Selecting Jazz Ensemble Literature
by Dean Sorenson

When it comes time to choose repertoire for the jazz ensemble, many directors are somewhat perplexed. Programming for the jazz ensemble is in some ways significantly different than programming for the concert band, and in some ways very similar. Choosing music of the highest quality that is educational and inspirational for the students and audience alike are universal goals that apply to any ensemble. The jazz ensemble offers its own particular challenges, however, when it comes to choice of repertoire. Let’s explore a few of these and try to shed more light on this topic.
     The most obvious difference between the concert band and jazz ensemble is the instrumentation, and this poses some unique problems. Since jazz ensembles are ideally one on a part (although this is by no means necessary for a good musical experience) it is vitally important that the chosen music will not expose serious weaknesses in the ensemble. This is especially true in the rhythm section. The rhythm section is really the heart and soul of a jazz ensemble, and particular attention must be paid to them if the rest of the band is to sound as good as it can. Make certain that the charts you select are consistent with the level of your rhythm section players. Some questions to ask: 1) Can my guitar, piano, or bass player read chord symbols? If not, are the parts written out sufficiently? 2) Is my drummer capable of creating a part with the information on the chart? 3) Is the general feel or groove of this chart something the entire rhythm section can feel comfortable with?
     Beginning level charts (generally grades 1–2) are often very completely notated. Piano and guitar should have voicings written out and bass lines should be written out. Drum parts also should be well notated, including a completely written-out groove (basic “feel” that is played throughout the chart) as well as fills and ensemble hits. As the grade levels become higher and the charts get harder, the level of rhythm section notation decreases and becomes less consistent. Grades 5–6 are considered professional level and feature notational shorthand in all rhythm parts. Even if you have wind players capable of playing charts at this level, make sure your rhythm players will be able to make sense out of their parts.
     Wind parts should be looked over to make sure that there are not one or two parts that are significantly more difficult than the rest. The first place to look is the lead trumpet part. Along with the rhythm section, the lead trumpet player is responsible for defining and shaping the ensemble sound. Make sure the part is largely within a comfortable range. Be careful not to sacrifice your trumpeter’s individual growth by asking him or her to play significantly higher than he or she is able. Also be aware of solo parts in all sections, and of woodwind doubles in more difficult charts. If the wind parts look to be within your band’s technical capabilities, consider some possible musical difficulties: 1) Are there thick chords that may be difficult to tune? 2) Are all sections scored with the same rhythms or is there more independence from section to section? Very often, charts that are technically quite easy allow an opportunity to work on unwritten, more musical characteristics like ensemble swing or absolute rhythmic precision.
     Since most demo recordings are made by professionals, careful listening and score study is necessary to determine whether or not a chart can be played by your band. Be honest about the abilities of all your players. They trust you to give them music that they will enjoy and learn from. Repertoire that is too difficult or poorly written is frustrating to the ensemble and does little to inspire the individual player. Repertoire that is too easy will likewise do little to help the ensemble or the individual players grow. Knowing how much to stretch is an art form in itself and is different with every band, with every year, even with every concert. Work to achieve a good balance of difficulty to ensure steady growth for the band and all members of the ensemble.

About Dean Sorenson