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

Mike Lewis's arrangement flips the script on a standard big band number by centering the bass line as the primary melodic voice, which is a refreshing departure from the typical lead-sax-carries-the-tune setup. The written-out solos for tenor sax and piano give your musicians clear models for how to solo over swing changes without requiring advanced improvisational skills. Modest brass ranges mean your section players stay comfortable while still delivering authentic swing articulation.

Effortless swing that grooves from the first note. The tune sits naturally in the ensemble's range and doesn't demand anything fussy; everyone just needs to lock in and let the rhythm section carry them. There's space for individual voices to be heard, but the overall feeling is tight and unified, the way a small combo sounds when everyone's paying attention.

Jazz ensembles at the high school level or younger college programs where bass players need experience as melodic soloists rather than always serving the supporting role. The Grade 2 difficulty means sections don't require advanced readers, so the focus stays on developing proper swing feel and listening skills across the full ensemble.

• Let the rhythm section lock in the groove before the band enters. The bass solo that opens the arrangement sets the whole feel, so spend rehearsal time making sure your bassist has space to breathe and your drummer finds the pocket beneath that walking line.
• Balance the tenor sax solo with the rest of the section. The written passage needs to sing clearly, but it should sound conversational rather than spotlit; pull back the band's energy just enough that the soloist breathes naturally.
• Mark articulation across the brass consistently. Swing style depends on consistent tonguing and space between notes. Have brass players mark their parts during the first read-through so everyone attacks the style identically.
• Test both electric and acoustic bass options in rehearsal. The arrangement works well with either sound, but the tone quality changes how the whole chart sits; choose based on your venue acoustics and which bass player is performing the solo.

Program this as a feature number on a jazz concert to showcase your bass section's musicianship and draw attention to a player who often gets overlooked. The moderate difficulty and short duration (3:04) make it ideal for a concert that mixes standards with newer arrangements, or as a warm-up piece that gets the ensemble's swing groove settled before moving into more demanding material.

• Swing articulation and rhythmic precision in eighth-note lines
• Listening to and supporting a bass soloist within an ensemble texture
• Reading and executing simple written-out jazz solos as a pathway to improvisation
• Balancing individual melodic voices with ensemble blend in a jazz context
• Understanding how the rhythm section anchors big band sound