Do It Again (M.Taylor)

George Gershwin and Buddy DeSylva’s timeless 1922 Tin Pan Alley classic, "Do It Again," occupies a cherished space in the Great American Songbook, having been popularized by early jazz and cabaret icons like Clara Smith, Lee Wiley, and later enshrined in jazz lore through countless instrumental and vocal interpretations. Written during Gershwin’s early collaborative peak before his landmark shift into symphonic jazz, the tune possesses an infectious, blues-inflected, syncopated Broadway charm that naturally begs for big band re-harmonization. Its seamless blend of accessible popular song form with sophisticated underlying harmonic movement makes it an evergreen vehicle for jazz arrangers seeking to balance nostalgic elegance with swinging momentum. Crafted by master big band writer Mark Taylor, this contemporary big band setting breathes fresh life into Gershwin's classic melody through a sophisticated medium-swing lens. The chart opens with an inviting, laid-back groove that steadily builds in warmth and rhythmic complexity, evoking the sophisticated atmosphere of a mid-century jazz club. Taylor weaves rich, extended chord voicings through the brass and reed sections, utilizing lush block-chord harmonies and subtle counter-melodies that honor the vocal origins of the tune while driving it forward with a buoyant, infectious energy. Taylor’s arrangement is masterfully structured to highlight ensemble interplay, balancing full-ensemble shout choruses with transparent, breath-of-fresh-air soli sections. The saxophones frequently carry the initial thematic weight, characterized by tight, flowing bebop-influenced lines, before trading phrases with punchy, articulate brass interjections. Solo opportunities are thoughtfully integrated into the arrangement, allowing featured performers—traditionally within the trumpet or tenor saxophone chairs—to stretch out over a swinging, dynamically responsive rhythm section background. The technical demands lie primarily in stylistic precision rather than extreme velocity; players must navigate crisp articulation, sensitive dynamic shifts, and an authentic, driving medium-swing eighth-note feel. Advanced high school ensembles, collegiate jazz orchestras, and professional community big bands will find this chart to be an exceptionally rewarding addition to their repertoire. It provides an ideal pedagogical and performance vehicle for teaching stylistic consistency, section blend, and traditional swing phrasing without overwhelming younger players with excessive technical pyrotechnics. Conductor and bandleaders looking to program a sophisticated, crowd-pleasing standard that showcases both ensemble maturity and individual improvisational flair will discover an impeccably crafted centerpiece in Taylor’s arrangement. Achieving an authentic performance of this Mark Taylor arrangement requires meticulous attention to the medium-swing feel. The rhythm section is the engine; the bass should maintain a steady, walking quarter-note pulse with strong weight on beats two and four, while the drummer keeps a crisp, triplet-based ride cymbal pattern complemented by subtle hi-hat chops on two and four. Horn players must internalize a relaxed, behind-the-beat phrasing on eighth-note lines, avoiding any tendency to rush or play with a stiff, straight-eighth interpretation. Dynamic contrast is crucial for shaping the arrangement's narrative arc; ensure the ensemble dips dynamically behind featured soloists to maintain clarity. Articulation markings—such as roof accents, staccatos, and gentle tenutos—must be executed uniformly across sections to capture the characteristic bounce of the style. Mutes are optional in the brass sections depending on acoustic preference, but clean, unified breath attacks on sustained chord changes will ensure the rich, extended Gershwin harmonies bloom effectively across the bandstand. Q: What instrumentation and parts are included in this arrangement? A: This chart is scored for a standard 18-piece big band instrumentation consisting of 5 saxophones (2 altos, 2 tenors, 1 baritone), 4 trumpets, 4 trombones, piano, guitar, bass, and drums, along with a comprehensive 45-page conductor score. Q: What is the difficulty level of this Mark Taylor chart? A: It is graded as medium-advanced, making it ideal for high school groups with strong section players, college jazz bands, and professional community ensembles looking for sophisticated yet accessible repertoire. Q: What is the historical style and background of "Do It Again"? A: Originally composed by George Gershwin with lyrics by Buddy DeSylva in 1922 for the Broadway musical *The French Doll*, this arrangement translates the classic Tin Pan Alley tune into a swinging, modern big band idiom. Q: What makes this specific arrangement by Mark Taylor unique? A: Taylor expertly balances classic Gershwin harmonies with contemporary big band writing techniques, featuring lush saxophone solis, crisp brass counterlines, and a swinging arrangement style tailored for modern ensembles. Q: What is the approximate performance duration and tempo feel? A: The arrangement is designed with a comfortable, driving medium-swing tempo (approximately quarter note = 120-126 BPM) and typically runs around 3 to 4 minutes in performance length.