St. Thomas (arr. Mark Taylor): Jazz Ensemble Conductor Score & Parts

Mark Taylor's arrangement transforms this standard into genuine ensemble writing rather than a lead sheet backdrop. The horn section voicings sit logically for young players, the rhythm section parts include recorded cues that make independence easier to build, and the separate rhythm-only tracks let you lock the ensemble groove before adding solo figures.

Propulsive and buoyant. The uptempo Latin feel creates immediate forward motion, drawing the ensemble into the kind of groove that makes rehearsal contagious. Solos pop against the steady, confident backgrounds, and the written figures give everyone something real to play rather than vamp rhythms.

Grade 4 jazz ensembles with developing section cohesion and at least one capable tenor or alto soloist. This works equally well for advancing high school groups or community college ensembles who want a straightforward, swinging vehicle that doesn't require extensive harmonic sophistication from the ensemble.

• Start with the rhythm section recordings as your foundation. Run the piano, bass, and drums independently until they lock the shuffle feel convincingly, then layer in the horn section.
• The horn voicings benefit from balance work in sectionals. Ensure the fourth horn sits in the ensemble without overpowering the top line.
• Emphasize the Latin pocket over strict metronomic clicking. Rollins's music breathes, so allow your rhythm section to anticipate and lean into the groove naturally.
• Soloist preparation should focus on motivic development rather than scalar running. Have soloists listen to the original and identify which phrases Rollins returns to across his choruses.

Perfect for a winter or spring concert where you want to showcase your ensemble's rhythmic maturity without shifting into a different stylistic world. Pair it with slower ballads to demonstrate range, or stack it alongside other Taylor-arranged standards to build a cohesive set.

• Reading and executing Latin rhythms in ensemble context
• Voice leading within jazz chord changes
• Balancing ensemble soli against background figures
• Listening to and responding to soloist phrasing
• Maintaining a consistent groove under tempo changes and soloist liberties
• Dynamics and tone color within a jazz ensemble sound