Second Line (Joe Avery Blues): Jazz Ensemble Conductor Score

Goines has done the hard work here: he's extracted the essential character of a New Orleans standard and sized it perfectly for young ensembles without sanitizing it. The flexibility to run solos as sections or individuals means you can cast this differently depending on what you learn from rehearsals, and the medium bright tempo keeps the swing infectious without demanding virtuosic chops.

Warm and grounded, with the unmistakable swagger of early New Orleans jazz. The arrangement breathes with space for soloists while keeping the ensemble sound cohesive and full, making it feel both celebratory and intimate.

Jazz ensemble directors teaching students in grades 3-5 who want to program historically rooted material without sacrificing accessibility. This works equally well for groups new to jazz and for ensembles ready to dig into authentic New Orleans vocabulary and phrasing.

• Emphasize the shuffle feel on eighth notes. Many young players will read the swing notation correctly but play it mechanically; spend time getting the band to hear and feel the pocket before worrying about precision.
• Use the section solo options strategically. Try running the trumpet section solo first, then individual soloists in later rehearsals, so everyone gets to hear how the melody sits in the instrument's range and style.
• Balance the rhythm section carefully. The bass and drums anchor the groove here, so make sure the walking line is clear and the drums aren't drowning out the ensemble's harmonic foundation.
• Keep the tempo steady during solos. Younger bands often rush or drag when soloists take the lead; a click or light time-keeping from the conductor helps everyone stay locked.

Program this in a jazz-focused concert or as part of a unit exploring American musical roots. It pairs naturally with other Preservation Hall repertoire or as an anchor piece when teaching the history of second line traditions and their role in New Orleans culture.

• Reading and performing shuffle/swing eighth notes with proper rhythmic feel
• Soloing over blues form and comping changes
• Section balance and blend during ensemble passages
• Listening to and responding to other soloists while maintaining ensemble time
• Understanding New Orleans jazz vocabulary and performance practice