Singin' with the Jazz Combo: Guitar Book

Wolpe's writing for the rhythm section and horns strikes an immediate balance between authenticity and playability. The ten standards span enough stylistic territory that you can program a complete set without repetition, and the optional baritone sax part gives you flexibility depending on who shows up to rehearsal. Guitar players will appreciate that the part sits naturally on the instrument without requiring excessive jumps or unidiomatic voicings.

These arrangements inhabit the world of mid-century jazz supper clubs and radio studio orchestras. The tempos range across swing, ballad, and up-tempo feels, giving the evening rhythmic variety while maintaining a sophisticated, intimate atmosphere. There's a timelessness to hearing these melodies supported by a nine-piece ensemble; you're accompanying classics that never lose their elegance.

Jazz guitarists performing in a small combo setting with a vocalist, particularly those comfortable with chord-melody playing and comping in a big band tradition. This book also serves guitarists in school jazz ensembles who need accessible arrangements of standards that don't require extensive improvisation.

• Lock the guitar, bass, and drums into a shared sense of pocket before sectional rehearsals with the horns. Rhythm section alignment is the foundation these arrangements rest on.
• Pay attention to the relative dynamics marked in your part; these arrangements rely on controlled volume rather than constant energy to convey sophistication.
• Coordinate with the pianist and bassist on comping texture. Some standards call for walking bass lines that pair with rhythmic guitar figures, while others need spacious accompaniment.
• Familiarize yourself with the conductor cues written into the horn parts so you understand where phrase boundaries and ensemble hits land, even if you're not reading from that score.

Program this collection as a complete jazz standards concert with a vocalist, or select three to five standards to anchor a mixed program alongside contemporary jazz or pop pieces. The variety of tempos and moods makes individual selections work well as opener, closer, or intermission pacing tool.

• Comping vocabulary in jazz styles (shells, rootless voicings, rhythmic figures)
• Reading and coordinating with conductor cues in a small ensemble
• Accompanying a vocalist while maintaining rhythmic independence
• Interpreting style markings and dynamic control across swing, ballad, and up-tempo feels