Rippin' 'n Runnin': Jazz Ensemble Conductor Score & Parts

Goodwin's writing at this level demands virtuosity without sacrificing groove, and that balance is what makes this chart so rewarding to conduct and hear. The classical piano intro sets a high bar immediately, signaling to your ensemble that precision and musicianship matter, while the solo opportunities and auxiliary percussion keep the energy visceral and funky throughout. Programming this alongside more traditional concert fare reminds audiences why big band jazz remains one of the most exciting ensembles in music education.

Funky and propulsive from the moment that challenging piano intro lands, Rippin' 'n Runnin' burns with the kind of groove that makes audiences lean forward in their seats. The arrangement balances angular, modern harmony with deeply rooted swing sensibilities, creating a sound that feels both contemporary and timelessly jazzy.

Grade 6 jazz ensembles with strong soloists, solid section players, and conductors ready to tackle sophisticated arranging and ensemble discipline. This is professional-level material, so your ensemble should have performance experience and reading fluency before tackling it. Directors seeking a chart that bridges educational value and concert-ready excitement will find Rippin' 'n Runnin' delivers on both fronts.

• Lock the tempo at 176 BPM early in rehearsals so the rhythm section can establish the pocket before layering in the horn parts; the funky character depends entirely on rhythmic confidence.
• Give your lead trumpet explicit attention to the written high F passages and have backup plans for range management, since this is a professional-level chart that doesn't compromise on demands.
• Build solo space thoughtfully by having your section leaders for alto 1, tenors 1 and 2, trumpet 4, and trombone 1 listen to the Gordon Goodwin's Big Phat Band recording before their first rehearsal so they understand the style and phrasing they're stepping into.
• Treat the auxiliary percussion as a full voice in the ensemble, not a decoration; Goodwin writes those parts to drive the funk, and they need adequate rehearsal time to land cleanly.

This is a show-stopping closer or a powerful anchor for a jazz-focused concert where you can give it proper rehearsal time and let your soloists shine. The 102 pages and professional demands mean you'll want to program it when your ensemble is peaking in preparation, not as a last-minute addition. It pairs well with other Goodwin charts or with contemporary big band writing where you're making a statement about your program's sophistication and ambition.

• Reading and executing complex harmonic passages at a fast tempo (176 BPM)
• Soloing over extended changes with stylistic authenticity
• Ensemble tightness in funkgroove contexts with rhythmic precision
• Lead trumpet range management in the upper register (written high F)
• Balancing harmonic sophistication with groove-based phrasing
• Playing with auxiliary percussion as an integrated voice rather than accompaniment