Stompin' at the Savoy: Jazz Ensemble Conductor Score & Parts

$52.00 USD

Stompin' at the Savoy: Jazz Ensemble Conductor Score & Parts

Name: Stompin' at the Savoy: Jazz Ensemble Conductor Score & Parts
Brand: Alfred Music
SKU: 00-49204
Price: 52.00 USD
Availability: OutOfStock

By Benny Goodman, Chick Webb, and Edgar Sampson / arr. Mike Kamuf

Grade: 2.5 (Medium Easy)

Item: 00-49204

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Stompin' at the Savoy arranged by Mike Kamuf is a great jazz standard played around 156 BPM. This swinger is superbly arranged to feature five soloists; trombone 1, trumpet 2, tenor 1, alto 1, and drumset. Lead trumpet range is to written G on top of the staff. Features include section solis, interludes, a kickin' shout chorus, it's all here, enjoy! (4:20) This title is available in MakeMusic Cloud.

Don't just read it, hear it, play along with it, and watch your students grow with it. In MakeMusic Cloud, Stompin' at the Savoy: Jazz Ensemble Conductor Score & Parts comes alive with professional accompaniment, adjustable tempo, and built-in practice tools that turn solo practice into real progress.

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Series: Young Jazz Ensemble

Publisher: Alfred Music

Page Count: 88

ISBN10: 1-4706-4713-3

ISBN13: 978-1-4706-4713-1

UPC: 038081566368

SKU: 00-49204

More about this title

About the Composer: Benny Goodman

Benny Goodman (1909-1986) was a clarinetist and bandleader who became one of the most influential figures in jazz history. Known as the "King of Swing," Goodman led one of the most commercially successful and artistically acclaimed big bands of the 1930s and 1940s, breaking racial barriers by integrating his ensembles at a time when that was extraordinary. His clarinet playing set the standard for swing era jazz, and the compositions and arrangements his bands championed remain central to the jazz repertoire.

Goodman's legacy extends into music education, where his recordings and the standards his bands popularized continue to anchor jazz curricula worldwide. "Stompin' at the Savoy," co-composed with Chick Webb and Edgar Sampson, exemplifies the infectious energy and tight ensemble work that defined the swing era and made Goodman's music essential listening for any jazz musician.

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Why we love this

Mike Kamuf's arrangement strikes a balance between accessibility and authenticity that makes this a genuine crowd pleaser without sacrificing swing feel or complexity. The five solo spots are distributed across the ensemble in a way that keeps energy cycling through the piece, and the shout chorus lands exactly when the arrangement needs it. Grade 2.5 ensembles get to play a real jazz standard that sounds swinging and sophisticated, not simplified.

What to expect

Stompin' at the Savoy swings hard with the energy of a crowded ballroom where dancers and musicians feed off each other. The piece bounces along with a relentless forward momentum, building from soloists trading lines to a collective shout that feels earned and celebratory.

Who it's for

Jazz ensembles at the high school or college level looking for a standard that demonstrates swing era vocabulary without overwhelming newer players. Conductors seeking material that rewards solid fundamentals (articulation, section blend, listening) while offering real solo opportunities across the ensemble.

How to get the most out of it

Establish the groove pocket early in rehearsal by locking the rhythm section (piano, bass, drums) into the 156 BPM pulse before layering the horns; a steady foundation makes the soloists sound more confident.
Shape the section solis with dynamic contrast so they cut through without overwhelming the band; have the accompanying horns listen to each other and breathe together.
Balance the shout chorus by having each section check their voicing against the lead trumpet; make sure the punch lands together rather than staggered.
Give soloists room to breathe and space to stretch slightly within the form; a little rubato on the melody statements makes them sound more like conversation than recitation.

How to use it

Program this as a concert opener to establish energy and command attention from the first downbeat, or place it in the second half of a concert after a ballad to reset the room. It pairs naturally with other swing standards in a thematic set, or stands alone as a showcase for your ensemble's rhythm section and soloists.