Come Rain Or Come Shine (B.Holman)

Harold Arlen and Johnny Mercer crafted "Come Rain or Come Shine" in 1946 for the short-lived Broadway musical *St. Louis Woman*, little knowing it would rapidly ascend into the upper echelon of the Great American Songbook. Initially popularized by Dinah Washington and subsequently immortalized by artists like Ray Charles, Judy Garland, and Frank Sinatra, the tune’s unique blend of blues-inflected melancholy and unwavering devotion has made it a touchstone for vocalists and instrumentalists alike. Its deceptive harmonic depth—shifting effortlessly between major and minor modal centers—provides an ideal canvas for sophisticated jazz interpretation, inviting cyclical tension and resolution that resonates deeply with audiences across generations. Master arranger Bill Holman transforms this enduring standard into a masterclass of modern big band architecture, driving the ensemble with a crisp, medium-up swing groove. The mood shifts masterfully between introspective, tightly wound harmonic tension and explosive, brass-heavy jubilation. Holman avoids predictable chord substitutions in favor of linear counterpoint, angular melodic fragments, and unexpected rhythmic displacements. The arrangement opens with an atmospheric, harmonically rich introduction before settling into a relentless, forward-driving swing feel that highlights the rhythmic interplay between the rhythm section and the horn tiers. Central to the chart’s brilliance is a soaring feature for solo tenor saxophone, which anchors the middle stretch of the arrangement with expansive, linear improvisation over Holman’s ingenious background figures. The saxophone and brass sections trade intricate, interlocking solis that demand absolute precision and rhythmic agility from every player. Holman utilizes his signature voicing techniques—dense, modern chromatic clusters resolving into lush, open-position major triads—to give the ensemble a massive acoustic footprint. A breathtaking shout chorus builds organically from a simmering dynamic low-point, utilizing shifting metric accents and soaring trumpet leads to propel the band toward a high-octane climax before a witty, understated button brings the chart to a close. Advanced college ensembles, top-tier high school jazz bands, and professional repertory orchestras will find this chart an exhilarating, highly rewarding addition to their repertoire. While the rhythm section must maintain an unyielding, elastic time-feel amidst shifting metric stresses, the horn sections need a mature command of balance, intonation, and dynamic shading to execute Holman’s complex countermelodies. This arrangement rewards meticulous sectional rehearsal, offering an authentic taste of West Coast big band sophistication that will leave audiences spellbound. Navigating Bill Holman’s intricate arrangement of "Come Rain or Come Shine" requires exceptional rhythmic precision and deep stylistic cohesion from the entire ensemble. Set at a brisk medium-swing tempo, the groove must never feel rushed; the rhythm section—particularly the drummer—needs to drive the ensemble with a feather-light ride cymbal pattern while executing sharp, punctuating accents that align with the horn section's syncopated hits. The primary technical challenge lies in the execution of Holman’s dense, linear counterpoint. Horn players must carefully balance internal voices so that secondary melodies do not obscure the primary thematic material. Ensure that short notes are clipped and articulated with uniform crispness, while longer notes maintain a sustained, vibrant core without sagging in pitch. Conductors should prioritize sectional rehearsals before bringing the full band together, focusing specifically on the intricate interplay between the saxes and brass during the developmental soli sections. Pay close attention to dynamic markings: the transition from quiet, sub-tone passages to roaring ensemble peaks must be handled with extreme care to preserve the chart's architectural tension and ultimate release. Q: What instruments and parts are included in this big band arrangement? A: This arrangement is scored for a standard 17-piece big band instrumentation, comprising a rhythm section (Piano, Bass, Drum Set), a solo tenor saxophone, an alto saxophone 1, and the complete complementary reed, trumpet, and trombone sections. Q: What is the difficulty level of this Bill Holman chart? A: This arrangement is graded as advanced, making it best suited for collegiate jazz ensembles, advanced high school bands, and professional big bands that possess strong technical facility and mature sight-reading capabilities. Q: What is the musical style and historical context of this piece? A: Styled as a sophisticated medium-swing jazz arrangement, it reinterprets Harold Arlen and Johnny Mercer’s 1946 classic standard through the lens of Bill Holman’s signature West Coast modernist arranging aesthetic. Q: What makes this specific arrangement unique? A: Holman’s distinct approach shines through his use of linear counterpoint, angular harmonic voicings, unexpected rhythmic displacements, and a brilliantly structured solo vehicle that elevates the standard far beyond a stock head arrangement. Q: What is the performance duration and tempo feel of the piece? A: The arrangement is built around a driving, medium-up swing feel with a performance duration of approximately 4 to 5 minutes, depending on the length of the open solo section.