Soul Chicken: 2nd Trombone

Berg writes from genuine experience with what student ensembles can execute, and this alto sax feature proves it. The groove sits comfortably at 86 BPM while remaining deeply musical, and the written-out solo section gives young improvisers a clear structure to build confidence without overwhelming them. This is the kind of chart that sounds like a real jazz recording rather than a student exercise.

Soulful and grounded, with a relaxed rock-flavored pocket that makes this feel like a late-night set rather than a school performance. The alto sax soars over a warm electric piano and bass foundation, creating an intimate space that lets the soloist breathe and connect with the audience.

Jazz ensemble directors looking for a Grade 2.5 feature that sounds fully realized and professional. The alto sax gets a genuine moment to shine while remaining accessible, and the writing respects both the soloist's emerging abilities and the ensemble's learning curve.

• Lock the rhythm section (electric piano and bass) into the pocket before adding horns. A rock-flavored groove depends entirely on the underlying pulse being relaxed and anchored.
• Have the alto saxophonist listen to recordings of the chart if available. Berg's written solo suggestion is detailed, so understanding the intended phrasing and articulation style will make the performance sit naturally in the ensemble.
• Shape the dynamic arc around the alto sax feature. This is her chart, so balance the trumpet and remaining ensemble parts to support rather than compete with her voice.
• Work the ad-lib solo section carefully with your alto player. The written suggestion is there as a guide, but encourage her to understand the harmonic structure well enough to interpret it with feeling rather than merely reading it.

This works beautifully as a second-set opener at a jazz festival or as the centerpiece of a concert focused on blues-based repertoire. The 4-minute length and solo feature also make it an excellent choice for jazz band competitions where you want to showcase an emerging soloist without overshadowing ensemble cohesion.

• Comping and support roles for ensemble members not featured
• Rhythmic precision in a relaxed groove (86 BPM rock feel)
• Solo construction and harmonic navigation in a blues-influenced setting
• Listening and responding to a featured soloist as an ensemble
• Articulation and phrasing in a soulful, contemporary jazz style