BIG BAND SELECTIONS for high school competition, with brief descriptions.

For a list of Combo Charts, click HERE.

Better Get Hit in Your Soul, arr. Andrew Homzy [Simply Mingus Series] — Widely-known Mingus gospel burner in 3, with shout sections & blues solos.

Bird Calls (saxes-only feature), arr. Ronnie Cuber — uptempo swing. “It wasn’t supposed to sound like Charlie Parker. It was supposed to sound like birds – the first part.” -Mingus

Blue Cee, arr. Ronnie Cuber — Medium-tempo blues in C major.

Boogie Stop Shuffle, arr. Andrew Homzy [Simply Mingus Series] — Medium or uptempo classic, B-flat minor blues.

Boogie Stop Shuffle, arr. Sy Johnson — Uptempo classic, B-flat minor blues.

Chair in the Sky, arr. Sy Johnson — Instrumental arrangement of one of Mingus’ final compositions, originally recorded by Joni Mitchell.

Chair in the Sky (vocal feature, in G*), arr. Sy Johnson — Vocal feature arrangement of one of Mingus’ final compositions, lyrics and original recording by Joni Mitchell.

Children's Hour of Dream, arr. Sy Johnson — A through-composed piece in the vein of modernist classical music, yet still rooted in Black American Music as well. Cited as a prime example of the “Third Stream” developments of the 1950s and ‘60s. This is movement number 14 taken from Mingus’ 21-part masterwork for 32 musicians titled Epitaph.

Diane/Alice’s Wonderland, arr. Steve Slagle — Medley of two ballads, composed by Mingus in the late 1950s.

Dizzy Profile (vocal feature, in Db*), arr. Sy Johnson — Another Mingus piece written in tribute to and admiration of his friends, this time for Dizzy Gillespie. This arrangement begins in a slower waltz feel before bursting into up-tempo swing. Lyrics by Doug Hammond.

Don’t Be Afraid, The Clown’s Afraid Too, arr. Sy Johnson — Debuted in 1965, featuring a trumpet solo by Hobart Dotson, which was then transcribed and integrated into the big band arrangement by arranger Sy Johnson for Let My Children Hear Music.

Don’t Let It Happen Here, arr. Howard Johnson — Another piece that debuted at the 1965 UCLA concert. Integrating an antifascist poem from 1946 by German pastor Martin Niemöller. This arrangement features a spoken word part over brass chorale and full-band rubato sections, transitioning to uptempo E-flat modal vamp and solos.

Duke Ellington's Sound of Love, arr. Andrew Homzy [Simply Mingus Series] - Instrumental arrangement of a classic, walking ballad. The music and lyrics were written by Charles Mingus, and the tune originally appeared on Changes One (instrumental quintet) and Changes Two (vocal).

Duke Ellington's Sound of Love, arr. Jack Walrath — instrumental arrangement by Mingus alum Jack Walrath, as recorded on Mingus Big Band ‘93 - Nostalgia In Times Square.

Duke Ellington's Sound of Love, arr. Jack Walrath (optional lyrics by Charles Mingus, key of Db) — Vocal arrangement heard on Mingus Sings (significantly modified from the written sheets, contact LMCHM for arrangement guidance)

Ecclusiastics, arr. Sy Johnson — Slow and soulful feature for the tenor saxophones, with double time sections. Arranged by Sy Johnson in 1972 for Charles Mingus and Friends in Concert at Philharmonic Hall.

Eclipse (vocal feature*), arr. Sy Johnson — A lush ballad with lyrics by Charles Mingus, arranged as a bossa nova. Woodwind doubles in the saxophone section.

E’s Flat Ah’s Flat Too (aka Hora Decubitus), arr. Sy Johnson — Uptempo E-flat blues built from multiphonic layered riffs, brass intensive shout chorus. Sheet for optional lyrics by Elvis Costello (recorded on his album My Flame Burns Blue).

