They Can't Take That Away from Me: Vocal Solo with Jazz Ensemble Conductor Score

Dave Wolpe's arrangement respects the song's melodic elegance while giving your jazz ensemble genuine work to do. The reversible key format (B-flat and E-flat) removes the usual scheduling puzzle of finding a vocalist whose range fits a single transposition, and Wolpe's Sinatra-influenced writing keeps the band engaged without overshadowing the solo voice.

Sophisticated and warm, with the easy elegance of a great American standard. The melody sits naturally in the voice, and Wolpe's ensemble writing swings without fussiness, creating the feeling of a small jazz combo captured at its best.

Jazz ensembles with a competent vocalist looking for a standard that sounds professional without requiring a Broadway belter. The medium grade level and flexible voicing make this approachable for high school and early college groups, and the arrangement's sophistication rewards directors and players who take the artistry seriously.

• Map the vocal range before rehearsal to confirm which transposition suits your soloist's tessitura; the reversible pages make it easy to switch mid-preparation if needed.
• Balance the vocalist's projection against the ensemble carefully in early rehearsals; Wolpe's voicings are lush enough to cover a less experienced singer, so use that to your advantage while building confidence.
• Set a clear tempo with the rhythm section before bringing in the horns; the swing feel depends entirely on the drummer and bassist locking in, and the vocalist needs that foundation solid underneath.
• Shape the lyrical phrases with the vocalist rather than against the ensemble; let the band support the story, not compete with it.

This works beautifully in a concert that mixes standards with original compositions or as an opener that immediately establishes your ensemble's taste and swing sensibility. Pair it with other Gershwin charts to program a thematic set, or use it as a showcase moment that gives your vocalist a legitimate feature without derailing the ensemble's focus.

• Balancing vocal line with jazz ensemble accompaniment
• Singing with swing feel and rhythmic freedom within ensemble context
• Reading transposed parts and adjusting intonation across different key centers
• Interpreting a standard with phrasing and interpretation while maintaining ensemble cohesion