Stompin' at the Savoy: Guitar

Greg Yasinitsky's arrangement captures the propulsive energy of the original while building in strategic dynamic shifts that keep an ensemble engaged and listening. The sax section soli and written trumpet solo offer focused spotlight moments, and the medium difficulty level makes this achievable for jazz ensembles still developing their swing vocabulary without sacrificing authenticity.

The piece has the propulsive, dance-floor energy of its title, with moments where the whole band is driving hard and others where soloists step into the spotlight against a supportive backdrop. It swings with infectious optimism, the kind of tune that feels alive and demands precision from every player.

Jazz ensembles at the intermediate level (Grade 3.5) who want a historically grounded swing standard with real solo opportunities and clean arranging. This works especially well for groups preparing for contest or festival performance.

• Lock the rhythm section into the 168 BPM groove before rehearsing the full ensemble; the pocket here is everything, and a tight foundation gives horns the confidence to play freely over the changes.
• Balance the lead trumpet soloist against the ensemble interludes by having the full band mark time during the written solo, then bring full energy back when everyone returns.
• Shape the dynamic contrasts dynamically rather than structurally; use the printed dynamics as anchor points, but encourage sections to listen across the band and respond in real time.
• Articulate the sax section soli with uniform precision and clarity; the blend and rhythmic unity here set up the ensemble's confidence for the sections that follow.

Program this as a concert centerpiece or festival selection where you want to showcase your ensemble's swing feel and balance between section and solo work. Its historical weight and accessible difficulty make it ideal for a spring jazz concert or a program pairing classic big band standards with newer compositions.

• Reading and executing swing articulation and phrasing
• Playing through tempo at 168 BPM with ensemble unity
• Balancing solo spotlight against ensemble support
• Interpreting dynamic contrast as a group
• Reading written solos with harmonic confidence