Singin' with the Jazz Combo: Book

Wolpe's arrangements sit at the sweet spot between authentic jazz writing and pedagogical practicality. The variety of tempos and styles across these ten standards means a vocalist can program a complete set that demonstrates range without leaving the rhythm section scrambling, and the optional baritone sax part gives you flexibility as your ensemble's instrumentation changes from year to year.

These standards swing with the warmth of classic jazz arranging; the piano and rhythm section lay down a solid groove while the horns trade ideas and color around the vocalist's story. There's a conversational ease to the writing that makes even the more uptempo numbers feel relaxed rather than rushed.

Singers with some jazz experience who are ready to perform with a small ensemble, and directors looking for straightforward big band vocal arrangements that don't require a full orchestra. This book works equally well for school jazz programs seeking concert repertoire and community ensembles that perform in more intimate settings.

• Balance the vocalist's volume so she or he projects above the combo without overwhelming the piano and horns; these arrangements depend on conversation between the front line and the ensemble.
• Lock the rhythm section (piano, bass, drums) during rehearsals before adding horns and melody. The groove is everything in this music, and a tight foundation makes the saxes and trumpet sit naturally.
• Give the trumpet and saxes time to voice their fills and punctuations; Wolpe writes these parts to enhance, not compete with the vocal line.
• Use the conductor cues for horns to keep your ensemble together, especially during tempo changes and at the ends of phrases where a vocalist may breathe slightly ahead or behind the beat.

Program this collection as a standalone jazz vocal concert or splice individual tunes into a larger big band showcase to demonstrate your ensemble's range. The mix of familiar standards (Santa Claus Is Coming to Town, Mack the Knife) and lesser-known gems (Straighten Up and Fly Right, 'SWonderful) makes it ideal for spring concerts where audiences appreciate both recognition and discovery.

• Reading and responding to conductor cues while maintaining a solo line
• Navigating varied jazz styles and tempos within a single program
• Ensemble listening and balance in a small-group jazz setting
• Interpreting swing articulation and phrasing in melodic and rhythmic contexts
• Collaborating with rhythm section and horn section as equal musical partners