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This version of Alright, Okay was done by Joe Williams with the Count Basie Orchestra and it is a very danceable bouncy shuffle that has a solid pulse. There is nothing complicated about the chart and it is a fine example of how to score an arrangement to feature your vocalist. There is also a great 8 bar bridge between the vocal choruses which gives a real kick to the middle of the arrangement. The Trombones are written for 3 Tenors and a Bass, though the Bass bone is in Tenor range. The vocal key is Ab. No sax doubles. Grade: Medium Duration: 3' 00'

This is the Benny Goodman version of Amapola, with Helen Forrest taking the vocal. A delightful tune, well delivered, and of course with a Clarinet solo from the great man himself. This chart is as per the original version; the saxes are scored AATT plus a Clarinet Solo part. This trick with this chart is not to play it too fast. It just chugs along and swings all the way. Duration: 3' Grade: Easy/Medium

Female vocal trio SSA. This arrangement of the Andrews Sisters version of Apple Blossom Time shows a more sentimental side of the trio's repertoire. Unusually, the chart is only scored for 3 voices, 4 Trombones and 4 Rhythm. There are no parts for Trumpets or Saxes, so it can be used as a showcase for your bone section and singers. Faithfully transcribed by Alan Glasscock by referencing a number of recordings that the Sisters made, in order to get complete authenticity and accuracy. This number will sit well in any set, particularly as a late-night closer. Key G, Eb, G Grade: Medium Duration: 2' 50'

This is the great Johnny Mercer and Margaret Whiting version of this classic vocal duet. He wants heer to stay and she wants to play hard to get. The chart itself relies on the interplay and chemistry between your tow vocalists. The band backings are easy and add just the right amount of punch when needed. In this arrangement the Saxes are all writtent o play Clarinets, but recognising that not all sax players double Clarinets, all sax parts are double-sided, so one side is as written and the reverse side is scored for a regular sax section, which gives more flexibility. Duration 2' 50' Grade: Easy

This is a modified version of Benny Goodman's famous Carnegie Hall arrangement, with the vocal originally performed by Martha Tilton. The Yiddish trumpet passage has been removed to leave the arrangmeent with an even tempo throughout. An easy yet effective chart to play, and a great swing numbe for your vocalist. Lead Alto doubles Clarinet for written or ad-lib solo. Duration 2'35' Grade: Easy

Bobby Darin had a big hit with this tune, and other singers have also covered it very successfully, the latest being Robbie Williams on his Swing when your Winning album with a version very similar to Darin's original. The Darin chart is transcribed here, except that there are no strings in this version. Instead the relevant lines have been given to the saxes, adapting the phrasing to improve the swing. The vocal is as per Bobby Darin's delivery, and also included is an optional repeat at the end of the chart, to extend the play out, plus a definite ending, because the recorded version fades, and fade-outs are not good for live perfomances! The vocal key is F and there are no sax doubles. Apart from the lead trumpet having to reach a written high D# the brass parts are not demanding, and the chart will be a certain crowd pleaser. Duration: 3:00 Grade: Easy/Medium

Made famous by Linda Eder, this 1994 Frank Wildhorn & Jack Murphy collaboration tells the story of what a girl has to do to make it to the top in showbusiness. From the opening Sing Sing Sing style drum solo this fast, punchy and very powerful chart will just knock your socks off, and your vocalist will need to be equally dynamic to do it justice. The reeds are scored CATTB, though an extra Alto part is included - a transposition of Tenor 1 - which allows your section to be CAATB, giving you flexibility as to who plays the Clarinet line. The vocal Key is E minor, modulating to F minor for the last chorus, and the vocal range extends one and a half octaves, from A below middle C up to Eb. The lead trumpet needs to hit high F# too. Duration: 3:40 Grade: Medium/Advanced

