Closely Dancing (A.Sandoval) Ed Calle (B.Myagkov)

"Closely Dancing" is a captivating jazz standard originally composed by the legendary Cuban-American trumpeter Arturo Sandoval. First released on his 1998 album *Hot House*, this piece emerged during a vibrant era of Latin jazz, where traditional Afro-Cuban rhythms fused seamlessly with modern jazz improvisation and harmonies. Sandoval, a protégé of Dizzy Gillespie and a towering figure in contemporary jazz, made this piece notable for its lyrical melodicism and sophisticated Latin-infused groove. It quickly became a staple in his repertoire, often featuring his signature trumpet virtuosity and expressive phrasing. The piece embodies the late 20th-century evolution of jazz, showcasing a blend of fiery Latin passion and cool jazz sophistication, solidifying its place as a cherished jazz standard. This big band arrangement by Boris Myagkov, featuring the interpretation of saxophonist Ed Calle, transforms Sandoval's original into a rich, full-bodied experience. Myagkov's approach to "Closely Dancing" maintains the original Latin groove, likely a relaxed bossa nova or a smooth bolero feel, set in a comfortable medium tempo. The mood is one of elegant romance and subtle intensity, evoking images of a sophisticated dance. Myagkov is known for his ability to craft arrangements that are both accessible and musically rewarding, often employing lush voicings and dynamic contrasts to enhance the emotional arc of a piece. His arrangements frequently feature well-constructed soli sections that allow the various instrument families to shine, and he is adept at creating a cohesive sound that highlights the ensemble's strengths. In this particular arrangement, the melody is initially carried by the flute, offering a delicate and ethereal opening before transitioning to the alto saxophones, providing a warmer, more central timbre. The arrangement features prominent solo opportunities for both alto saxophone 1 and trumpet 1, allowing skilled improvisers to explore the piece's harmonic landscape. Myagkov's signature techniques include the use of extended harmonies within the brass and saxophone sections, creating a rich harmonic palette that supports the melodic lines. The arrangement culminates in a powerful shout chorus that builds excitement and provides a climactic moment before a refined coda. Technical challenges include maintaining precise rhythmic integrity within the Latin groove, achieving seamless blend and balance in the soli sections, and navigating the expressive demands of the melodic lines. The reward lies in performing a piece that is both technically engaging and deeply emotive, allowing the band to convey a sense of grace and passion. This arrangement is highly suitable for advanced high school, college, community, and professional big bands. Its intricate voicings and solo sections demand a high level of musicianship and ensemble cohesion. The inclusion of a flute part adds a unique color to the traditional big band instrumentation, expanding the ensemble's sonic possibilities. Bands looking to explore the rich tapestry of Latin jazz, with a focus on lyrical expression and sophisticated harmonies, will find this arrangement particularly appropriate. It offers an excellent opportunity to develop rhythmic precision, dynamic control, and expressive phrasing within a captivating musical setting. Conductors should emphasize a consistent, relaxed Latin groove throughout, ensuring that the rhythm section lays down a solid yet fluid foundation. The tempo marking should lean towards a medium ballad feel, allowing for expressive phrasing and legato playing, particularly in the melodic sections. Key technical challenges include maintaining precise intonation and blend within the saxophone soli passages, especially with the added flute voice. Encourage woodwind players to focus on a warm, sustained tone. Trumpet and trombone sections should articulate with clarity and precision, especially during the shout chorus, while also being mindful of dynamic shaping. There are no specific extended techniques like plunger mutes or falls indicated, but tasteful use of vibrato and expressive dynamics will greatly enhance the performance. Rehearsal tips include isolating the soli sections to perfect balance and intonation, and working on the rhythmic interplay between the rhythm section and the horn lines to achieve an authentic Latin feel. Pay close attention to the dynamic swells and fades to build and release tension effectively. Q: What instruments are included in this arrangement? A: This arrangement is scored for a 20-instrument big band, including Flute, Clarinet, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone, and a full complement of brass and rhythm section instruments. Q: What is the difficulty level of "Closely Dancing (A.Sandoval) Ed Calle (B.Myagkov)"? A: This arrangement is considered advanced, suitable for college, community, and professional big bands due to its intricate voicings, solo demands, and the need for precise rhythmic and dynamic control. Q: What is the musical style and historical context of this piece? A: "Closely Dancing" is a jazz standard in the Latin jazz style, originally composed by Arturo Sandoval and released in 1998, blending Afro-Cuban rhythms with modern jazz harmonies. Q: What makes Boris Myagkov's arrangement of "Closely Dancing" unique? A: Myagkov's arrangement features a unique instrumentation including flute, lush extended harmonies, prominent soli sections, and significant solo opportunities for alto saxophone and trumpet, all while maintaining the original Latin groove. Q: What is the typical performance duration or tempo for this arrangement? A: The arrangement is intended to be performed at a medium ballad tempo with a relaxed Latin groove, allowing for expressive melodic interpretation and a sophisticated, romantic mood.