Come Rain Or Come Shine [J.Nowak] (J.Nowak)

Harold Arlen and Johnny Mercer crafted "Come Rain or Come Shine" in 1946 for the short-lived Broadway musical *St. Louis Woman*, and it rapidly evolved into one of the most resilient, emotionally charged standards in the Great American Songbook. Recorded by legendary artists ranging from Billie Holiday and Ray Charles to Frank Sinatra and Barbra Streisand, the composition balances an earthy, blues-infused melancholy with an unyielding, optimistic devotion. Its unique structural architecture—moving between a deceptively simple minor blues framework and a soaring, emotionally expansive release—makes it a masterpiece of mid-century American songwriting, perfectly suited for the dynamic palette of a jazz big band. Jerry Nowak’s masterful big band arrangement captures the quintessential essence of the swing era while injecting a rich, contemporary harmonic warmth that defines his signature writing style for educational and professional ensembles. Set in a comfortable, driving medium-swing feel (4/4 time), the chart alternates between smoky, intimate ensemble passages and thunderous, brass-heavy shout choruses. Nowak avoids rushing the tempo, instead encouraging the ensemble to lean deep into the pocket. The arrangement opens with a sultry, understated motif in the lower reeds before gradually building intensity through sophisticated, interlocking horn voicings and lush harmonic suspensions that highlight Arlen’s brilliant chord progressions. Throughout the chart, the melody is intelligently distributed across sections, allowing both the saxophones and brass to state the iconic theme with idiomatic phrasing. A designated solo section provides a premier soloist—typically tenor saxophone or piano—ample room to stretch out over standard changes, supported by crisp, understated backgrounds from the rhythm section and punctuating stabs from the brass. Technical demands are thoughtfully balanced; while the trumpet and trombone ranges remain accessible to developing players, the chart requires immaculate internal listening, clean articulation, and a mature sense of swing subdivision to truly unlock its expressive potential. The dynamic contrast between the hushed, suspenseful interludes and the full-ensemble peaks creates a compelling narrative arc that leaves audiences captivated from the first downbeat to the final chord. Advanced high school ensembles, collegiate jazz orchestras, and accomplished community big bands will find this arrangement to be an ideal cornerstone for a concert or festival program. It offers a masterclass in ensemble blend, dynamic control, and stylistic interpretation, making it rigorous enough to challenge developing musicians yet deeply rewarding for veteran performers who want to connect directly with the grand tradition of jazz vocal and instrumental storytelling. Success with this Jerry Nowak chart relies heavily on achieving an authentic, relaxed medium-swing feel. Conductors should emphasize that eighth notes must be properly swung, with articulation weighted on the upbeat rather than clipped or marching. The rhythm section serves as the anchor: the drummer should maintain a steady, driving ride cymbal pattern with a gentle hi-hat chick on beats two and four, while the bass player walks a clear, acoustic-style line that locks tightly with the piano's comping voicings. Pay close attention to the dynamic markings in the sax soli and brass backgrounds; the ensemble must maintain plenty of headroom so the shout chorus achieves maximum impact without forcing the tone. Watch out for intonation in the complex chord extensions during the softer bridge sections—encourage players to tune chords vertically from the bottom up. No special plunger mutes or extended avant-garde techniques are required, allowing the band to focus entirely on blend, swing subdivision, and expressive phrasing. Q: What instrumentation and parts are included in this arrangement? A: This 26-page chart is scored for a standard 17-instrument big band, consisting of 5 saxophones (2 altos, 2 tenors, 1 baritone), 4 trumpets, 4 trombones, piano, guitar, bass, and drums. Q: What is the difficulty level of Jerry Nowak's "Come Rain Or Come Shine"? A: This arrangement is rated as medium or Grade 3 to 4, making it well-suited for advanced high school, collegiate, and community big bands looking to refine their swing feel and ensemble balance. Q: What is the musical style and historical context of this piece? A: Written originally by Harold Arlen and Johnny Mercer in 1946, this arrangement frames the classic standard in a timeless medium-swing jazz style reminiscent of classic Count Basie or Nelson Riddle vocal charts. Q: What makes this specific arrangement by Jerry Nowak unique? A: Nowak's treatment stands out for its clever distribution of melodic material between the brass and reed sections, combined with lush harmonic voicings and a pacing that builds dramatic tension naturally toward a powerful shout chorus. Q: What is the typical performance duration and tempo for this arrangement? A: The chart is designed for a performance time of approximately 3 to 4 minutes at a relaxed, driving medium-swing tempo (around 116–124 BPM).