In January 2011, I was asked to step in as a substitute conductor for the Connecticut Eastern Region High School Honors Jazz Ensemble (CMEA) when my colleague John Mastroianni—one of the most respected jazz educators in the country—was unexpectedly double booked due to a winter storm. Regional and all-state ensembles are, by nature, compressed and high-stakes experiences, and this engagement was no exception. With limited rehearsal time and repertoire selected by another conductor, the task was to honor the original artistic vision while helping the students coalesce quickly into a confident, responsive ensemble.
The program John selected was both musically substantive and well balanced stylistically:
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Crescent City Stomp – Eric Richards
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Don’t Git Sassy – Thad Jones, arranged by Mike Carubia
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Down to the Night Club – Tower of Power, arranged by John Mastroianni
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Festival – Rick Stitzel
It was an engaging and effective set—challenging without being prohibitive—and the students rose to it. The performance was met with an enthusiastic response from both the ensemble and the audience, a testament to the strength of the programming and the preparation the students brought into the first rehearsal.
This engagement also marked my first hands-on experience conducting one of Mike Carubia’s re-scored Thad Jones charts, published through Smart Chart Music. Prior to this, I had been philosophically skeptical of adapted versions of canonical repertoire. My inclination had always been to teach the original charts and let students stretch toward the professional benchmark. However, working with Don’t Git Sassy changed my perspective.
Carubia’s revisions are thoughtful and musically respectful. The adjustments—range, key, density, and pacing—are made in service of sound and success, not simplification for its own sake. The essence, style, and character of Thad’s writing remain intact, but the chart sits more comfortably for younger players, allowing them to focus on time, articulation, balance, and style rather than sheer survival. Most importantly, it provides a positive first encounter with Thad Jones’s music—an experience that invites curiosity rather than intimidation.
That, ultimately, is what effective repertoire selection accomplishes: it opens doors, builds confidence, and lays the groundwork for deeper engagement with the tradition.