Slick and Sly: Baritone T.C.

Zaremba writes charts that balance sophistication with accessibility, and this one exemplifies his gift for orchestration and groove. The tango-inflected rhythm keeps ensembles engaged without overwhelming Grade 3.5 players, while the color choices with plunger mutes, vibraphone, and optional flute create a recording-ready sound that rewards rehearsal detail.

Sophisticated and streetwise at once. The tango-ish swing carries a cool, understated confidence, with plunger mutes adding a vintage-modern edge and the rhythm section propelling everything forward with easy swing. Listening, you hear a professional jazz recording; playing it, your students feel the immediate payoff of ensemble precision and color.

Jazz ensembles at the Grade 3.5 level ready to tackle instrumentation specifics and Latin-jazz grooves. This is ideal for conductors seeking a chart that teaches authentic jazz phrasing and orchestration without overshooting a developing ensemble's technical reach.

• Shape the plunger mute work in the brass section with precision; these articulations define the chart's personality, so invest rehearsal time in consistent mute placement and release across the section.
• Anchor the tango feel in your rhythm section first. Lock the groove at 112 BPM before layering in the melody, so soloists have a rock-solid foundation.
• Balance Alto 1's melody and solo space carefully against the supporting voices; Zaremba's voicings are lean and deliberate, so each voice matters to the overall color.
• If using the optional vibraphone and flute parts, rehearse them separately from the core ensemble first, then integrate them to understand how they shift the texture and harmonic color.

Place this as a centerpiece of a jazz concert or as a closing number on a mixed-repertoire band program, where its distinctive groove and recorded-quality production will stand out. It also works well as a winter festival or adjudication piece; the four-and-a-half-minute duration fits easily into contest windows and the soloists shine under that kind of spotlight.

• Playing with plunger mutes and executing consistent mute articulations
• Swinging a tango-influenced groove in a jazz context
• Reading and balancing a five-part jazz ensemble voicing (with optional doublings)
• Trading and sharing melodic space with confidence in small sections
• Interpreting jazz phrasing, dynamics, and color changes from a professional score