Unleash the Chicken: 2nd B-flat Trumpet

Berg captures infectious New Orleans funk without losing sight of what makes music work for developing ensembles. The parts sit comfortably across the section, the suggested solos give students a genuine improvisational entry point rather than a sink-or-swim moment, and the groove itself is so accessible that students actually enjoy playing it repeatedly in rehearsal.

A second line parade filtered through a 1970s funk lens: greasy, swinging, and impossible to sit still through. The New Orleans DNA pulses under modern groove sensibilities, creating something that feels both rooted and contemporary.

Jazz ensembles at the high school and early college level looking for repertoire that balances entertainment value with genuine musicianship. This piece works equally well for a group building soloing confidence or one seeking a set-closer that actually gets an audience response.

• Lock the rhythm section into a tight pocket at 160 BPM during the first rehearsal; once the groove sits, everything else locks into place naturally.
• Have tenor 1 and trombone 1 practice their suggested solos independently before blending them into the ensemble texture; Berg's voicing allows the soloists to breathe without getting buried.
• Keep the lead trumpet punchy and clear on top; the written range to G keeps the part playable but demands articulate phrasing to cut through the funk.
• Use the four-minute-plus duration to explore dynamic contrast between the ensemble hits and the groove sections; repetition becomes your friend when you shade the texture.

Program this as a spring concert finale or jazz festival opener; the upbeat character and familiar funk vocabulary make it an ideal bridge between ensemble and audience. It also pairs well with ballads or standards earlier in the set, offering contrast without demanding a full gear shift from your ensemble.

• Playing funk grooves with rhythmic precision at moderate tempo
• Comping changes within a jazz blues framework
• Solo construction over chord changes (tenor 1 and trombone 1)
• Lead trumpet articulation and phrasing in a high-energy ensemble texture
• Section cohesion and pocket playing in a New Orleans-influenced idiom