There's Only So Much Oil in the Ground: Jazz Ensemble Conductor Score & Parts

Mike Tomaro's arrangement captures the infectious groove and horn interplay that made the original irresistible while engineering it specifically for what student jazz ensembles can realistically achieve. The open solo section transforms what could be a rigid play-along into genuine improvisation, giving your soloists meaningful space to contribute their own voices. This is the kind of contemporary funk repertoire that actually energizes student musicians because it swings hard and sounds like something they recognize.

Greasy, propulsive, and undeniably cool. The arrangement grooves hard from the first phrase, built on a foundation of syncopated bass and kick drum that propels everything forward. The horn writing is accessible but substantial, delivering the soulful character of the original without losing the driving funk energy that makes Tower of Power so magnetic.

Jazz ensemble directors seeking Grade 4 repertoire that engages students through familiar contemporary music rather than relying solely on standards. Ensembles with strong rhythm sections and at least one capable jazz soloist who can carry the featured section confidently.

• Lock the kick drum and bass lines together first; the groove hinges entirely on this partnership finding absolute rhythmic unity.
• Balance the horn section so the melody cuts through the rhythm section without overshadowing the groove texture; these voicings are dense and need careful mixing.
• Approach the open solo section as a genuine conversation between the soloist and the ensemble, not as a background track; the recorded version demonstrates how much space the rhythm section creates for the featured voice.
• Articulate the funk rhythms crisply on all wind parts; the style demands precise attacks that define the character even in sustained passages.

Pair this with other contemporary funk or soul jazz arrangements to create a concert set that speaks directly to what student musicians actually listen to outside rehearsal. It works equally well as a finale that leaves audiences energized, or as a palette cleanser between more traditional jazz standards and classical crossover pieces.

• Reading syncopated rhythms in a funk context
• Ensemble cohesion in the rhythm section (kick drum, bass, comping)
• Jazz phrasing and articulation appropriate to soul and funk idioms
• Soloist accompaniment and backing band interaction
• Balance between melody and groove texture in small ensemble settings