Reunion Blues: Jazz Ensemble Conductor Score & Parts

Rick Stitzel's arrangement captures the essence of Peterson's original recording while making it genuinely playable for young ensembles. The call-and-response writing between saxes and brass creates natural phrasing opportunities, and the flexible solo section lets you showcase individual strengths without putting pressure on a single player.

Relaxed and conversational. The riff-based melody stays accessible, but the steady groove and Peterson's harmonic language give it sophistication beyond the notation. It sounds like musicians talking to each other over a good beat.

Grade 1.5 jazz ensembles looking for a straightforward blues vehicle that teaches listening and section balance. This works equally well for students encountering small-group jazz voicings for the first time or for younger players building foundational swing mechanics.

• Keep the straight 8th feel crisp and even throughout; the groove lives in the pocket, not in rushing the subdivision.
• Balance the sax section's opening statement with judicious brass answers so the dialogue feels like conversation, not competition.
• Dial in the tempo with the rhythm section first (walking bass, comping piano, and drums), then layer in the horns to lock the ensemble.
• If assigning the solo section to multiple trumpet players trading phrases, rehearse the handoffs in advance so the momentum never dips.

Pair this with other Peterson era standards or embed it in a blues study unit where students compare traditional approaches with modern reharmonization. It's substantial enough to anchor a jazz concert set but short enough to program alongside a vocal or classical piece without overwhelming your timeline.

• Reading and executing straight 8th rhythms in a jazz context
• Listening and responding to section-to-section dialogue
• Comping and rhythmic accuracy in piano and bass parts
• Balancing blend and articulation within sax and brass sections
• Trading solos and navigating form without written cues