Red's Good Groove: Jazz Ensemble Conductor Score & Parts
As performed by Red Garland / Arranged by Terry White
Grade: 2
Item: 35-PK00338433
$40.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| Red's Good Groove - Conductor Score (Full Score) | $6.00 | |
| Red's Good Groove - Alto Sax 1 | $6.00 | |
| Red's Good Groove - Alto Sax 2 | $6.00 | |
| Red's Good Groove - Tenor Sax 1 | $6.00 | |
| Red's Good Groove - Tenor Sax 2 | $6.00 | |
| Red's Good Groove - Baritone Sax | $6.00 | |
| Red's Good Groove - Trumpet 1 | $6.00 | |
| Red's Good Groove - Trumpet 2 | $6.00 | |
| Red's Good Groove - Trumpet 3 | $6.00 | |
| Red's Good Groove - Trumpet 4 | $6.00 | |
| Red's Good Groove - Trombone 1 | $6.00 | |
| Red's Good Groove - Trombone 2 | $6.00 | |
| Red's Good Groove - Trombone 3 | $6.00 | |
| Red's Good Groove - Trombone 4 | $6.00 | |
| Red's Good Groove - Guitar | $6.00 | |
| Red's Good Groove - Piano | $6.00 | |
| Red's Good Groove - Bass | $6.00 | |
| Red's Good Groove - Drums | $6.00 | |
| Red's Good Groove - Vibes | $6.00 | |
| Red's Good Groove - Flute | $6.00 | |
| Red's Good Groove - Bb Clarinet 1 | $6.00 | |
| Red's Good Groove - Bb Clarinet 2 | $6.00 | |
| Red's Good Groove - F Horn | $6.00 | |
| Red's Good Groove - Tuba | $6.00 |
Parts Added to Cart!
Description
Here's a great-sounding slow blues from master jazz pianist and composer Red Garland. Terry White's version for young players features tenor sax and trumpet on the head followed by the full sax section with answers in the brass. A terrific piece for young soloists, as well as a good style study for the entire band.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00338433
More about this title
About the Artist: Red Garland
Red Garland was a pianist whose trio recordings for Moodsville Records in the late 1950s and early 1960s became touchstones for accessible, groove-oriented jazz. His ability to anchor a band with comping that was both supportive and musically intelligent made him a first-call sideman for countless sessions; he played with everyone from Miles Davis to John Coltrane. Garland's compositions tend to sit in the pocket, prioritizing feel and accessibility without sacrificing harmonic sophistication, which is precisely why his material translates so well for young jazz musicians.
Why we love this
Terry White's arrangement opens the piece with a genuine feature for young soloists rather than drowning them in complicated voicings or overstuffed sections. The back-and-forth dialogue between tenor sax and trumpet on the head creates immediate buy-in from your players, and the full sax section answers give brass players something rewarding to play without requiring them to navigate complex counterpoint.
What to expect
A slow blues that breathes easily and swings with understated sophistication. The writing sits comfortably in the middle register, creating a warm, intimate quality without ever feeling sleepy or static.
Who it's for
Grade 2 jazz ensembles with at least one tenor saxophonist and trumpeter ready for modest solo space. The arrangement is equally useful for departments looking to build a repertoire of blues fundamentals or for programs that need accessible music to place stronger soloists alongside developing players.
How to get the most out of it
- Keep the tempo relaxed and deliberate; this blues lives in the space between notes, not in rushing ahead of the beat.
- Have soloists listen to classic slow blues recordings so they understand how much territory can be covered without playing fast. Restraint and phrasing matter more than note density.
- Balance the call-and-response sections by making sure the answering section matches the energy and articulation of the head without overplaying it.
- Let the rhythm section lock in early and stay patient through rehearsals. Young drummers and bassists sometimes overthink blues grooves; simple and steady will serve you best here.
How to use it
Slot this alongside other blues or ballad-tempo pieces to build your ensemble's command of rubato and groove. It works well as an opener that can establish a relaxed, conversational mood before moving into faster material, or as a standalone piece that demonstrates your young players' ability to articulate jazz language at a manageable tempo.
Skills your students will build
- Walking bass lines and comping changes over a 12-bar blues form
- Jazz articulation and phrasing in a slow tempo context
- Trading solos and listening responsively to ensemble partners
- Interpreting swing feel and relaxed rhythmic placement
- Balancing solo voice with ensemble background parts