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  This is one of the most creative, important big band compositions ever written by anyone! It is also a chart which has been in demand for many years.
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This is one happy chart! It starts with the trombones laying down a nifty bass line, and then a great groove with a calypso pattern.
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The title refers to the somewhat "mystical" style of the opening of this wonderful and fun-filled chart.
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As recorded by Count Basie on the Roulette LP (Vogue CD) The Legend, this is an up-tempo latin and swing chart.
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Bob Curnow provides yet another great arrangement of one of Pat Metheny/Lyle Mays' biggest hits. Originally recorded on their album Letter From Home, "Beat 70" is an exciting up-tempo Latin/fusion tune that will leave your band and audiences humming this catchy melody for the rest of the day! Ranges are mostly modest and rhythmic concerns are minimal. There is solo space for tenor saxophone, trumpet, piano and drums. This chart is a must-have! 5-4-4-4
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Bob Curnow took Ken Hanna's wonderful, latin, medium-tempo tune and made it a bit more accessible for good bands.
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As recorded by the Stan Kenton Orchestra on Back To Balboa (Capitol), Richards takes this great standard and turns it into a 6/8 latin and swinging screamer.
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This is the chart that people have been wanting to see in print for years! Recorded by the Bill Holman Band on their album "Briliant Corners", this is the great Thelonious Monk tune set in a straight-eighth Latin feel.
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From the pen of one of the very best arrangers, this chart just SINGS with optimism (hence the title?) and joy.
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This version
is edited to be played with only 8 brass and a standard saxophone section. As
recorded by the Stan Kenton Orchestra on “Live at Brigham Young University”,
this is the thrilling latin Stan Kenton sound like that of “Malaga” and
“Malaguena” that is sure to dazzle any crowd.
Solo space is written for tenor saxophone, trumpet, trombone, drums and
congas along with wonderfully exciting ensemble writing making this a sure fire
winner with your band. (5-4-4-4)
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As recorded by the
Stan Kenton Orchestra on “Live at Brigham Young University”, this is the
thrilling Latin Stan Kenton sound like that of “Malaga” and “Malaguena” that is
sure to dazzle any crowd. Solo space is
written for tenor saxophone, trumpet, trombone, drums and congas along with
wonderfully exciting ensemble writing making this a sure fire winner with your
band. (5-5-5-4) with the Kenton saxophone section instrumentation (alto, 2
tenor, 2 baritone)
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Dan Haerle has created a very nice, very hip latin chart with a great melody.
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Latin spice, hot sounds, and a happy, cookin' tune that sails along.
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This is a completely re-composed and re-notated (in Finale) version of a piece that has been in the catalog for a while.
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What a wonderful jazz chart! The theme is stated with a bossa nova feel by tenor and flugelhorn, followed by exciting ensemble sections (highest trpt.
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This wonderful original composition by Patty Darling adds another great chart to Sierra's Easy To Play series.
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Rarely does a piece turn up like this one.
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Contains all of the following charts:.
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Ellen has created a wild, fun-filled chart which moves seamlessly from an afro style 12/8 feel to a romp-stompin' swing feel.
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The 2nd movement of Richards' amazing Cuban Fire Suite.
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David Baker's music is wonderful to play because of its originality and sense of adventure.
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Movement I (of 7) of the Cuban Fire Suite.
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Johnny Richards at his best! A very playable chart without a lot of range concerns for brass.
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DeRosa’s delightful, contemporary setting on “God Rest Ye, Merry Gentlemen” has a moderate samba feel and features the soprano saxophone throughout.
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The music of Steely Dan has come to Sierra Music! From one of the masters of contemporary big band arranging, the late, great Fred Sturm completely captures the Steely Dan vibe in his arrangement of "The Goodbye Look." Originally arranged for the HR Big Band (Germany), Sturm gives the lead trombone (and section) Donald Fagan's voice of the melody.
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Any Kenton fan knows this piece very well, as it is one of the finest things ever written for Stan.
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As recorded on Les' LP Dorian Blue (Churchill Records).
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This was recorded by the Stan Kenton Orchestra on Back To Balboa, and it is a highly original, exciting chart (latin/swing) on a great standard tune.
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Originally recorded by Cannonball Adderley on his album Domination and inspired by Oliver Nelson, Bob Curnow's adaptation/arrangement of "Introduction to a Samba" features the alto saxophone and trumpet duet stating the melody supported by a traditional samba feel.
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Originally recorded by the Count Basie Orchestra on their album Afrique, “Kilimanjaro” is a mesmerizing, easy-feeling Latin composition which pulses along by the constant tumbao bass groove and infectious percussion.
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Movement V (of 7) of the Cuban Fire Suite.
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Movement VI (of 7) of the Cuban Fire Suite.