The Andrews Sisters produced a huge number of hits, and Boogie Woogie Bugle Boy is one of the finest. Alan Glasscock has scored a cracking version here, and has notated the Vocal Trio parts with exceptional skill. Both the Trumpet solos are fully written out (intro and in the middle section of the chart), and the Boogie Woogie piano/bass lines are all there. although this is a Vocal Trio, a Solo Vocal part is also included should you wish to perform this chart with just one female vocalist. The Saxes are scored for Clarinet, 2 Altos and 2 Tenors throughout. Duration: 2'40' Grade: Medium

Calling all male vocalists! Clementine is simply great fun. This Bobby Darin version is in a similar style to his better known Mack the Knife, with successive half-step modulations, and a band backing that builds and builds to a huge finish. Bobby's vocal line is accurates notated and phrases, and the rhythm parts are written as-played, where they are most important to the feel of the chart. No sax doubles. Grade: Medium Duration 3' 20'

This tune was made most famous by Julie London, with just a rhythm section backing. Bob's version is beautifully scored, with the band providing just enough support for the vocal line. It is not a difficult arrangement, and is written so well that it sounds lush, haunting and full of character. Your vocalist will love it. Perfect for the last set when the lights are low. Duration 3'10' Grade: Easy

Written by Duke Ellington and originally entitled Concerto for Cootie, Do Nothing Till You Hear From Me has been covered by all of the great vocalists including Ella and Sinatra. This version has been transcribed from the Robbie Williams Sinatra/Martin/Davis Jr tribute album, Swing When You're Winning. The feel is almost a shuffle, and the chart has some great ensemble passages as well as a solo spot for Trumpet 2 (written out as played, with chords provided). The chart does require some top-end range from Trumpets 1 & 2 (up to a written high E) with some optional screaming from your lead player at the end of the chart. We have written in all of the dynamic markings and articulations that are so necessary to give this chart the correct balance, and have written the vocal line 'as sung' by Mr. Williams. There are no sax doubles, the 4th Trombone is Bass, and the vocal Key is G. Grade: Medium-Advanced Duration: 3' 00'

This is Glenn Miller's version that was originally performed by the Modernaires vocal group. It is scored for Boy and Girl vocal duet but includes a part for the vocal harmony group too. The form of the arrangement is true to the original. The band intro is there, as are the correct modulations and fills behind the vocal lines. This chart is also available as an instrumental-only version. No sax doubles and brass ranges are not demanding. Duration 3' 15' Grade: Medium

This version of I Know Why is taken from the film 'Sun Valley Serenade and includes an additional instrumental chorus not found in the earlier Miller recorded version. A lovely vocal ballad, scored for female vocalist AND vocal backing group in the style of the Modernaires, though completely playable with just a girl singer. The vocal key is A. I Know why is not demanding on the brass, with lead trumpet only up to C above the staff. Saxes are Miller voiced, with lead Alto doubling Clarinet and Baritone doubling Alto. Grade: Medium Duration 3' 40'

Fans of Louis Jordan will instantly recognize this title, and this arrangement is equally singable by most male or female singers. The rhythm section starts it off, and the trumpets blow the dirty 'wah-wah' phrase unsing plungers, and introduce the vocal. A 16 bar vocal verse and 32 bar chorus leads to sectional 8 bar pieces, saxes, trumpets and trombones, and, ... the full big band treatment. Duration 4' 30' Grade: Medium

A classic from Ella Fitzgerald, this chart is a faithful transcription, and is nothing at all like the Les Brown/Skippy Martin instrumental version. Ella's vocal line is written out, so your singer can reproduce the timing and phrasing if she wants. This chart is also a Trumpet feature, and the original solo is fully notated on the 2nd part. There are no sax doubles. Duration 2' 55' Grade: Medium/Advanced

This is the original Helen O'Connell version of I've Got The World On A String, as recorded with the Ray Anthony Orchestra in his 1953 Chesterfield Show. It is not a transcription. Although a short chart in actual playing time, it is full of punch, energy and drive, and in itself is a piece of American musical history. There are no sax doubles, and the vocal key is Bb throughout. Grade: Medium. Duration: 1:35

