Terminally Hip: Jazz Ensemble Conductor Score & Parts

Goodwin writes jazz ensemble charts that sound professional and polished without requiring virtuoso chops across the entire section. The suggested solos give you flexibility in casting, so you're not locked into who plays what, and the trading shout chorus between drums and ensemble creates genuine excitement without becoming unmanageable. At 150 BPM with a runtime just over five minutes, this sits perfectly in a festival or concert program.

Clever and energetic, with the kind of smooth, sophisticated swing that feels effortless when it lands right. The catchy melody hooks immediately, and the swinging treatment at a brisk tempo keeps the momentum infectious throughout. There's room for personality and individuality, especially in the solo section, which prevents the piece from feeling formulaic.

Jazz ensemble directors working with Grade 3.5 groups who want a modern, contemporary-sounding chart that holds up at festivals and concerts. This works for both high school and college jazz bands seeking repertoire that balances accessibility with genuine musical substance.

• Balance the lead trumpet's high writing (to B above staff) by having the section support without overpowering; the top line should cut through, not dominate.
• Use the written solo suggestions as written first, then encourage soloists to embellish and personalize once they're secure with the changes and melody.
• In the shout chorus, lock the drums and rhythm section tight with the ensemble hits so the trading feels conversational rather than chaotic.
• The optional flute and vibes parts add color and sophistication; include them if you have capable players, but the chart holds up without them.

This functions well as a mid-set or closing number that brings energy and leaves the audience smiling without sacrificing musicality. Pair it with a ballad or blues in the same program to showcase range, or program it alongside other contemporary jazz charts to build a cohesive modern jazz identity for your ensemble.

• Comping and rhythm section cohesion at medium-fast tempos
• Section playing with clear lead voice articulation and balance
• Solo improvisation within chord changes (for soloists)
• Reading jazz articulation and phrasing conventions
• Ensemble trading and call-and-response listening