing feel on the jazz solo passage, even if the written solo feels comfortable.
• Balance the flugelhorn texture carefully so it sits above the ensemble without overwhelming the gentle samba groove.

Place this midway through a jazz concert to provide contrast after harder-swinging charts. It also works beautifully in mixed jazz and concert band programs as a stylistic palette cleanser before returning to standard repertoire.

• Playing bossa nova rhythm with authentic groove and steady feel
• Improvising over blues changes with appropriate phrasing and vocabulary
• Balancing ensemble blend when doubling instruments across sections
• Reading jazz chord symbols and accompanying written solos