Fables of Faubus, arr. Sy Johnson [Simply Mingus Series] — Classic, politically-charged Mingus composition written to disparage former Arkansas Governor Orville Faubus, who attempted to prevent racial desegregation of public schools in 1957. Medium-tempo swing piece with feel changes.

Fables of Faubus, arr. Steve Slagle — Classic, politically-charged Mingus composition written to disparage former Arkansas Governor Orville Faubus, who attempted to prevent racial desegregation of public schools in 1957. Medium-tempo swing piece with feel changes, featuring soprano (or alto) sax and trumpet solos.

GG Train, arr. Boris Kozlov — Mirroring the unreliable stop-and-go service of the New York City subway’s GG train (now simply known as the G train), this composition alternates between uptempo and ¼-time ballad sections. Solo changes included for all band members, and concludes with a built-in drum solo.

Goodbye Pork Pie Hat, arr. Andrew Homzy [Simply Mingus Series] — Classic ballad in tribute and farewell to Lester Young, perhaps Mingus’ most widely-known composition, tenor sax & bass feature.

Goodbye Pork Pie Hat, arr. Sy Johnson (opt. lyrics by Joni Mitchell*, Eb minor) — Classic ballad in tribute and farewell to Lester Young, perhaps Mingus’ most widely-known composition. This arrangement features tenor saxophone and was originally recorded for Blues & Politics in 1999. Rerecorded a decade later with vocal for Live at the Jazz Standard.

Gunslinging Bird, arr. Steve Slagle — Fast C minor blues in 6/4. Open solos, and a drum solo to finish. “The subtitle was “If Charlie Parker was a gunslinger, there’d be a whole lot of dead copycats.” I was just feeling crazy and thought that if Bird was a gunslinger instead of a musician in those early days, there’d have been a lot of guys getting killed.” -Mingus

Haitian Fight Song, arr. Andrew Homzy [Simply Mingus Series] — Another of Mingus’ most well-known pieces. Bass feature, medium-uptempo, G minor blues.

Haitian Fight Song, arr. Sy Johnson — Another of Mingus’ most well-known pieces. Bass feature, medium-uptempo, G minor blues. “I was always doing revolutionary things, things that would alert people like on the island of St. Maarten’s in the Caribbean, they need to be alerted.” -Mingus

Invisible Lady, arr. Jack Walrath (opt. lyrics by Elvis Costello*, Bb minor) — Ballad with Latin double-time sections. Trombone feature.

Version of “Invisible Lady” with lyrics written by Elvis Costello, rerecorded for Mingus Sings:

The ‘I’ of Hurricane Sue, arr. Sy Johnson — One of Mingus’ tributes to his wife (the keeper of his legacy, and founder of this festival). Arranged by Sy Johnson in 1972 for Let My Children Hear Music.

Jelly Roll, arr. Sy Johnson [Simply Mingus Series] — Classic, 14-bar piece, Mingus’s take on the New Orleans roots of jazz and one of its self-professed inventors, Jelly Roll Morton.

Jelly Roll (vocal feature*, Ab), arr. Sy Johnson — vocal arrangement of this classic 14-bar tune, Mingus’s take on the New Orleans roots of jazz and one of its self-professed inventors, Jelly Roll Morton.

Love Chant, arr. Steve Slagle — Medium-up, modern jazz arrangement with two solo forms on two different set of chord changes. A contrafact of “Perdido” (and thus “Wahoo”) “It was one of my first pedal-point songs, or extended forms.” -Mingus

Meditations for Moses, arr. Boris Kozlov — Multi-section extended composition, arranged from Mingus’s on-the-spot composition on Mingus Plays Piano. Features alto saxophone and bass.

Meditations on Integration (or For A Pair of Wire-Cutters), arr. Michael Phillip Mossman — Multi-part composition inspired by a conversation between Mingus and Eric Dolphy about the United States government’s internment of Japanese-Americans in concentration camps during the 1940s. This arrangement features arco bass, flute, alto saxophone, and piano.

