All the Things You Are (M.Lewis)

Jerome Kern's timeless composition, "All the Things You Are," first graced the stage in the 1939 musical "Very Warm for May," quickly ascending to the pantheon of jazz standards. Its intricate yet memorable AABA form, sophisticated harmonic progression (often cited as a quintessential example of cycle-of-fifths movement), and lyrical melody made it an instant favorite among improvisers and arrangers. Revered for its challenging yet rewarding changes, the tune became a cornerstone of the bebop era, championed by legends like Charlie Parker, Dizzy Gillespie, and Clifford Brown, who explored its harmonic depth with unparalleled virtuosity. Its enduring appeal lies in its blend of Tin Pan Alley melodicism with a harmonic framework ripe for jazz exploration, making it a staple in virtually every jazz musician's repertoire. This masterful big band arrangement by Arturo Sandoval and Ed Calle reimagines this classic with a vibrant, medium-up swing feel, typically hovering around 180-200 BPM. The key is set in F major, providing a bright yet comfortable tessitura for the brass and woodwinds. The overall mood is one of sophisticated energy and celebratory swing, evoking the golden age of big band while incorporating contemporary harmonic sensibilities. Sandoval and Calle's signature approach is evident in the rich, often dense voicings that imbue the ensemble with a powerful, full-bodied sound. Expect lush saxophone soli sections that weave intricate melodic lines, punctuated by brass interjections that add punch and brilliance. The arrangement skillfully builds dynamic intensity, culminating in a powerful shout chorus that showcases the full might of the 17-piece ensemble. The arrangement opens with a captivating ensemble statement of the melody, often featuring a blend of saxophones and brass, setting a confident and engaging tone. Featured solo opportunities are generously provided, typically for Tenor Saxophone and Trumpet, allowing improvisers to navigate Kern's iconic changes with ample space. Technically, the piece demands strong articulation and blend from all sections, particularly in the fast-moving soli passages and the precise brass figures. The rhythm section must maintain a consistent, driving swing feel, providing a solid foundation for the ensemble. The reward for performers lies in the sheer exhilaration of executing such a well-crafted chart, experiencing the interplay of sections, and contributing to a powerful, cohesive musical statement. Specific moments, such as the dynamic contrasts between the full ensemble and more intimate soli sections, and the explosive energy of the final shout chorus, are particularly gratifying to perform. This arrangement is ideally suited for advanced high school, collegiate, community, and professional big bands. Its demands for precise ensemble playing, sophisticated harmonic understanding, and strong improvisational skills make it an excellent vehicle for developing musicianship at a higher level. While challenging, the clarity of the writing and the inherent musicality of the arrangement make it highly accessible for bands ready to tackle a substantial and rewarding piece of big band literature. It offers a fantastic opportunity to showcase a band's technical prowess and musical maturity while honoring a true jazz standard. Conductors should aim for a consistent, medium-up swing feel around 180-200 BPM, emphasizing a light, driving eighth-note pulse. Key technical challenges include precise articulation in the saxophone soli sections, ensuring clean brass attacks and releases, and maintaining dynamic contrast throughout. Encourage brass players to use a bright, focused tone, especially in the upper registers, without overblowing. The rhythm section must lay down a solid, swinging foundation, with the bass and drums locking in tightly. Guitarists should prioritize clean chord voicings and a tasteful comping style. Pay close attention to the intricate voicings in the ensemble passages, ensuring balance so that inner voices speak clearly. Rehearsal tips include isolating soli sections for woodwinds and brass, practicing dynamic swells and diminuendos, and focusing on rhythmic accuracy in the shout chorus. No special mutes or extended techniques are explicitly required, allowing the ensemble to focus on fundamental big band execution. Q: What instruments and parts are included in this arrangement? A: This arrangement is scored for a standard 17-piece big band, including Alto Saxophone 1 & 2, Tenor Saxophone 1 & 2, Baritone Saxophone, Trumpet 1-4, Trombone 1-4, Piano, Bass, Drums, and Guitar. It also includes a comprehensive conductor's score. Q: What is the difficulty level of "All the Things You Are (M.Lewis)" by Sandoval-Calle? A: This arrangement is rated as advanced, suitable for collegiate, advanced high school, community, and professional big bands. It requires strong ensemble playing, precise articulation, and capable improvisers. Q: What musical style and historical context does this arrangement represent? A: This is a big band jazz standard arrangement of Jerome Kern's "All the Things You Are," originally from 1939. It features a medium-up swing feel, characteristic of post-bebop big band writing, while honoring the tune's enduring legacy in jazz. Q: What makes this specific arrangement by Arturo Sandoval and Ed Calle unique? A: Sandoval and Calle's treatment is characterized by lush, often dense voicings, intricate saxophone soli passages, and powerful brass figures. It blends traditional big band swing with contemporary harmonic colors, culminating in an energetic and sophisticated sound. Q: What is the approximate performance duration and recommended tempo for this piece? A: The typical performance duration for this arrangement is approximately 4-5 minutes, depending on the length of the improvised solos. The recommended tempo is a medium-up swing, ideally between 180 and 200 beats per minute.