Why We Can't Have Nice Things: Jazz Ensemble Conductor Score & Parts

Goodwin writes swing charts that sound far more sophisticated and energetic than they actually are to execute. A Grade 6 band with solid fundamentals can handle this without the charts feeling simplified; the arranging is genuinely smart, the solo spaces give your strongest players room to shine, and the whole thing swings like it's been played a thousand times. It's the kind of chart that makes your ensemble sound bigger and tighter than they might otherwise be.

Pure, propulsive swing. From the first downbeat, this chart has momentum and intention, delivered with Goodwin's signature clarity and lift. The solo spaces sparkle with opportunity while the ensemble writing keeps everyone engaged, and the whole performance arc feels both celebratory and tight.

This is written for experienced jazz ensemble directors and strong Grade 6 bands with solid readers across all sections and a secure rhythm section. The chart rewards musical maturity and gives advanced players the opportunity to explore swing vocabulary and solo vocabulary within a professional-level big band setting.

• Lock the basic groove first by drilling the rhythm section (piano, bass, drums) through the head in isolation. Once that pocket is airtight, the horns will find their pocket naturally.
• Bring out the individual character of each solo voice without letting them dominate the ensemble sound during tutti sections. Balance matters here.
• Trust the arrangement's architecture. Goodwin's voicings are deliberate; resist the urge to over-rehearse dynamics. Let the orchestration speak for itself.
• Record a full run-through early in your rehearsal process. Players hear differently when they listen back, and the band will tighten faster than you'd expect.

Program this as a centerpiece for a jazz festival or spring jazz concert where you want to demonstrate your ensemble's advancement and musicianship. It pairs well with other Goodwin charts or contemporary swing repertoire and works equally effectively as a contest selection or a community performance that leaves audiences energized.

• Reading swing notation and jazz articulation conventions
• Executing ensemble swing feel with rhythmic precision
• Solo improvisation in a structured big band context
• Listening and responding to section balance within a full ensemble
• Interpreting dynamic shapes and musical phrasing in orchestrated swing writing