Moanin', arr. Andrew Homzy [Simply Mingus Series] — Classic, baritone sax feature with 64-bar form.

Moanin', arr. Sy Johnson — Classic, baritone sax feature with 64-bar form. One of the Mingus Big Band’s most popular numbers.

New York Sketchbook, arr. Boris Kozlov — Multi-section extended composition featuring piano. Recorded by Charles Mingus on Modern Jazz Symposium, also performed at the 1956 Newport Jazz Festival under the alternative title “Tourist in Manhattan”. Alto 1 has flute throughout.

Nobody Knows the Bradley I Know, arr. Earl McIntyre — a medium-up swing tune, written by Mingus in tribute to Bradley Cunningham, the owner of the famous jazz club and late-night-hangout spot, Bradley’s. Incorporates musical elements of “Nobody Knows The Trouble I’ve Seen”. Solo space for piano, tenor sax, trumpet, and drums, with chord changes sheets included for alternate soloists.

Noonlight (vocal feature*, Db), arr. Sy Johnson — Medium swing tune, discovered in the Mingus archives by musicologist and historian Andrew Homzy, but never debuted by the composer. Arranged by Sy Johnson with lyrics written by Sue Mingus. Melody statements by alto sax and vocal, with blowing space for trombone.

Nostalgia in Times Square, arr. Sy Johnson [Simply Mingus Series] — Classic, strolling tempo, E-flat blues with a unique variation on the standard changes. Mingus also recorded this piece with vocals under the title “Strollin’”.

Nostalgia in Times Square, arr. Ronnie Cuber — Classic, strolling tempo, E-flat blues with altered changes. Open solos are kicked off by stop-time choruses. Mingus also recorded this piece with vocals under the title “Strollin’”.

Number 29 (aka Mind-Readers’ Convention in Milano), arr. Sy Johnson — Challenging, multi-part composition featuring alto, trumpet, and tenor, at times in dialogue with drums and later with each other.

O. P., arr. Sy Johnson [Simply Mingus Series] — Uptempo swinger with Great American Songbook style changes written in tribute to the great bassist & cellist Oscar Pettiford (sometimes titled “O.P. Jr.” for Pettiford’s son). Classic Mingusian workout for soloists, with an AABAC form consisting of 14-bar sections and a brief switch to 3/4 on the bridge, then a tour-de-Cycle-Of-Fourths over a Charleston stop-time feel in the C section.

O. P., arr. Steve Slagle — Uptempo swinger with Great American Songbook style changes written in tribute to the great bassist & cellist Oscar Pettiford (sometimes titled “O.P. Jr.” for Pettiford’s son). Classic Mingusian workout for soloists, with an AABAC form consisting of 14-bar sections and a brief switch to 3/4 on the bridge, then a tour-de-Cycle-Of-Fourths over a Charleston stop-time feel in the C section.

Oh Lord, Don’t Let Them Drop That Atomic Bomb on Me (with vocal*, C), arr. Sy Johnson — Slow, swinging 12-bar blues in C featuring the titular vocal, originally performed by Mingus himself.

Open Letter To Duke, arr. Steve Slagle – Multi-movement composition written in loving tribute to Duke Ellington, drawn from several themes composed throughout Mingus’s earlier career prior to the suite’s construction for Mingus Ah Um. Features tenor and alto sax.

Opus 4, arr. Boris Kozlov — Challenging extended-form composition with meter changes and dialoguing solos.

Passions of a Woman Loved, arr. Sy Johnson — Swinging extended-form composition with meter changes and solos throughout each section of the band.

Pedal Point Blues, arr. John Stubblefield — B-flat riff-based blues built on a swinging shuffle feel.

