The Creole Love Call (arr. Rick Stitzel): Jazz Ensemble Conductor Score & Parts

Stitzel's approach to this Ellington classic gives it room to breathe at a 1.5 level. The call and response framework creates natural dialogue between sections, and the trumpet solo (or soli option) lets you shape the feature to match what's sitting in your section that year.

Sultry and introspective, like an intimate late-night conversation. The melody carries a genuine yearning; the call and response keeps the texture conversational rather than grand. It's the kind of piece that teaches young players why jazz matters.

Beginning to early intermediate jazz ensembles ready to move beyond simple head charts into arranged repertoire. This works especially well for groups with a confident trumpet section and a rhythm section that can lock into a blues feel.

• Anchor the rhythm section into the blues pocket first. Once the comping feels settled and confident, the soloists will know exactly where to land.
• Work the melody separately from the ensemble. This isn't a unison line; the phrasing needs that plaintive quality the piece asks for.
• Give the trumpet soloist or section time to understand the blues form before adding accompaniment. Comfort with the harmonic movement matters more than speed.
• Let the slower tempo work in your favor. Use it to shape dynamics across phrases rather than relying on tempo to create momentum.

Pair this with other Ellington standards or early jazz selections for a concert exploring the roots of the idiom. Its accessible level and strong melodic content also make it ideal for a jazz assembly program or a concert focused on blues traditions in American music.

• Blues form recognition and harmonic navigation
• Call and response phrasing and ensemble coordination
• Swing rhythm interpretation in a slow ballad context
• Solo improvisation over a 12-bar blues (trumpet feature)
• Dynamic shaping and expressive melody playing