My Old Man is a traditional Cockney song from the east end of London which has been taken and turned into a big swinging vocal schart. This number is fun and makes a great set-closer, or a sing-along for the crowd. Whilst it won't win any prizes for musical sophistication, it will win the hearts and minds of your listeners! Although quite short, at around 2 minutes, there is an opton al D.C. in the chart. Brass ranges are moderate and there are no Sax doubles. Grade: Medium Duraton: 2' 00'+

Here is the lovely ballad The Nearness of You, as performed by the Glenn Miller Orchestra, with vocal by Ray Eberly. Another lush ballad with the trademark Miller sax sound of Clarinet lead over 2 Altos and 2 Tenors, with restrained brass backings. Duration: 3' 15' Grade Easy/Mediu (Easy, except lead Trombone goes up to high C and 2nd to an Ab, though the Trombone phrases are cross-cued onto the Trumpet parts in case your bone players are not comfortable with the range. Very singable by a female vocal. Also includes a solo Flugel part, so can be played as an instrumental. Sax doubles: Baritone on Alto throughout, 2nd Alto doubles Clarinet.

a CLASSIC Cole Porter song from 1932, Night and Day was a 'must-have' number for the great Big Bands of the era. This version is based on that used by Ella Fitzgerald, and is a good example how to score the band to best support the vocalist. The arrangement includes the vocal vers, backed by a solo tom-tom, leading into the titti chorus. Although very easy to play, this in no way detracts from its effectiveness in performance. If you have a pianist who has a light touch, then added fills behind the vocalist really set this number off. Duration 2' 50' Grade: Easy

Lovingly transcribed by Alan Glasscock from Miller's October 1940 New York recording, originally arranged by Bill Finegan and sung by Ray Eberle, this lush chart is classic Miller, full of tonal colour and rich dynamics. The reeds are scored CAATT, with all saxes called upon to double Clarinets. Tenor 2 also has a short Bass Clarinet line underneath the Trombones, but this can be played as written on Tenor. The Tex Beneke solo is written out in full too. The vocal key is Eb. Duration: 3:30 Grade: Medium

A classic from the pen of Sy Oliver, this is the vocal version that Anita O'Day recorded with Gene Krupa, and is a mix of powerhouse swing that you would expect from Krupa's band, and a laid-back, slightly humourours vocal chorus from O'Day. It features a blasting Trumpet solo near the end, and a wonderfully conceived modulation into the vocal chorus. The Trumpet solos is written out, as is the little Piano fill-in solo in the intro. This is a medium to advanced chart in terms of difficulty, because the Trumpet solo screams up to a high E, and 1st and 2nd Trombones have to pick a top D out of the air at one point. Other than that, it is pretty straight ahead, and there are no sax doubles. Duration: 2' 55' Grade Medium/Advanced

Orange Coloured Sky was covered well by Natalie Cole several years back, and this version sticks to the structure of this version, though in the key of F, making it more singer-friendly. It opens with an 8 bar band intro followed by the vocal chorus, with all of the expected powerful band hits behind the vocal. A band interlude follows the chorus, with the vocalist returning for the middle 8 and final vocal half chorus. John Harpin has done a masterly job of arranging so that the band fully supports the vocalist, without overpowering at any time. His choice of harmony and instrumental voicing gives this chart a refershing contemporary kick. Duration 2' 30' Grade: Easy/Medium

The Joe Williams / Count Basie partnership was a rich one indeed, and together they produced many fine recordings. Roll 'Em Pete, from the early 70's, is one of the best, with JW improvising around the original blues line with consumate ease. The band backings support the vocalist all the way, and there is also a 2 chorus solo spot for Tenor 1. We have written out the Trombone solo fill-ins behind the first two choruses, and the Tenor fills after the solo too. The vocal sheet is written out as sung by JW, and there are no sax doubles. Although the band had 5 Trumpets during the recording session, we have adapted the chart to 4. Key: Bb Grade: Medium Duration: 3' 10'

Mention the words Route 66 and many people think 'Johnny B-Goode', Rock and Roll, guitar bands etc. Well, think again. This version is written as a bouncy, but not fast, swing-shuffle that has a laid-back yet driving feel to it. It includes solo space for Tenor, Trumpet and BAritone, all backed by brass riffs that build as the solos progress. Duration 3' 50' Grade: Easy/Medium

