It's All Right With Me (G.Goodwin)

"It's All Right With Me," composed by the legendary Cole Porter, first debuted in his 1953 musical *Can-Can*, where it was introduced by Peter Cookson as the character Judge Aristide Forestier. This timeless piece quickly transcended its Broadway origins to become a quintessential jazz standard, celebrated for its sophisticated harmonic structure and poignant lyrical narrative. Porter, a master of the Great American Songbook, crafted a melody that effortlessly shifts between major and minor keys, creating a haunting yet insistent rhythm that has captivated audiences and musicians for decades. The song's enduring appeal is evidenced by its inclusion in the 1997 musical *High Society* and countless recordings by jazz titans such as Ella Fitzgerald, Frank Sinatra, Sonny Rollins, and Erroll Garner, solidifying its place as a cornerstone of the jazz repertoire. Its lyrical theme of resigned attraction, despite knowing a relationship is "wrong," resonates deeply, contributing to its status as a classic torch song. This big band arrangement by G.Goodwin transforms Porter's classic into an exhilarating, up-tempo swing chart, characteristic of Goodwin's signature "Big Phat Band" style. Known for his witty, intricate, and hard-swinging compositions, Goodwin injects a contemporary energy while respecting the original's harmonic integrity. The arrangement is set in a bright, driving 4/4 medium-fast swing feel, immediately establishing an infectious groove. Goodwin's distinctive approach is evident in the rich, complex voicings across the brass and saxophone sections, creating a full, powerful sound. Expect dynamic contrasts, from tightly articulated ensemble figures to soaring soli passages that showcase each section's prowess. The arrangement features a compelling shout chorus that builds in intensity, a hallmark of Goodwin's ability to create thrilling climaxes. The melody is initially carried by the alto saxophone, offering a smooth, lyrical interpretation before being passed to other sections, including a powerful brass soli. Featured solos are provided for tenor saxophone and trumpet, allowing skilled improvisers to shine over the sophisticated harmonic progression. Technical challenges include fast chromatic runs in the saxophone section, precise articulation demands across all horns, and intricate rhythmic figures that require tight ensemble coordination. The rewarding aspect lies in the sheer exhilaration of performing a meticulously crafted chart that combines traditional big band elements with a modern, energetic edge. The arrangement culminates in a powerful, full-ensemble statement, leaving a lasting impression. This arrangement is ideally suited for advanced high school, college, community, and professional big bands. Its demands on technical proficiency, rhythmic precision, and dynamic control make it an excellent vehicle for developing ensemble cohesion and individual musicianship. Bands familiar with Goodwin's other works will appreciate the familiar yet fresh challenges, while those new to his style will find it an engaging and inspiring piece to tackle. The comprehensive instrumentation, including flute and a full complement of saxophones, trumpets, and trombones, ensures a rich and authentic big band sound. Conductors should emphasize a precise, driving medium-fast swing feel from the downbeat, ensuring the rhythm section lays down a solid, consistent foundation. Key technical challenges include the rapid sixteenth-note passages in the saxophone soli, which require meticulous individual practice and careful section blending. Articulation is paramount; differentiate clearly between short, detached figures and longer, sustained lines to maintain musical clarity and drive. The brass section needs to focus on controlled power and accurate intonation, particularly during the high-register shout chorus. Encourage soloists to embrace the up-tempo feel, utilizing the rich harmonic landscape for creative improvisation. Rehearsal tips include isolating challenging rhythmic figures, using a metronome for precision, and gradually building dynamics, especially in the crescendo leading into the shout chorus. Ensure all players understand the stylistic nuances of Gordon Goodwin's writing, which often blends traditional jazz with contemporary influences. **Q: What instruments are included in this arrangement?** A: This big band arrangement includes parts for 18 instruments: Flute, Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone 1, Tenor Saxophone 2, Baritone Saxophone, Trumpet 1, Trumpet 2, Trumpet 3, Trumpet 4, Trombone 1, Trombone 2, Trombone 3, Bass Trombone, Piano, Bass, Drums, and Guitar. It also comes with a comprehensive conductor score. **Q: What is the difficulty level of this arrangement?** A: This arrangement is considered advanced, suitable for experienced high school, college, community, and professional big bands. It features complex rhythms, intricate voicings, and demanding technical passages for all sections. **Q: What is the musical style and historical context of "It's All Right With Me"?** A: "It's All Right With Me" is a classic jazz standard composed by Cole Porter for his 1953 musical *Can-Can*. It embodies the sophisticated harmonic and melodic characteristics of the Great American Songbook era, adapted here into a vibrant, contemporary big band swing style. **Q: What makes G.Goodwin's arrangement of this standard unique?** A: G.Goodwin's arrangement is distinguished by its up-tempo, hard-swinging contemporary big band sound, featuring intricate voicings, dynamic soli sections, and a powerful shout chorus, all characteristic of his award-winning "Big Phat Band" style. **Q: What is the typical performance duration and tempo of this piece?** A: The performance duration will vary slightly based on improvised solos, but typically ranges from 4 to 6 minutes. It is designed to be played at a medium-fast swing tempo, around 180-200 BPM, maintaining a driving and energetic feel throughout.