Come Fly With Me (B.May)

"Come Fly With Me," penned by Jimmy Van Heusen with lyrics by Sammy Cahn, debuted in 1957 as the title track for Frank Sinatra's iconic album. This quintessential jazz standard immediately captured the optimistic and adventurous spirit of the post-war era, becoming synonymous with sophisticated travel and the golden age of vocal jazz. Its enduring popularity stems from its infectious melody, engaging harmonic progression, and a narrative that perfectly encapsulates the allure of global exploration and romance. The piece quickly solidified its place in the Great American Songbook, a testament to its timeless appeal and its ability to inspire countless interpretations by jazz luminaries. Billy May's masterful big band arrangement of "Come Fly With Me" captures the song's inherent ebullience with his signature blend of precision, power, and playful swing. Set in a bright, medium-up tempo 4/4 swing feel, this chart immediately establishes a buoyant energy, driven by a crisp rhythm section. May's harmonic language is rich yet accessible, employing his characteristic "slurpy" brass voicings and tight saxophone soli passages that glide effortlessly. The overall mood is one of sophisticated excitement and lighthearted adventure, making it an ideal opener or a vibrant centerpiece for any concert program. The arrangement maintains a consistent, uplifting key, allowing the melody to soar without unnecessary harmonic complexity, while still offering moments of delightful chromaticism. May's distinctive arranging style is evident throughout this 18-instrument chart. The vocal line, the heart of the arrangement, is expertly supported by lush, often sustained, saxophone pads and punctuating brass figures. Soli sections are meticulously crafted, particularly for the saxophones, showcasing May's knack for creating intricate yet cohesive melodic lines within the ensemble. Expect powerful shout choruses where the full band erupts with thrilling, tightly voiced brass figures and driving saxophone lines, providing exhilarating peaks. While there are no extended improvised solo sections, the arrangement often features short, melodic fills and counter-melodies from the lead alto and trumpet, adding flashes of individual brilliance within the ensemble texture. The chart's technical demands are moderate to challenging, requiring strong section playing, precise articulation, and excellent dynamic control to fully realize May's vision. Performing this arrangement is a deeply rewarding experience for a well-rehearsed big band. The melody is predominantly carried by the vocalist, with the ensemble providing dynamic and textural support, often echoing melodic fragments or setting up phrases. Key moments include the tightly voiced brass interjections and the soaring saxophone soli that provide counterpoint to the vocal. The technical challenges lie in achieving the characteristic "May sound"—impeccable blend, precise attacks and releases, and a unified swing feel across all sections. The chart is ideally suited for college-level ensembles and advanced community bands, as well as professional groups seeking an authentic and vibrant big band rendition of this classic. Its clarity and iconic sound make it a fantastic learning tool for understanding classic big band arranging techniques. Conductors should emphasize a consistent, driving medium-up swing feel from the outset, ensuring the rhythm section lays down a solid, unhurried groove. Articulation is paramount; brass players should focus on sharp, precise attacks for short notes and a smooth, connected approach for May's characteristic "slurpy" legato phrases. Saxophone soli sections require meticulous attention to blend and intonation, aiming for a unified, almost vocal quality. Pay close attention to dynamic contrasts, particularly between the vocal line and the ensemble accompaniment, and build intensity gradually towards the shout choruses. While no specific mutes are explicitly called for, a tight, controlled plunger effect on brass interjections can enhance the authentic May sound. Rehearsal time should be dedicated to syncing brass and sax figures, ensuring clean releases, and perfecting the overall ensemble balance to allow the vocalist to shine. Q: What instruments are included in this arrangement? A: This arrangement is scored for an 18-instrument big band, including a Vocal part, Alto Saxophone 1 & 2, Tenor Saxophone 1 & 2, Baritone Saxophone, Trumpet 1-4, Trombone 1-4, Guitar, Piano, Bass, and Drums. Q: What is the difficulty level of this "Come Fly With Me" arrangement? A: This arrangement is considered moderately challenging, suitable for college-level, advanced community, and professional big bands. It requires strong section playing, precise articulation, and a good understanding of swing dynamics. Q: What is the musical style and historical context of this arrangement? A: This is a classic big band jazz standard arrangement in a medium-up swing style, reflecting the sophisticated vocal jazz and big band sound of the late 1950s, particularly associated with Frank Sinatra and Billy May. Q: What makes Billy May's arrangement of "Come Fly With Me" unique? A: Billy May's signature style is evident through his "slurpy" brass voicings, tight saxophone soli sections, powerful shout choruses, and his ability to create a vibrant, cohesive sound that perfectly complements the vocal. Q: What is the typical performance tempo and duration for this piece? A: The arrangement is designed for a bright, medium-up 4/4 swing tempo. The exact duration will vary slightly based on the chosen tempo and any optional vocal ad-libs, but typically ranges from 3 to 4 minutes.