From Composer Ron Jones: 'Level: Advanced Highest lead trumpet note a written D# above high C. Written for my L.A. big band, The Influence Jazz Orchestra, this chart features solos for Tenor Sax and Flugel Horn as well as a lot of exposed soli sections for Bass Clarinet and Bass. The Guitar as well as the Vibes have a key role in sharing the lead and melodic duties with other sections. The Rhythm section is really voiced and orchestrated with a lot of fully written out parts. The Influence Jazz Orchestra has not only the normal Big Band instrumentation but also a full French Horn section, Vibes and Percussion. The chart is playable with or without these parts but a richer orchestrational canvas comes to life with the full instrumentation of course. Our French Horn players love being part of the Jazz Band and they bring a lot to the sound created. The added Vibes and Percussion also brings color and drive to the overall e-ect and gives the audience a dazzling array of interesting things to both see and hear. The tempo is a medium, straight-ahead 116 BPM, relaxed swing feel. The intro begins with the Left-hand piano, Bass and Bass Clarinet playing a melodic lick as the mixed orchestration of Muted trumpets and Trombones along with the Sax/Woodwind section, Horns, Guitar and Vibes lay down a response of color/texture pads on the top. At bar 22 the Sax/WW's, guitar and vibes lay down the melody. In bars 30-35 an interesting, fully voiced section of Guitar, Piano and Vibes take over as the Drums and perc keep time going. The Sax/WW section comes in at 36 over muted trumpets with horns. The Bass Clarinet and Bass take the melodic lick at 38 with the added Bass Trombone and Left-Hand Piano. The chart stays at the same tempo at Bar 42 but shifts to a half-Time feel with Flute, Sop. Sax, Guitar and Vibes covering the melody while Horns, Trumpets and Bones take the backing gures. Bar 50 has the Tenors, Trumpets, Guitar and Vibes in octaves as the Bones and remaining Sax/WW's handle the supporting chords. As things move along the melody shifts to the Sax/WW's, Guitar and Vibes as everything builds dynamically. Bar 60 starts a section where the Trumpets, Bones and Guitar carry the melodic aspects as Sax/WW's play rhythmic chord figures. At bar 64 that ips. Bar 68 has the Rhythm Section on fully voiced chord pads with the Bass Clarinet and Bass playing it's melodic idea from earlier in the piece. Mixed Colors of WW's and Muted Trumpets do figures in between the bass line statements. At Bar 76 Lead Tenor has changes to solo over with the Rhythm Section in support. Various figured played by the Sax/WW's,Vibes and Brass punctuate the background as the Tenor solos develops bars 94-105.106 has the Bass Clarinet/Bass trading two-bar figures as Color/texture pads play on top. Bar 118 is where Flugel Horn (or Trumpet) II plays its solo. 130 starts a quiet (mp) section with two-bar phrases bouncing back and forth between mixed orchestrational groupings. This section is followed by a return to the fully voiced tutti rhythm section restated from earlier in the piece. This all leads to a sort of extended 'Shout-" section for the full band playing at a forte dynamic. The Sax section takes over at 154 and the Brass joins in with them at bar 158. Things heat up and continue building until at 164 the Trumpets, Bones, Guitar and Vibes State the Melody in octaves and the Saxes and Horns back things up. 172 returns us to the Bass Clarinet/Bass playing their melodic lick as in the beginning in two-bar interplay with the Sax/WW's and Brass. The Rhythm Section has full color chords as everything winds quietly down to a soft held chord ending as the lead Tenor solos. This piece is about color, mood and development of the melodic gures as they are tossed around from section to section. The Bass Clarinet, Bass along with the Guitar abd Vibes get to be more out front as they carry much of the important melodic gures. A great, challenging but fun chart if you have a pocket of time to work on it. Every section and player is featured in one way or another.'