There's the Rub: Jazz Ensemble Conductor Score & Parts

Goodwin's arranging voice cuts through immediately. The funky half-time shuffle and the interplay between altos and trumpets on the melody give students something genuinely fresh to sink their teeth into, while the shout chorus builds to exactly the kind of moment that reminds an audience why big band music still matters. This is a chart that sounds harder than it plays, which makes it ideal for advanced high school ensembles building confidence on contemporary jazz repertoire.

Funky and propulsive. The half-time shuffle has that relaxed-but-driving quality that makes the ensemble feel larger and cooler than they are. When the shout chorus hits, the whole sound swells into something unmistakably confident and celebratory.

Advanced jazz ensembles (Grade 5.5) ready to program contemporary big band music with recorded credibility. Directors looking for a chart that sounds fresh and professional while still offering meaningful section work for altos, trumpets, and the solo rhythm section.

• Let the half-time shuffle pocket sit. Young brass sections often rush the back-beat; locking into the space behind the beat is what makes this groove speak.
• The solo section needs air and space. Whether it's the pianist, alto, or tenor taking the feature, the rhythm section should feel like they're responding to the soloist rather than pushing through pre-determined changes.
• Balance the shout chorus carefully during rehearsal. The burnin' texture demands full commitment from the entire ensemble, but brass intonation in that register requires sectional tuning before full-band runs.
• Record a reference listen from Goodwin's Big Phat Band version. Your students will immediately grasp the swagger and style this chart demands.

Place this late in a jazz concert where the audience has heard enough straight-ahead swing to appreciate a groove that bends the traditional jazz timeline. It pairs well with other contemporary big band writing and works as a strong closer if you're building toward a climactic final set.

• Reading complex big band voicings and blend across trumpet and alto sections
• Playing in half-time shuffle grooves with precision and pocket awareness
• Trading solo space while maintaining ensemble cohesion
• Executing shout choruses with dynamic control and intonation in upper brass registers
• Interpreting stylistic cues from a contemporary jazz composer