Shake a Tail Feather (arr. John Wasson): Jazz Ensemble Conductor Score & Parts

This arrangement captures the irresistible groove that made the original a standard, but Wasson's scoring for young bands keeps the parts playable while maintaining that funky momentum. The Grade 2 level means your ensemble can sound genuinely accomplished without getting bogged down in technical demands, freeing everyone to focus on pocket, phrasing, and the pure joy of playing something that swings.

From the first downbeat, this arrangement radiates warmth and swagger. The syncopated rhythms sit in that sweet spot between blues and soul, with enough movement in the voicings to keep ears engaged without sacrificing the laid-back groove that makes you want to move. It's cheerful and soulful at once, the kind of tune that makes a performance feel like a celebration.

Directors programming concerts that need infectious energy and crowd engagement. Young jazz ensembles looking for repertoire that builds ensemble cohesion without requiring advanced technical facility. Any group that wants to prove funk and musicality belong together.

• Keep the bass line rock solid and slightly pushed forward in the pocket; the whole arrangement rides on that rhythmic foundation.
• Have the horn sections stay locked together on articulation, especially on the syncopated hits that define the tune's character.
• Balance the reeds and brass so neither overwhelms the groove; this arrangement works best when it feels like a conversation, not a battle.
• Encourage the rhythm section to listen to the original recording and absorb Ray's phrasing sensibility before rehearsals begin.

Reserve this for a spot in your concert where the energy needs to rise; it's an excellent bridge between a ballad and something more driving. Film and pop music thematically could also work well, or program it alongside other Ray Charles repertoire if you're building a program around soul and jazz standards. It also succeeds brilliantly as a finale that sends the audience out smiling.

• Maintaining rhythmic pocket and groove under syncopation
• Balancing sectional independence with ensemble blend
• Interpreting swing articulation and phrasing
• Reading and executing syncopated horn lines
• Responding to rhythmic nuance in the rhythm section