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You are here: Home > Blues > Up Tempo
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A Vintage Blues, by Frank Amsallem
(Level IV) A Vintage Blues is an uptempo blues with a half-time section. The chart will be challenging for the band and also features a great shout soli on the half time section. Alto I double on soprano, alto II double on Piccolo.  8 Brass

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Foaming At The Chops, by Chuck Owen
(Level 4) This scorching double-time blues was originally written for the Tonight Show Orchestra to feature Doc and Pete Christlieb, so there is plenty of solo space for the trumpet and tenor sax. The tempo is brutally fast and there is an absolutely inhuman modulation at the end of the chart (in other words, this chart has earned its title), but if you have some horses, this chart will close your concert and leave them buzzing. No doubles. 8 Brass

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Blues To Woody, by Scott Reeves
Dedicated to Woody Shaw, this is an up-tempo minor blues with extensive use of fourths and pentatonic scales. The head has some challenging rhythms, but solo changes are simple. Scales suggested for soloist. Trumpet, alto sax, tenor sax and optional trombone, plus rhythm section.

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Caffeine Anyone?, by Les Sabina
(8 Brass) (Level 4) Very fast blues with some contemporary changes. Solos for trombone and trumpet, soli sax section and exciting shout sections.

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Deedles' Blues, by Frank Foster

(Level 4) Up-tempo blues written by producer, Morgan Ames, for artist. Basie band leader, Frank Foster, won a Grammy for his arrangement. Written for 5 saxes, 4 trombones, 4 trumpets, guitar, piano, bass and drums. Key of Eb.

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Stu's Blues, by Mike Kamuf
(8 or 9 Brass) (Level 4) A straight-ahead blues in Ab! Solo space provides room for baritone sax to stretch and for trombones 1 and 2 to battle. The momentum of this chart builds from the first chorus to the shout with plenty of swinging figures in-between. Originally written for the Woody Herman Band (The score is formatted for the Herman Band set-up but the chart comes complete with parts for standard instrumentation.)

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The New Cure, by Greg Runions
(9 Brass) The first movement of four movements of the Sweet Home Suite. It is a multi-sectional composition including an introduction that uses a short tone row, followed by a medium-tempo modal section that moves into an up-tempo modal blues. This movement concludes with a restatement of the introduction and a brief solo piano statement. Lots of solo space for trumpet, tenor drums and piano. To purchse the CD Sweet Home Suite recorded by the Greg Runions Big Band please visit the Canadian music Centre at www.musiccentre.ca

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One O'clock Jump, by Tom Anderson
This one starts with a classic Count Basie piano solo and goes on to scat solos over a rompin' blues chord progression. Clever lyrics have been set to the horn licks of Basie's band so by the end of the chart everyone is roaring. Even the Count's piano solo in the middle section has been arranged for the singers. SSATBB with rhythm section.

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Mithril, by Rolf Johnson
(Level V) A slow, misterioso, quasi-legit intro gives way to up-tempo blues featuring alto and flugel. After the flugel solos, the band uses fugal techniques and shifting meters to build to a huge climax after which the tempo halves to a relaxed swing and an alto solo takes it home. Features an added section of four horns, as well as four flutes (one doubling piccolo, two doubling clarinet) in the woodwind section.   8 Brass plus 4 horns

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Take No Prisoners, by Richard Lawn
(Level IV) This high energy Latin/swing chart combines lots of counterpoint with forceful tutti-brass chords. An extended minor blues serves as the harmonic basis for the head and the alto solo before the tutti ensemble trades fours with the drums and congas. Recorded on the University of Texas' Sublime in Time. Alto II, Ten. II, & Bari-clar., Ten. I-fl. Optional vibes and tuba.   8 Brass

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High And Outside, by Bert Ligon
(Level IV) Burning, contemporary minor blues. The head is not over standard blues changes, and the melody occasionally blurs the distinction between major and minor. Parallel voicings and energy give this chart a contemporary edge. A contrapuntal section follows the head and leads to the first solo by alto 1. A soli is developed over the ostinato using material from the head and first developmental section. The lines develop rhythmically and melodically playing against and then with the ostinato. Finally, the rhythm section breaks the ostinato, and the soli plays another chorus over a swing feel. A trumpet solo follows, and then the main theme is stated in a new setting. Trumpet range is D6, but could play F6, G6 or A6 for a climatic ending! 8 Brass

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South Carolina Blue Law, by Bert Ligon
(Level III) I often joke about the law that requires a jazz band to play at least one blues tune per concert (in F or Bb), in order for it to officially be a jazz concert. Here's the chart needed to round out a concert. Plenty of room for solos with options for backgrounds. Works at just about any tempo from medium to fast. 8 Brass

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Mikki's Blues, by Rich Matteson
(Level IV) Up-tempo blues swing. Solo feature for any chair in the band. Soloist is featured from beginning to end with open sections for stretching out, plus cued backgrounds. More than one soloist can be featured.   10 Brass

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Finally, by Jim McNeely
(Level V) This piece is the last movement of East Coast Blow Out (see Skittish). It's a free-wheeling, up-tempo "blues with bridge" which features guitar and drum solos. The drum solo section is enhanced by a number of collective backgrounds which can be brought in at will by the conductor, to spontaneously spur the drummer on. There are five trumpet parts. 9 Brass

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Nifty Fifties, by Alan D. Neveu
(Level IV) Nifty Fifties was composed for the University of Rochester Jazz Ensemble. The piece is blues oriented and contains sections that are reminiscent of the 1950's "West Coast" style as well as sections that are contemporary and unconventional. The entire band is able to solo over a blues progression, and trumpet 2, tenor 1, bari sax, and piano are given featured solos. This chart is designed to make an intermediate level band sound like a professional band, by allowing them to play adventuresome harmonies and extended techniques. 8 Brass

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