The Fast Lane: Trumpet 2

Fraley understands what beginning jazz ensembles need: accessible swing vocabulary paired with harmonic color that keeps the band engaged. The built-in flexibility of the solo section means you can shape the chart to your ensemble's strengths, whether that's featuring your section leaders or keeping everyone playing throughout.

Propulsive and modern. The simple rhythmic framework creates forward momentum while contemporary harmonies add color and slight edge, avoiding the feeling of a dated or overly traditional swing chart. The result is energetic without being frantic, and fresh without being inaccessible.

Jazz ensemble directors working with players new to swing repertoire and those seeking accessible charts with harmonic sophistication. The grade 1.5 level welcomes second-year jazz programs or experienced beginning ensembles ready to step beyond basic shuffle grooves.

• Lock the rhythm section into a conversational pocket. The simple rhythms rely on ensemble feel rather than complexity, so establish a relaxed swing eighth-note division and let the groove breathe naturally.
• Use the provided solo sheets to build confidence in your soloists during sectional rehearsals. Start with heads-only run-throughs before opening up the solo section in full ensemble.
• Balance the contemporary harmonies by asking the ensemble to voice each chord cleanly. Fraley's harmony won't sparkle without precision articulation and intonation.
• Keep the tempo energized without rushing. Hard-driving doesn't mean fast; it means locked and intentional. Use a metronome to establish the true pulse before adding swing interpretation.

Open a concert with this as a high-energy statement piece, or program it mid-set to reset the room's energy. The solo flexibility makes it ideal for a showcase concert where you want to feature multiple soloists without requiring separate charts.

• Swing eighth-note articulation and feel
• Comping and rhythmic independence in the rhythm section
• Solo construction over contemporary chord changes
• Sectional ensemble blend and balance
• Reading mixed meters and syncopated rhythmic figures