Think (from The Blues Brothers): Jazz Ensemble Conductor Score & Parts

This arrangement distills one of Aretha Franklin's most iconic grooves into a Grade 1 setting without sacrificing the song's swagger or pocket. Mike Story has written out solos that give your section leaders clear material to interpret while keeping the ensemble cohesive, making it ideal for groups transitioning into jazz arranging and soloistic responsibility. The modest brass range and straightforward ensemble hits mean your students can focus entirely on locking the groove and serving the groove rather than managing technical hurdles.

This arrangement captures the infectious soul and funk drive that made "Think" a cultural phenomenon. From the first downbeat, the piece radiates confidence and swagger; the horns sit into a pocket that feels effortless but demands precision. It's celebratory and grounded all at once, with plenty of space for individual voices to shine within a unified ensemble sound.

Jazz ensembles in their first or second year of playing jazz repertoire will find this arrangement accessible and immediately rewarding. Young players who may be intimidated by complex harmony or demanding ranges will gain confidence through successful performances of a song they likely know. Directors building foundational jazz vocabulary and ensemble cohesion will value how this chart teaches groove, section interplay, and soloistic confidence simultaneously.

• Establish the kick drum and bass line first in sectional rehearsals. This tune lives and dies on a locked foundation; once your rhythm section is tight, the horns' phrasing will fall into place naturally.
• Shape the written solos with dynamic conversation between sections rather than treating them as solo spotlights. Alto 1 and tenor 1 should respond to what trumpet 1 and trombone 1 are doing, creating dialogue across the ensemble.
• Don't rush the feel. The groove should sit slightly behind the beat, creating pocket and swagger; use the recorded original as a rhythmic reference point for where that sits.
• Let the drum solo breathe without metronome or accompaniment once your group is secure. This is a moment for your drummer to show personality and lock into their own sound.

Program this as an opening number or high-energy second set piece where you want the audience immediately engaged and your ensemble sounding like seasoned performers. It works beautifully alongside other Grade 1 jazz charts as a centerpiece of a jazz concert because students and audiences alike recognize and love the tune. Consider pairing it with contrasting tempos or styles to let it stand out as your groove moment of the evening.

• Locking into a consistent groove and understanding pocket feel
• Reading and executing written-out jazz solos with individual interpretation
• Balancing individual voice with ensemble blend and section cohesion
• Responding to rhythm section foundation and building ensemble unity around established groove
• Executing efficient brass phrasing and articulation within a funk-based context