A cheeky and fun vocal number, originally by Eartha Kitt, though later covered by Madonna. This arrangement draws inspiration from both, without losing any of the essence. Whilst predominantly used as a Christmas song, this chart is good in any set, any time of the year! There are some Sax doubles. Altos 1 & 2 and the Baritone are on Clarinets throughout, with both Tenors staying on Tenor. As Bari players are not famous for Clarinet skills, an extra Sax 4 part (turning the Bari into the 2nd Tenor part) is included. Duration 2' 45' Grade: Easy

Co-written by Les Brown for his own Orchestra, Sentimental Journey was a great hit for Doris Day, and this version remains as the definitive standard for the tune. It has to be played bluesy, laid back, softly and not too fast! The brass lines at the end of the first chorus emphasise the 'drag' and the tenor solo behind the vocal re-enforces the lazy feel. Lead Alto doubles Clarinet. Duration: 3' 00' Grade: Easy

Serenade in Blue is another classic from the Glenn Miller Orchestra with the Modernaires, and Alan Glasscock's transcription is a true reflection of the original. The chart is written for Male vocalist with a 4-piece backing group. Perhaps the trickiest part of the chart is Billy May's unique opening passage which needs to be played with confidence and a relaxed feel. The saxes have a number of instrument doubles: Altos 1&2 on Clarinets, Tenor 2 on Bass Clarinet (in the intro), though this may be taken on Tenor if needs be. The Trumpet solo in the intro is meticulously written out too. All articulations and dynamics are indicated, enabling your band to reproduce one of Miller's best known tunes. Highly recommended. Duration: 3'30' Grade Easy/Medium

A lovely, late-night, torch-singer style of arrangement, with the band unobtrusively backing the vocalist throughout. A two bar intro to help the voalist to pitch the first note, and then its ballad all the way, but with some interesting chord modifications at the ends of phrases, just to add a little 'bite'. In the key of G throughout. Duration 3'10' Grade: Easy

One of the many great songs written by Nat 'King' Cole, it has found its place as a stock tune in the repertoire of many female singers, including Linda Rondstat and Natalie Cole. This version borrows a little from the style of each. A short intro followed by the first vocal chorus, discreetly backed by the band, leads to a Nat style piano solo. The sax soli re-introduces the second vocal chorus. A muted trumpet solo continues the very laid-back feel, and the whole thing is rounded off by the vocalist. Duration: 3' 20' Grade: Medium

Made famous by Dean Martin, this is close to the Rosemary Clooney version which she recorded with the Perez Prado Orchestra. This is a relaxed vocal with simple backings from the band, in true Prado style. The brass ranges are undemanding, and it's not a hard blow. Lead Trumpet has the cued option to hit the screamers, but just don't let him miss ..... Duration 2' 40' Grade: Easy

That Old Devil is just a wonderful torchlight ballad which was made famous by Billie Holiday, and latterly by Alison Moyet. This draws from the best of both, with aaadded extra depth and richness to the instrumental backings, with the little solo fill-ins by the tenor and trumpet fully written out for tyour players too. This chart can also be played as a Solo Tenor Sax feature. Duration 3' 30' Grade: Easy

A nostalgic song from the early WWII years, We'll Meet Again remains as popular as ever. It is a particularly good closing number for a nostalgia gig or concert as it is not a long arrangement, but a very effective one. The Saxes are Miller voiced with Clarinet Lead and Baritone on Alto throughout. In Eb, the Vocal part is well within the range of most male and female vocalists. Duration 2' 05' Grade: Easy

Immortalised by Very Lynn in the 1940s, this tune came to symbolise hope in troubled times, though it is also a lovely melody in its own right. This arrangement is a smooth, flowing ballad in the '40s style, making full use of dynamic expression, muted and open brass, plus some Miller-voiced sax passages. Slightly nostalgic perhaps, but always popular. Lead Alto doubles Clarinet, Baritone doubles Alto. Duration 3 '30' Grade: Easy