Sunset and Vine: Jazz Ensemble Conductor Score

Goodwin writes for bands that can execute at a high level, and this chart reflects his gift for building momentum while keeping every section engaged. The variety of solo and section opportunities means your entire ensemble gets moments to shine, not just the lead trumpet, and the big shout chorus lands with genuine power when the ensemble has prepared it properly.

Sunset and Vine unfolds like a film scene scored by someone who understands exactly how to pace dramatic tension. The chart begins lean and controlled, gradually drawing in textures and dynamics until the full ensemble arrives with unmistakable force, leaving you breathless at the end.

Advanced high school or college jazz ensembles comfortable with contemporary big band arranging and capable of sustaining swing at a professional tempo. This is a legitimate concert or festival piece that demands solid fundamentals and ensemble maturity.

• Start the rhythm section clean and behind the beat at 162 BPM; this chart's energy comes from pocket, not rush. The opening mp dynamic sets the stage for everything that follows.
• Assign solo space strategically across rehearsals so players hear how their part connects to the overall arc. Each soloist inherits momentum from what came before.
• Balance the sax soli against the full ensemble voicings. These passages need clarity without overplaying; let the Goodwin writing do the work.
• Mark the lead trumpet's high passages in advance and watch the player's endurance during the shout chorus. Plan your rehearsal pacing accordingly.

Program this as a feature concert piece where the ensemble can showcase their preparation over several minutes, or as a contest selection that demonstrates range and control. The five-minute duration makes it substantial enough to anchor a set without exhausting your players.

• Sustaining swing feel at 162 BPM across changing textures
• Managing dynamic control in a large ensemble from mp to full volume
• Reading complex big band voicings with multiple doublings and reeds
• Balancing solo space with section writing
• Interpreting Goodwin's articulation and phrasing conventions
• Ensemble precision in sax soli passages