T.M.I. (Too Much Information): Score

This tune captures genuine crossover appeal without sacrificing ensemble sound. Ford writes with younger players in mind, giving the arrangement substance and sophistication while keeping the technical demands reasonable, so your students experience the satisfaction of playing something that genuinely grooves rather than something written down to their level. The Latin-rock pocket sits squarely in their world, and the written solos give individual voices a moment to shine without requiring advanced improvisation.

Bright, energetic, and immediately familiar. The Latin-rock texture has Santana's warmth and groove without the instrumental complexity, and the melody lands like something you could hear on the radio tomorrow. There's a confident swagger to the arrangement that keeps younger players engaged and reminds audiences why jazz arrangements of strong songs grab attention.

First-year jazz ensemble students and emerging high school players looking for repertoire that sounds contemporary and professional without overwhelming their reading skills or range. This works equally well as a opener for a jazz concert or as a bridge piece for students transitioning from beginning to intermediate literature.

• Lock the clave rhythm between percussion and the comping instruments. This is the foundation of the Latin feel, so clarity there makes everything else sit correctly.
• Balance the melody line so it cuts through the accompaniment. The horn section should listen back to the piano voicings rather than playing over them.
• Give the trombone soloist space to breathe. This written-out solo is meant to sound conversational, not rushed, so tempo flexibility in that section pays dividends.
• Shape the phrases with dynamic contour. A melody this singable responds well to the rise and fall of a good pop song structure.

Open a jazz concert or pops program with this one. It sets an upbeat tone, showcases soloists early, and hooks the audience immediately with accessible melody and infectious rhythm. It also pairs well alongside more traditional swing or blues pieces to show the range of jazz styles your ensemble can command.

• Latin-rock rhythmic vocabulary and pocket playing
• Reading and executing written-out solos with stylistic phrasing
• Balancing melody and comping in an ensemble texture
• Dynamic shaping of pop-influenced phrase structures
• Section cohesion within accessible brass ranges