That's It!: Jazz Ensemble Conductor Score & Parts
As performed by Benjamin Bela Jaffe / Arranged by Paul Murtha
Grade: 3
Item: 35-PK00319393
$45.00
Pickup currently not available
Buy Extra Parts (Digital PDF Download)
| Product | Price | Quantity |
|---|---|---|
| That's It! - Conductor Score (Full Score) | $6.00 | |
| That's It! - Alto Sax 1 | $6.00 | |
| That's It! - Alto Sax 2 | $6.00 | |
| That's It! - Tenor Sax 1 | $6.00 | |
| That's It! - Tenor Sax 2 | $6.00 | |
| That's It! - Baritone Sax | $6.00 | |
| That's It! - Trumpet 1 | $6.00 | |
| That's It! - Trumpet 2 | $6.00 | |
| That's It! - Trumpet 3 | $6.00 | |
| That's It! - Trumpet 4 | $6.00 | |
| That's It! - Trombone 1 | $6.00 | |
| That's It! - Trombone 2 | $6.00 | |
| That's It! - Trombone 3 | $6.00 | |
| That's It! - Trombone 4 | $6.00 | |
| That's It! - Guitar | $6.00 | |
| That's It! - Piano | $6.00 | |
| That's It! - Bass | $6.00 | |
| That's It! - Drums | $6.00 | |
| That's It! - Aux Percussion | $6.00 |
Parts Added to Cart!
Description
The Preservation Hall Jazz Band continues to remain active with exciting new recordings and performances in the style of traditional New Orleans jazz. This uptempo tune from their latest album features a hot minor groove with a contemporary edge. A flexible solo section provides written or ad lib. options for alto sax, trumpet, or trombone.
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Additional Details
Publisher:
Hal Leonard
SKU:
35-PK00319393
More about this title
About the Artist: Benjamin Bela Jaffe
Benjamin Bela Jaffe leads the Preservation Hall Jazz Band, the New Orleans ensemble that has kept the city's most essential musical traditions alive since 2004. His work as bandleader and clarinetist reflects a deep commitment to authentic New Orleans jazz while pushing the music forward with contemporary arrangements and new compositions that honor the past without being imprisoned by it.
Why we love this
Paul Murtha's arrangement captures the groove and attitude of a modern jazz ensemble without sacrificing playability for younger musicians. The flexible solo section gives your students ownership over the performance while keeping the arrangement accessible at Grade 3, and that minor groove sits perfectly between traditional and contemporary jazz that actually resonates with student musicians.
What to expect
Humid, confident, and slightly sharp around the edges. The minor groove sits in a warm minor tonality while the contemporary arranging adds just enough color to make it feel current without losing the swagger of traditional New Orleans jazz. It swings with intention.
Who it's for
Jazz ensemble directors working with intermediate musicians who want material with real stylistic credibility. This works equally well for concert programming, jazz festival setlists, or classroom units on New Orleans jazz traditions and modern jazz composition.
How to get the most out of it
- Lock the minor tonality in your heads before rehearsing solos; this groove lives in the pocket, and pitch accuracy matters more when the harmonic movement is subtle.
- Treat the ad lib solo options as genuine improvisation opportunities, not just "alternate melodies." Encourage players to hear the changes and respond to them, even if you're reading from a written solo.
- Push the rhythm section to sit slightly behind the beat. That contemporary edge comes from restraint, not rushing.
- Balance the horn section carefully in the head and during solo sections. The arrangement's contemporary sound depends on clarity across all voicings.
How to use it
Pair this with other New Orleans standards or modern jazz compositions to build a concert set that shows students the arc from tradition to now. At Grade 3, it's sophisticated enough to program alongside grade 2 and 4 literature and still stand out as a polished, stylistically informed choice.
Skills your students will build
- Reading and feeling minor groove feels across multiple sections
- Navigating flexible solo sections with written and ad lib options
- Balancing contemporary harmonic language with traditional jazz vocabulary
- Responding to swing feels and behind-the-beat phrasing
- Ensemble blend and section balance in smaller jazz group settings