Peggy’s Blue Skylight, arr. Ronnie Cuber — Another classic of the catalog, one of Mingus’ most oft-recorded tunes. Medium swing, AAB (ababcb) form. Saxophone melody, hard-swinging brass-heavy shout chorus.

Pithecanthropus Erectus, arr. Sy Johnson — Dynamic medium swing tune featuring tenor and alto sax, like the original recording. The i-bVI-ii-V progression in F minor established here became a favored device used in many Mingus compositions throughout the composer’s career. The metric modulation between 4/4 and 6/4 is another frequently used effect. This is a classic piece often cited as Mingus’ first landmark achievement in progressive jazz composition.

Portrait, arr. Jack Walrath — Classic Mingus ballad from the early ‘50s, sometimes titled “God’s Portrait” or “Old Portrait”. This instrumental arrangement by Jack Walrath features trumpet 3 with saxophones playing flutes & clarinets. This arrangement has yet to be commercially recorded.

Portrait (vocal feature*, Db), arr. Sy Johnson — Vocal arrangement by Sy Johnson of one of Mingus’ most enduring ballads, released on Mingus Sings.

Profile of Jackie, arr. Sy Johnson — Lush ballad featuring alto sax throughout, composed originally for Jackie McLean.

Self Portrait in Three Colors, arr. Sy Johnson [Simply Mingus Series] — One of Mingus’ most classic compositions, from the landmark album Mingus Ah Um, consisting of 3 memorable melodies gradually layered together.

She’s Just Miss Popular Hybrid, arr. Boris Kozlov — multi-part extended composition featuring trumpet soloist. Arranged from the spontaneously-composed performance on Mingus Plays Piano. Alto 1 has flute throughout.

The Shoes of the Fisherman’s Wife Are Some Jive-Ass Slippers, arr. Sy Johnson — Famously titled and famously challenging extended-form composition from Let My Children Hear Music, beginning with a chorale in the winds that leads into a uptempo jazz waltz. This arrangement features piano and tenor saxophone solos in unaccompanied cadenzas and improvising over a difficult and rapid-fire set of chord changes in 3/4 and fast 4/4.

Slippers, arr. Andrew Homzy [Simply Mingus Series] — Uptempo drum feature (recording is for reference only and is not the same arrangement as the Simply Mingus version offered here)

Song with Orange, arr. John Stubblefield — Bluesy medium shuffle in E-flat.

Sue's Changes, arr. Sy Johnson — Extended-form composition with a range of style and tempo changes. A loving tribute to Sue Mingus.

Sweet Sucker Dance, arr. Sy Johnson — Ballad featuring tenor saxophone. One of Mingus’ final compositions, written in collaboration with Joni Mitchell.

Sweet Sucker Dance (vocal feature*, Ab), arr. Sy Johnson — Nearly identical arrangement as the instrumental version above, rewritten to feature vocals, lyrics by Joni Mitchell.

Tensions, arr. Boris Kozlov — High-energy uptempo, 16-bar blues form. "It’s a technically involved composition. I called it that because the guys were tense playing it.”" -Mingus

This Subdues My Passion, arr. Charles Mingus/Gunther Schuller — Swing-era ballad also included in Epitaph, scored for smaller instrumentation (4 saxes, 2 trumpets, 2 trombones), lead trombone solo to high F#. Baritone part calls for lead clarinet and bari.

Tijuana Gift Shop, arr. Michael Phillip Mossman — Uptempo Latin-tinged composition alternating between 4-bar vamp and 17-bar swing melody. Challenging chord progression, flute and soprano parts in saxophone section.

Tonight at Noon, arr. Sy Johnson — Uptempo 6/4 arrangement of Mingus’ commemoration of the working hours and nightlife-centric lifestyle of musicians. (Mingus Orchestra arrangement previewed here, very similar arrangement)

Us is Two, arr. Sy Johnson — Ellington-inspired, long-form medium swing piece in D-flat. Alternatively titled “US is Two”, “Us is Too”, etc. Served as Mingus’ theme music for a time in the 70s, particularly a big band run at the Village Vanguard. Recorded on Mingus And Friends In Concert, 1972.

