My music is published by UNC Jazz Press and Sound Music Publications. I also have a few things available directly via the website.

SATB   S/A   T/B



Double Rainbow (UNC) – Level 4, w/rhythm section

This Brazilian waltz pays tribute to the classic Elis Regina/Tom Jobim recording. It includes a major solo vocal feature in Portuguese. The vocal writing is tight but singable. This chart was awarded the 2004 Downbeat Magazine Award for “Best Jazz Arrangement.”

Double Rainbow (UNC)- Level 4, w/jazz orchestra

Same vocal arrangement as above, but accompanied by jazz orchestra.

I Can’t Give You Anything But Love (UNC) – Level 3, w/piano or r. sect.

This is a straight-ahead swing treatment of this jazz standard for mixed jazz choir. Scat soli, shout chorus, half-time feels and idiomatic swing rhythms will give your group a taste for the jazz tradition. Can be performed with rhythm section or just piano. Piano accompaniment is written out but includes chord changes for the more advanced jazz pianist. Written with the high school jazz vocal group in mind. S(S)ATB with scat solo

I Concentrate On You (UNC) – Level 4, w/jazz orchestra

    This Cole Porter standard is given an overhaul with an a cappella rubato section, a mix of bossa nova and swing sections, and more. A central soli section is set with the text of Elizabeth Barrett Browning’s “How Do I Love Thee.” Challenging but lots of fun to sing! SSATBB, Studio Orchestra (Rhythm Section, 4 Reeds, 3 Tpts, 2 Tbn, 2 Horns, Strings)

Love You Madly (UNC) – Level 4, w/ rhythm section & optional horns

Duke Ellington’s signature phrase, “I love you madly,” is here transformed into a tour-de-force tribute to Duke’s music for mixed jazz choir. It includes tight vocal writing, a shout chorus, ample room for improvisation, plus more Duke quotes than you can count! It’s a blast to sing and a big crowd-pleaser. Written for WMU Gold Company and recorded on their album “30.” S(S)ATB, Rhythm Section, 2 Tpt, Tbn, T. Sax.

Lucky To Be Me (UNC) – Level 4, w/acoustic bass

The rich vocal textures in this Bernstein/Comden/Green classic are allowed to fully ring with just acoustic bass as accompaniment. In tribute to Gene Puerling, the harmonic vocabulary comes from The Singers Unlimited, but musical humor is reminiscent of the Hi-Lo’s. A nice a cappella rubato interlude in the midle of the chart leads to some challenging reharmonized vocals. A great chart for teaching rhythm-feel without a drummer and for featuring your group’s bassist. SSATB with acoustic bass; male solo.

Some Other Time (UNC) – Level 4, a cappella

The lush harmonies throughout this chart lend it a Singers Unlimited flair. If you are looking for a richly textured, sophisticated and heartfelt ballad for your vocal choir, look no further. The writing is challenging throughout, but the choir is rewarded with a beautiful end product. It contains both male and female solos. SSATTBB a cappella; male and female solos.

Straighten Up & Fly Right (UNC) – Level 3, w/rhythm section

his classic Nat King Cole song is given a straight-ahead approach with sweet four-part vocals that call to mind the great vocal groups of the swing era. The vocals are accessbile, as are the band parts, providing a good opportunity for collaboration between younger ensembles. Male and female vocal solos as well as a scat solo.

Straighten Up & Fly Right (UNC) – Level 3, w/Big Band

Same as the above arrangement, but with a full big band.

Straighten Up & Fly Right (UNC) – Level 3, w/jazz orchestra

Got strings? Same vocal arrangement, jazz orchestra accompaniment. This is the version performed by Peter Nero & The Philly Pops.

That’s All (UNC) – Level 3, a cappella

This heartfelt jazz standard is given a lush a cappella treatment here. Your group will love the challenge of this chart, including several modulations, metric modulations, and rich harmonic textures. SSATBB with tenor solo.

This Can’t Be Love (UNC) – Level 3, Rhythm Section + optional horns

A swinging and hip arrangement of this Rodgers and Hart standard for SATB, rhythm section and horns. It’s an engaging opportunity to work on medium-swing feel, with a scat solo feature and a big soli section. It will be your ensemble’s new favorite piece — not to mention your audience’s! SATB, Rhythm Section, 2 Tpt, Tbn, T. Sax.