Andrew Clark on Lead Trumpet
Jonathan Alanis on Tenor Saxophone
Caleb Webb on Guitar
Malcolm Lile on Flugelhorn
Wilson Kierce on piano

First recorded by the Sammy Nestico Orchestra on his 1986 album Night Flight, “Marguerite” is an energetic Samba written for big band. The piece blends a lively Brazilian groove with Nestico’s signature ensemble writing and strong melodic lines. Auxiliary percussion and a driving rhythm section help create the samba-jazz feel while the horn sections deliver powerful ensemble passages. Known for its rhythmic momentum and colorful orchestration, the chart highlights the interaction between the brass, saxophone, and rhythm sections. Today, “Marguerite” remains a favorite among advanced jazz ensembles and continues to be widely performed.

Axel Capetillo on Drums
Marlowe Galvez on Trumpet
Wilson Kierce on Piano
John Wolff on vibraphone

“Drummin’ Man”, written in 1939 by Tiny Parham, is a lively swing-era tune made famous by Gene Krupa and His Orchestra that established Krupa as one of the most influential drummers in the history of popular music. After leaving Benny Goodman’s orchestra, Krupa, eager to build his own identity as a drummer and bandleader, adapted “Drummin’ Man” to showcase his energetic style, showmanship, and rhythmic drive. Through the chart, Krupa proved that the drums could be more than just a part of the rhythm section—it could be the star of the show.

Jordan Pierson on Alto Saxophone
Kordale Hill on Acoustic Bass
Caleb Webb on Guitar
Wilson Kierce on Piano

Benny Golson’s “Whisper Not” is a smooth, soulful jazz tune that has become one of his most well-known and lasting pieces. Written in 1956 during Golson’s time with the Dizzy Gillespie Big Band, and it quickly became a favorite among jazz musicians and listeners alike. The song represents the hard bop style—a blend of bebop’s energy with blues and gospel influences—that was popularized by groups like Art Blakey and the Jazz Messengers. When speaking on writing the tune, Golson shared that he wrote the tune in only twenty minutes while at the Storyville club in Boston. While it’s widely debated whether Dizzy Gillespie or Lee Morgan recorded it first, nearly every major jazz artist has performed or recorded this piece over the years. Along with his other classics like “I Remember Clifford,” “Along Came Betty,” and “Killer Joe,” it helped establish Golson as one of jazz’s greatest composers and arrangers.

Morgan Tipton on drums
John Wolff on Percussion
Caleb Webb on Guitar
Marlowe Galvez on Trumpet
Wilson Kierce on Piano

“Frankie’s Tune” is a lively big band piece by composer and saxophonist Bob Mintzer. First recorded on Mintzer’s 1988 album Spectrum, the piece features a bright Mambo-influenced groove combined with Mintzer’s modern harmonies and rhythmic energy. Written to showcase both ensemble precision and individual improvisation, it reflects Mintzer’s ability to blend strong rhythmic feels with contemporary big band writing. Today, “Frankie’s Tune” remains a favorite in jazz ensemble repertoires, performed widely for its energy, sophistication, and infectious groove.

Andrew Clark on Lead Trumpet
Devin Mancera on Alto Saxophone
Wilson Kierce on Piano
Caleb Webb on Guitar

“Fast Forward” is a high-energy big band piece composed by Les Hooper in the late 1980s. Written in a fast up tempo bebop style, it features quick saxophone lines, tight brass hits, and driving rhythms that keep the music constantly moving forward—hence the title. The piece shows off Hooper’s clever writing and the band’s precision, with space for exciting solos. It’s both challenging and fun to play, making it stand out as a popular choice for advanced jazz ensembles. Today, “Fast Forward” stands out as one of Hooper’s most energetic and memorable works.

Featuring Gabriel Wade on Trumpet
Andrew Clark on Lead Trumpet
Caleb Webb on Guitar
Wilson Kierce on Piano
Axel Capetillo on Drums
Malcolm Lile on Trumpet

“Big Dipper” is a 1966 jazz composition by Thad Jones, written for the newly formed Thad Jones/Mel Lewis Jazz Orchestra and first performed during their debut residency at New York City’s Village Vanguard. The piece is an extended 16-bar blues that fuses Count Basie–style swing with Jones’s modern harmonies and rhythmic approach. Originally commissioned by Count Basie for an album of Jones’s compositions, the project was never completed, with Basie instead encouraging Jones to form his own band. The tune soon became one of the orchestra’s signature works, celebrated for its tight ensemble playing and vibrant brass writing. Today, “Big Dipper” remains a cornerstone of jazz education and it is performed by professional jazz big bands around the world.

Featuring Gabriel Wade on Trumpet
Andrew Clark on Lead Trumpet
Malcolm Lile on Trumpet
Caleb Webb on Guitar
Wilson Kierce on Keyboard

“Good News,” composed by Bob Mintzer, is a contemporary big band chart that blends elements of jazz and rock. Known for its energetic rhythms and bold horn writing, the piece reflects Mintzer’s modern approach to large ensemble composition. The chart features strong melodic lines, dynamic ensemble passages, and opportunities for improvised solos. Like much of Mintzer’s work, it is written for standard big band instrumentation and emphasizes tight sectional interplay between saxophones, brass, and rhythm section. Today, “Good News” is frequently performed by advanced jazz ensembles for its exciting groove and vibrant modern big band sound.

Gabriel Wade on Trumpet
Wilson Kierce on Piano

First recorded and released in 1980 by Mel Lewis and The Jazz Orchestra, Bob Brookmeyer’s “Ding Dong Ding” uses a recurring three-note bell-like motif that drives the energy and motion of the entire piece. This simple motif is transformed through complex harmonies, changing meters, modulations, and innovative orchestration, all of which give the piece its distinctive character. The result is a bright, fast-paced work that feels both clever and unpredictable, full of Brookmeyer’s trademark humor and creativity. Mel Lewis describes the chart as “Bob’s version of a nursery rhyme,” an appropriate description for a piece that turns a simple excerpt into something darker and more complex.

Wilson Kierce on Piano
Devin Mancera on Alto Saxophone

“Prelude to a Kiss” is a 1938 ballad composed by Duke Ellington. At the time, Ellington was exploring more adventurous harmonies and emotionally complex works, moving beyond the dance-oriented swing numbers that had made him famous. Within the context of his catalog, “Prelude to a Kiss” marked his shift toward mood pieces and tone poems, reflecting his growing interest in modern harmonic language. A few weeks after the instrumental version was recorded, publisher Irving Mills and songwriter Irving Gordon added lyrics, transforming it from a purely instrumental piece into a romantic ballad. The composition remains one of Ellington’s most admired works, celebrated for its elegance, harmonic richness, and emotional depth.

Andrew Clark on Lead Trumpet
Gabriel Wade on Trumpet
Jeremy Fort on Bass Trombone
Caleb Webb on Guitar
Wilson Kierce on Piano
Morgan Tipton on Drums

“Nutville” is a 1965 composition by Horace Silver, written for his 1966 album The Cape Verdean Blues. A classic example of Silver’s hard bop style, it draws on blues and gospel influences and features bold, driving rhythms, punchy horn lines, heavy rhythmic accents, and melodic hooks that make the tune both lively and memorable. The album’s official description fittingly calls it a “relentless barnburner,” as it’s a hard-swinging, high-energy closer that showcases the band’s precision and intensity. Today, “Nutville” remains a favorite among jazz musicians and listeners alike, celebrated for its infectious groove and signature Silver style.

This arrangement by Greg Hopkins is the opening track on Buddy Rich’s album The Roar of ’74.