(The) Very Best of Times: Drums

Goodwin writes for the players you actually have, not the dream section. The solos are genuinely fun to improvise, the horn parts sit comfortably without being soft, and the rhythm section gets real work to do. At 140 BPM, this swings hard enough to feel like a "real" jazz performance while remaining playable for a strong high school band.

Sophisticated swing with roots in the Count Basie tradition. The chart bounces with infectious energy and space for genuine improvisation, delivering that satisfying moment when the ensemble locks into the groove and the soloists can actually play jazz instead of just hitting notes.

Advanced high school jazz ensembles and college rehearsal bands looking for a chart that delivers a professional sound without unrealistic demands. This works equally well for community jazz groups and small professional big bands seeking accessible, engaging repertoire.

• Build the groove from the rhythm section outward. Lock the kick drum and bass into the pocket before layering horns, then let the piano comping breathe naturally.
• Give soloists space to breathe between their improvised choruses. A half-beat of silence lands harder than rushing into the next section.
• Balance lead trumpet visibility with the section underneath. The high E should cut through, but not at the expense of tuning and blend in the sax section.
• Shape the written melody with light articulation on the upbeats. Goodwin's phrasing rewards slight space and precision rather than a heavy approach.

Pair this with two ballad selections to create a complete jazz concert set that showcases both lyrical and swinging sides of the ensemble. The length (8:07) and approachable difficulty make it ideal for community engagement concerts where audiences want recognizable swing jazz without overly complex harmony.

• Groove and pulse in medium swing at 140 BPM
• Improvisation over blues and jazz chord progressions
• Solo trading and section interplay across trumpet, alto, tenor, and piano
• High register security on lead trumpet (to written high E)
• Comping and accompaniment sensitivity in the rhythm section
• Balancing ensemble blend while maintaining soloist clarity