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Originally recorded by the North Texas University 2 O'Clock Band, Vern Sielert's arrangement of "Like Someone In Love" is set in an even-eighths Latin feel.
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Kenton had many hits over the years, and this very creative arrangement by Pete was one of them.
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As recorded by the Stan Kenton Orchestra on "Live at Brigham Young University," this may well be Willie's best chart done for Stan.
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This is one of the early, fantastic Latin charts recorded by the Kenton Band and played for years and years.
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Absolutely one of the all-time great big band charts! Tenor sax, drums and trumpet solos, interspersed with fabulous ensemble writing.
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This is a new edition (Finale computer notation) of the original arrangement, edited to be played with the following instrumentation: 2 altos, 2 tenors, baritone saxophone, 5 trumpets, 5 trombones, piano, bass and drums.
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This is a new edition (Finale computer notation) of the original arrangement, with no editing.
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An original by Fred Stride, "Matador" is a wonderful, unique addition to any concert or festival program! This arrangement is set in an even-eighth feel complete with the sounds of Spain.
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As recorded by the Stan Kenton Orchestra on "Viva-Kenton," this delightful Latin chart has solo space for tenor saxophone and features a very hip melody by Gene Roland.
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This is a dazzling arrangement of the great jazz standard. With a mix of Latin and swing, Les has created a special setting of this favorite of jazz players.
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The original chart as played by the Stan Kenton Orchestra.
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A really delightful samba! 339 measures of pure delight! Features soprano sax and flugelhorn, as well as drums and bass.
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Bob Curnow has written some marvelous arrangements of Metheny/Mays music in the past, and this chart surely belongs to that wonderful "new" big band literature he has created with such pieces as "The First Circle" and "Minuano.
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Movement IV (of 7) of the Cuban Fire Suite.
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Rich DeRosa has created a marvelous Latin composition in a baião feel that is recorded by the North Texas Two O'Clock Lab Band. It comes out of the gate roaring. The very hip melody is stated by flute, soprano saxophone, alto saxophone, trumpet and piano.
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Johnny Richards wrote this gorgeous melody as part of the incomparable Stan Kenton "Cuban Fire" CD, and now this version allows the music to be performed without all of the usual high trumpet and complex rhythms of the Stan Kenton Orchestra recording.
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Movement III (of 7) of the Cuban Fire Suite.
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The publication of this piece is dedicated to the memory of Manny Albam, the composer.
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Fred has written a wonderful medium-tempo bossa nova chart with a nice solo exposure for guitar (or piano if no guitar).
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New York-style Latin is the foundation for this infectious groove and catchy melody. Oliver Nelson's arrangement of "Shake A Lady" is a great chart that will cause your band's heads to sway and your audiences to want to clap along. Originally recorded by Cannonball Adderley on his album Domination, this chart is packed with groove and fun!
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This piece was originally recorded on the Still Life (Talking) CD and is a lovely bossa nova-ish style of chart.
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This is a lovely, bossa-type ballad which is captured by soft sounds from the whole band, especially flugelhorns.
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Fred wrote this exceptional latin chart to feature tenor saxophone on a written and improvised solo.
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Fred captures the samba feel beautifully in this one.
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Recorded on the Back To Balboa LP by the Stan Kenton Orchestra, this is a typical Richards chart in that it contains exciting ensemble blowing and lots of solo space for trombone, tenor sax, trumpet and alto sax.
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Bob Curnow continues to add to his Pat Metheny Big Band Series with this wonderful light, laid-back, Latin-rock chart.
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Sonny Rollins and Bill Holman.
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Patty Darling takes us on a Latin Rock pilgrimage in 3/4 time with the occasional 4/4 and 5/4 meters in this exciting new composition that was commissioned by Lawrence University for the Fred Sturm Jazz Celebration Weekend.
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This is a new edition (Finale computer notation) of this lovely bossa nova tune.
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As recorded by the Stan Kenton Orchestra (Creative World CD) on " Live at Redlands University", this chart is a rip-roaring latin and swing chart that just flies along.
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Bob has created an absolutely thrilling 12 minute work, inspired by his Celtic roots (Towednack is a small area in Cornwall, England).
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Movement VII (of 7) of the Cuban Fire Suite.
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Richards wrote this piece some years after writing the Cuban Fire Suite, but it is written very much in that vein (although it is much easier to play).
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This is a gorgeous feature for tenor saxophone (there is also a piano solo).
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Winner of the Grammy Award for Best Instrumental Composition.
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As recorded on the Tonight Show Band CD "Once More With Feeling" (Amherst Records), this chart is one of the "hippest" that Tommy ever wrote for that band.
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An absolutely stunning feature for flugelhorn and piano!! The great bassist Ray Brown wrote this gorgeous bossa/ballad, and Geoff Keezer gave it his special, inventive touch.
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