Repertoire Selection: 2009 Massachusetts Central District Jazz Ensemble
This page documents the repertoire I selected for the 2009 Massachusetts Central District Jazz Ensemble, a regional high school honor band program. When programming for ensembles of this nature, my priorities include stylistic breadth, level-appropriate challenge, clear pedagogical purpose, and music that rewards careful listening and collaboration within limited rehearsal time.
The repertoire below reflects those considerations. One additional work was commissioned for the project and ultimately replaced one of the listed selections; for clarity, that commissioned piece is not included here.
Program Repertoire
- “Brazil”, arranged by Michael Phillip Mossman
- “Seven Steps to Heaven”, arranged by Manny Mendelson
- “Keepin’ Track of the Time”, by Chuck Sayre
- “Spring Can Really Hang You Up the Most”, arranged by Frank Mantooth
- “Groove Merchant”, arranged by Thad Jones
- “Bad Dream”, by Earl MacDonald
What follows are the educational and musical rationales behind each selection.
Brazil (arr. Michael Phillip Mossman)
Including at least one Latin-influenced piece is essential for stylistic balance and rhythmic diversity. This samba provides an energetic opening to the program while introducing students to characteristic articulations, syncopation, and ensemble precision required in Latin jazz styles.
Mossman’s arrangement is compact, effective, and immediately engaging—challenging without being overwhelming—and serves as a strong opener that sets an energetic tone for the ensemble.
Seven Steps to Heaven (arr. Manny Mendelson)
This selection was chosen in part to direct students toward Miles Davis’s classic recording of the same name. Mendelson’s arrangement is thoughtfully constructed, combining strong ensemble writing with accessible solo opportunities.
The chart features the drum set prominently, along with tenor saxophone and trumpet, and encourages students to engage with swing feel, phrasing, and form while maintaining forward momentum throughout the piece.
Keepin’ Track of the Time (Chuck Sayre)
A blues is a foundational component of any well-rounded jazz program. This F blues allows for deep exploration of form, phrasing, and improvisational vocabulary while remaining approachable for developing players.
Sayre’s writing includes unaccompanied soli and solo sections for each horn section, giving the entire ensemble meaningful exposure. The piece emphasizes dynamic contrast and ensemble awareness, and it consistently proves effective as a vehicle for teaching improvisation—particularly during long rehearsal days when a shift toward creative engagement is welcome.
Spring Can Really Hang You Up the Most (arr. Frank Mantooth)
This ballad provides contrast in both tempo and affect. While technically the most accessible piece on the program, it presents important musical challenges related to tone, blend, balance, and expressive clarity.
The arrangement highlights trombone throughout and offers an opportunity to discuss accompaniment, phrasing, and lyrical interpretation. Students were encouraged to listen to classic vocal interpretations—particularly Ella Fitzgerald’s—to better understand the emotional content and narrative quality of the tune.
Groove Merchant (Thad Jones)
Thad Jones’s writing represents a cornerstone of the big band tradition, and early exposure to his music is invaluable for young musicians. Groove Merchant balances challenge and accessibility, featuring beautifully constructed solis for saxophones and brass, along with a strong shuffle groove.
The solo changes are manageable and flexible, allowing for multiple soloists and reinforcing stylistic concepts central to swing-based big band playing.
Bad Dream (Earl MacDonald)
Opportunities for students to work directly with a living composer are rare and valuable. Bad Dream was included to expose students to contemporary compositional ideas and notational approaches within a big band context.
The piece introduces rhythmic hemiolas, metric modulation, and passages that require interpretive decision-making rather than literal execution. Alto saxophone, drums, and piano are featured, and the chart encourages students to engage actively with rhythm, form, and ensemble interaction in ways that extend beyond conventional repertoire.
Closing Perspective
This program was designed to balance stylistic range, ensemble cohesion, and pedagogical intent. Each selection was chosen not only for how it sounds, but for what it asks of the musicians: listening deeply, responding collectively, and developing skills that extend beyond a single performance.