When I Take My Sugar To Tea (from Monkey Business) (arr. Steve Zegree): 2-Part Choral Octavo

Steve Zegree captures the infectious energy and tight vocal interplay that made the Boswell Sisters legendary, translating it into an arrangement that works beautifully for developing singers. The two-part texture keeps the harmonic language accessible while maintaining the swing and sophistication of the original recording, making it ideal for choirs wanting to explore the jazz vocal repertoire without overwhelming inexperienced singers.

Bright and playful, with that unmistakable swing-era warmth that makes audiences smile. The melody dances over supporting harmonies with the kind of conversational ease that comes from singers who know how to listen to each other.

Choirs at the intermediate level with some blend and intonation under their belts will find this accessible and rewarding. It works for concert choirs, jazz ensembles, or community groups wanting repertoire that's both fun to sing and grounded in American vocal history.

• Anchor the groove in the rhythm section and let singers ride the pocket rather than rushing ahead. The swing feel depends on everyone's confidence in the underlying beat.
• Listen to the original Boswell Sisters recording multiple times during rehearsal. Hearing the source material will help singers understand the style, phrasing, and the interplay between voices they're learning.
• Shape phrases with gentle dynamic contours rather than singing at one dynamic level throughout. Jazz standards live in the space between syllables and the natural rise and fall of conversation.
• Mark breath points clearly and remind singers that resting singers should still track the lyrical and harmonic shape happening around them.

Pair this with other standards-based choral arrangements for a jazz or American songbook concert that appeals to audiences beyond traditional choral circles. It's the kind of piece that gives students permission to relax into a groove and enjoy singing together, making it valuable both as a concert offering and as a morale builder during the rehearsal process.

• Jazz articulation and swing phrasing
• Listening and balancing within a two-part texture
• Stylistic interpretation of blues-influenced harmony
• Rhythmic precision in syncopated passages
• Historical context for 1920s-30s vocal styling