Who Will Buy? (from Oliver) (arr. Mark Taylor): Jazz Ensemble Conductor Score & Parts

Mark Taylor's samba reimagining transforms a beloved standard into something that feels fresh while keeping the melodic integrity of the original entirely intact. The arrangement gives multiple section leaders their moment (trumpet and alto duet, featured sax passage, individual solos) without losing the driving pulse that keeps an ensemble engaged. That final build from soft to powerful teaches dynamics and ensemble control in a context where students hear why those concepts matter musically.

Bright and propulsive. The samba rhythm keeps things buoyant, while the lyrical melody gives players room to sing and phrase rather than purely displaying technique. There's joy in the arrangement, but not frivolity; students feel the warmth of the original song coming through the new setting.

Jazz ensembles at the Grade 5 level with soloists ready for responsibility but still building confidence. This works best for groups that can hold a steady groove and have at least one solid player on each featured voice (trumpet, alto, tenor/baritone).

• Balance the opening trumpet and alto duet carefully; the melody needs to float above the rhythm section rather than compete with it. Mark the parts so players know when they're carrying the primary line versus supporting.
• Lock the samba pulse early in rehearsal by having the rhythm section play freely through several choruses before adding horns. This establishes the groove foundation that everything else depends on.
• Shape the full ensemble section with deliberate dynamic control. The written soft-to-loud arc only lands if the ensemble can execute graduated increments rather than jumping to forte.
• Feature players should hear the recorded accompaniment in their practice space multiple times before rehearsal so they arrive already oriented to the harmonic context and style.

This works beautifully on a concert where you're mixing Broadway repertoire with jazz standards, or as a palate cleanser between heavier contemporary jazz pieces. The accessible melody and uptempo energy also make it a strong choice for spring concerts or end-of-year celebrations when student morale and audience engagement both matter.

• Playing with samba feel and Latin rhythmic subdivision
• Balancing solo voice with accompaniment
• Reading and executing dynamic shaping across ensemble sections
• Maintaining consistent groove while melody and soloists ornament over it
• Interpreting jazz articulation and phrasing on a familiar theatrical melody