Wednesday Night Prayer, arr. Sy Johnson — Uptempo, gospel-inspired F blues in 6/4. Arrangement differs somewhat from recording.

Weird Nightmare (vocal feature*, D minor), arr. Sy Johnson — ballad featuring vocals and trombone. Lyrics by Charles Mingus.

Work Song, arr. Sy Johnson  (opt. lyrics by Eric Mingus, F minor) — Medium-slow swinger, inspired by the work song melodies of enslaved Africans in the American South. Melody is conducted in-the-round, building repetitively through an 8-bar form in F minor.

Appears on the newest Mingus Big Band album The Centennial Sessions, Vol. 1 with an added newly-composed vocal part called “Break The Chains” by Eric Mingus (optional lyrics included).

Ysabel’s Table Dance, arr. Steve Slagle — Latin-infused, medium-uptempo, long form composition with open vamps “It was really conceived in Mexico in one of those night clubs where they have chicks that dance and take off their clothes. And the more you tip them, the more they take off. I was amazed…I’ve always liked Mexican music and Spanish music because that’s jazz in a way – people’s music.” -Mingus

Note about some vocal feature charts (marked with * above) For the following charts, the vocalist either partially or fully replaces an instrumental part; typically trombone 1 or 2, but sometimes tenor saxophone. Chair in the Sky; Dizzy Profile; Eclipse; Goodbye Pork Pie Hat (replaces tenor 1); Invisible Lady; Jelly Roll; Noonlight; Oh Lord, Don't Let Them Drop That Atomic Bomb On Me (partially replaces tenor 2); Portrait; Sweet Sucker Dance (vocal arr.); Weird Nightmare. For the other charts not listed here that feature a vocalist, the vocal part is in addition to (and completely separate from) the typical 14 ensemble parts, for a total of 15 parts.

EXTENDED COMPOSITIONS — NEW THIS YEAR: Ensembles also have the option of performing the extended compositions of Charles Mingus (see separate list below) with original durations typically ranging from 15 to 20 minutes. When selecting this option, the extended piece will take the place of two standard-length compositions, meaning the group's performance will consist of the extended piece and one additional tune, for a total of 2 compositions performed. Competition time-limit rules still apply (30 minutes total; 5 to take the stage, 20 for performance, 5 to clear the stage). These extended works must be played as a whole and movements should not be omitted, but there are opportunities to shorten within the sections to fit the time limitations. If selecting this option, contact LMCHM for guidance on appropriately shortening these extended selections. All compositions here are unpublished MBB arrangements.

The Black Saint & The Sinner Lady, arr. Sy Johnson — This arrangement dates from 1989, written by Sy Johnson for the first Mingus Superband large ensemble led by Jimmy Knepper. This arrangement comprises of mvts. 1, 2, 3 from the original 1963 album, and then concludes with a reprise of mvt. 1.

Cumbia & Jazz Fusion, arr. Sy Johnson — The title track from Mingus’ 1978 album, one of the composer’s final large-scale works written.

Little Royal Suite, arr. Sy Johnson — Written in 1972 with trumpet great Roy Eldridge in mind, 18-year-old Jon Faddis ended up playing the debut, recorded in 1972 for Charles Mingus & Friends In Concert. Covers a range of styles and tempos, beginning with a ballad, moving to double-time Latin, then some challenging uptempo-swing chord changes for open solos, finishing with a slow blues featuring tenor sax.

Music for Todo Modo, arr. Sy Johnson — Written for a film but ultimately never utilized, Mingus debuted this composition as the B side to his penultimate album Cumbia & Jazz Fusion. A multi-faceted composition featuring rubato duos between varying instrument pairs, includes a swing section re-using the chord progression from Mingus’ standard “Peggy’s Blue Skylight”.