Sing, Sing, Sing: Jazz Ensemble Conductor Score

Mike Lewis solved a real problem that's plagued jazz directors for decades: the original Benny Goodman recording simply doesn't work for a full big band. His arrangement respects the tune's infectious energy while giving every section meaningful material. You get the authentic Goodman sound without compromise.

Propulsive and buoyant from the downbeat. The chart captures that classic swing-era drive without a trace of nostalgia or pastiche. Soloists get space to express themselves, while the ensemble work feels urgent and tightly woven.

Jazz band directors who want to program an undeniable crowd-pleaser that gives every section a real voice. This works equally well for high school jazz ensembles with strong fundamental technique and college big bands looking for a polished addition to their standard repertoire.

• Keep the section attacks clean and synchronized in the opening tutti passages. These eight-bar phrases set the groove immediately, and any sloppiness will cloud the crisp swing feel.
• Balance the solo clarinet cadenza (or trumpet solo, depending on your lead strength) against a subdued but steady sax section. The contrast makes the featured soloist breathe.
• Lock the rhythm section early in rehearsals. The walking bass and comping piano create the foundation that lets the horns settle into the medium-up tempo without rushing.
• Push the dynamic range. Lewis's chart includes some exposed moments where the full ensemble drops out. These pockets of space let listeners hear the swing.

Program this as a concert opener or a high-energy closer. The 4:15 duration fits comfortably in a concert program and pairs well with blues-based charts or post-bop pieces. It's also strong repertoire for jazz festival performances where judges and audiences know the standard instantly.

• Balancing tutti horn sections in medium-up tempos
• Comping and walking bass coordination in swing styles
• Ensemble precision during fast unison passages
• Solo support and dynamic contrast between soloist and ensemble
• Interpretation of articulation and phrasing in original Goodman-era swing arrangements