Sunset and Vine: Jazz Ensemble Conductor Score & Parts

Goodwin writes for the ensemble you actually have, not an imaginary dream band. The solo space spreads across multiple voices, the sax soli and optional flute double for alto 2 give you flexibility in doubling and coverage, and the big shout chorus lands with genuine impact because the chart builds methodically to earn it. At 5:08, it's substantial enough to program as a centerpiece without overshadowing other selections.

Sunset and Vine swings with unfussy confidence, starting intimate in the rhythm section before expanding outward with soli and horn voices. The piece has the warmth of classic big band writing filtered through a contemporary sensibility; you'll recognize the DNA of the Basie tradition, but the orchestration is unmistakably Goodwin.

Advanced high school jazz ensembles and college groups ready to tackle professional-level swing repertoire. Directors who want a chart that's genuinely singable for their section leaders but musically sophisticated enough to respect the players' abilities.

• Let the rhythm section lock the groove at 162 BPM before rehearsing the full ensemble; the swing feel in Goodwin's writing demands absolute clarity from drums, bass, and piano working as one unit.
• Map the solo space strategically during your first read-through so players know what sections feature their voices and can prepare accordingly.
• Balance the dynamic arc carefully in the first two minutes when dynamics sit at mp; Goodwin's orchestration will cut through at softer volumes if your rhythmic precision is tight, but muddiness sets in fast if you're sloppy.
• Use the recorded version with the Big Phat Band to hear how the shout chorus should feel in the final section; the contrast makes everything before it feel like part of a logical journey.

This works beautifully as the anchor of a jazz concert, paired with a ballad and an up-tempo closer. It also fits naturally into a program exploring modern big band writing or film composers who work in jazz idioms, and the five-minute length makes it ideal for festival competition slots where you need something substantial but not exhausting.

• Reading and executing swing eighth-note subdivision at a driving tempo
• Balancing section sound while maintaining individual solo clarity
• Interpreting dynamic subtlety at soft volumes within a jazz context
• Trading phrases and responding to ensemble cues across multiple solo sections
• Managing range and stamina through a chart with high-register passages for lead trumpet