Perdido: Jazz Ensemble Conductor Score

Frank Mantooth's arrangement transforms a classic standard into a contemporary jazz ensemble vehicle by shifting the A section into half-time funk and the bridge into double-time swing. The written solos for alto 1, trumpet 4, and trombone 1 anchor the piece while the open-solo policy invites your full ensemble to participate, making this both a polished chart and an improvisation laboratory.

The half-time funk A section grooves with a contemporary swagger, anchored and direct, while the bridge suddenly opens into propulsive double-time swing that breathes with jazz tradition. The contrast between these two feels gives the standard a modern edge without abandoning its classic DNA.

Jazz ensemble directors teaching Grade 4 players who understand swing eighth notes, can execute tight rhythmic figures, and are ready to improvise over standard changes. This works equally well for ensembles with strong individual soloists and those where you want to build solo confidence across the section.

• Lock the half-time funk feel in the A section by emphasizing the backbeat with the full ensemble; this groove underpins the melody and keeps the energy grounded despite the tempo reduction.
• Prepare the double-time bridge by drilling the transition point separately, drilling the section in isolation multiple times before running the full chart to ensure rhythmic precision at the faster tempo.
• Encourage written soloists to personalize their 8 or 16-bar statements before rehearsal, then open the floor to other ensemble members by circulating chord changes beforehand so uncommitted soloists can study them independently.
• Balance transparency in the half-time A section by letting the melody sing clearly over the funk groove; avoid overloading the harmonic foundation during this section so soloists and melody hear each other well.

Program this as the centerpiece of a jazz concert set where it can anchor a first half or close a program; its combination of accessibility and sophistication makes it bridge repertoire and engagement for audiences new to jazz. It also serves as an excellent learning vehicle mid-year when your ensemble has developed enough rhythmic confidence and solo experience to handle both the groove and the improvisation.

• Half-time funk grooves and backbeat emphasis
• Transitioning between half-time and double-time feels within a single chart
• Solo construction and personalization over standard jazz changes
• Ensemble transparency and balance when supporting soloists
• Reading idiomatic jazz notation and swing rhythms