That Old Black Magic: Jazz Ensemble Conductor Score & Parts

Mark Taylor's arrangement captures the swagger of this classic without oversimplifying it. The full band feature gives everyone a moment in the spotlight, and the trumpet solo provides a natural focal point for a capable soloist while keeping the ensemble engaged and essential throughout.

Suave and propulsive. There's a knowing confidence to this arrangement, a sense of ease and control that comes from ensemble work where everyone trusts the groove. The swing feel sits right in that sweet spot between relaxation and precision, with enough harmonic color to keep listeners engaged.

Jazz ensembles at the 3-4 level with a capable trumpet soloist and a rhythm section ready to commit to the swing feel. Singers can also use this as a feature vehicle, letting the ensemble provide sophisticated support.

• Lock the swing interpretation in the rhythm section first. Once the hi-hat and bass nail the shuffle feel, the ensemble heads will sit cleanly on top.
• Bring out the counterlines in the ensemble backgrounds. They're written to complement rather than just support, and clarity here makes the trumpet feature sing.
• Let the tempo breathe slightly during the ensemble feature section. A hair of space gives the band room to lock in rather than feeling rushed.
• Balance the trumpet soloist above the ensemble but not so far forward that the comping feels distant. This is conversation, not a spotlight interrogation.

This works beautifully as a mid-set energizer on a concert, especially if you're building toward a strong closer. It also pairs well with other standards in the jazz repertoire, giving audiences the familiar pleasure of a well-loved song interpreted with skill and style.

• Swing eighth-note subdivision and execution
• Ensemble balance and blend in jazz comping
• Reading lead sheets and chord changes with harmonic awareness
• Soloistic playing within an ensemble context
• Listening and responding to other musicians' phrasing