Things Ain't What They Used to Be: Jazz Ensemble Conductor Score & Parts

Alan Baylock's arrangement captures everything that makes a jazz tune pop in a high school or college setting: clear sectional writing, shapely solos that give players something real to do, and a shout chorus that lands with genuine power. The shuffle groove sits perfectly at 120 BPM for ensemble cohesion, and the written range keeps things in the sweet spot for developing lead players. This arrangement works just as well in a festival as it does on a casual concert.

A mid-tempo shuffle that grooves with easy confidence and swings hard without strain. The melody sits in that perfect zone between familiar and fresh, and the shout chorus ignites the room with brass energy and collective punch.

This is ideal for Grade 3 jazz ensembles ready to tackle a piece with genuine solo responsibility and sectional interplay. Soloists on alto, trumpet, trombone, and tenor need to be comfortable with blues changes and jazz phrasing, but the ensemble writing supports them without demanding extreme facility.

• Establish a steady, relaxed shuffle feel before the soloists enter. The rhythm section sets the groove's character; lock the bass and piano into a comfortable pocket and let the drums lay back slightly on the backbeat to avoid rushing the 120 BPM tempo.
• Balance the written melody so it cuts through the ensemble without overwhelming the soloists. Once the solos begin, let those voices breathe; the shout chorus will reclaim the focus naturally.
• Approach the Baylock-style shout chorus as a moment of collective release. Ensure all sections hit the written accents together, and avoid the temptation to push the tempo—the power comes from precision and unity, not speed.
• Prepare the lead trumpet to nail that written G; it's the peak moment and deserves a player with secure range and confidence. Rehearse the passage leading into it so the ascent feels organic.

Program this as a concert centerpiece or festival contest piece where you want to showcase individual soloists alongside solid ensemble voicing. It pairs well with a bebop-era standard or a Latin tune, offering contrast without tonal whiplash. It also works as a morale booster mid-rehearsal season when groups need a reminder that jazz is supposed to feel good.

• Shuffle swing feel and relaxed timekeeping at moderate tempo
• Blues changes and jazz solo phrasing over changes
• Sectional balance and blend in ensemble voicing
• Lead trumpet range development (written G)
• Responding to written accents and shout chorus punctuation