Stompin' on a Riff: 1st B-flat Trumpet

Berger captures the swagger of Count Basie's writing without asking your ensemble to execute bebop complexity. The succession of keys (G, A-flat, E-flat, A-flat) and the strategic modulations create forward momentum while remaining accessible at the Grade 3 level. Your soloists get meaningful written material—real changes, real style—and that shout chorus lands with the kind of payoff that makes students understand why they're learning jazz in the first place.

The energy is infectious and grounded. You get the lift of a good swing feel, the satisfaction of ensemble riffs that stick in your ear, and genuine solo moments that invite players to stretch their stylistic legs. The arrangement breathes; it's not wall-to-wall density, which gives the shout chorus real impact when it arrives.

Jazz ensembles at the high school level and beyond who want to experience authentic Basie-style writing without overextending their technical range. Conductors seeking a chart that teaches swing phrasing, riff-based construction, and small-group solo work all within a single 3:41 performance. This is ideal for programs building a blues and swing foundation in their jazz curriculum.

• Lock the rhythmic pocket between your rhythm section and the section playing the main riff; the chart's propulsive feel depends on that precision alignment.
• Have your trumpet section rehearse the plunger work as a distinct technical unit before integrating it into full ensemble passages. The articulation and mute technique change the timbre considerably.
• Guide your soloists through the written changes before they improvise; Berger's harmonic movement in the trumpet and alto sax solos is purposeful and rewards players who understand the underlying progression.
• Shape the piano fills as conversation with the ensemble rather than interruptions. They're orchestrated interludes that drive the arrangement forward.

Pair this with other blues-based charts to build a full set that showcases the ensemble's rhythmic control and swing vocabulary. It works equally well as a concert opener (the energy sets the tone) or as a crowd-pleaser mid-set. The 3:41 length also makes it an excellent choice for adjudicated festivals where timing matters and impact counts.

• Swing phrasing and rhythmic precision in ensemble playing
• Reading and executing written jazz solos with harmonic awareness
• Mute technique (plunger) and timbral control in brass sections
• Blues changes and turnaround navigation
• Riff-based arrangement structure and call-and-response phrasing
• Balancing support voices while featuring soloists