It's All Right With Me (A.Baylock)

Cole Porter's timeless standard, "It's All Right With Me," emerged from the 1953 Broadway musical *Can-Can*, quickly cementing its place in the Great American Songbook. While originally a show tune, its sophisticated harmonic progression and memorable melody made it an instant favorite among jazz musicians. Early interpretations by artists like Frank Sinatra and Ella Fitzgerald showcased its versatility, transforming it from a theatrical number into a quintessential vehicle for improvisation and swing. The tune's AABA form, often featuring a minor key verse transitioning to a brighter major key chorus, offers a compelling narrative arc that has captivated audiences and performers for decades, embodying the elegant yet vibrant spirit of mid-20th century American popular music. Alan Baylock's arrangement of "It's All Right With Me" masterfully reinterprets this classic for the modern big band, infusing it with his characteristic blend of contemporary harmonic language and driving swing. Set at a brisk, energetic medium-up tempo, Baylock’s treatment maintains the original's sophisticated charm while pushing its rhythmic and harmonic boundaries. The arrangement opens with an intricate, yet accessible, saxophone soli that immediately establishes a vibrant 4/4 swing feel, showcasing Baylock's penchant for rich, often reharmonized, voicings. Throughout the piece, the brass sections contribute powerful, articulate figures, complementing the saxophones without overpowering them, creating a dynamic interplay that is a hallmark of Baylock's writing. One of the most distinctive aspects of Baylock's approach here is his imaginative use of texture and dynamics. The melody is passed fluidly between sections, often featuring the lead alto saxophone or trumpet, but also appearing in unexpected voicings within the full ensemble. The arrangement provides ample opportunity for featured soloists, typically offering open solo sections over the standard chord changes, allowing improvisers to explore the tune's rich harmonic landscape. A particularly exciting moment is the powerful shout chorus, where the full ensemble unleashes a tightly woven, high-energy statement that builds to a thrilling climax, showcasing the band's collective power and precision. Technical challenges include precise articulation in the brass, maintaining a consistent, driving swing feel, and navigating some extended harmonies, particularly in the saxophone soli. This arrangement is ideally suited for advanced high school, collegiate, community, and professional jazz ensembles. Its demands for tight ensemble playing, strong lead trumpet and alto saxophone, and capable improvisers make it a rewarding challenge. Bands will find immense satisfaction in mastering the intricate voicings, dynamic contrasts, and the sheer exhilaration of its driving swing. The piece offers a fantastic opportunity to explore a beloved jazz standard through the lens of a contemporary master arranger, providing both educational value and an exciting performance experience. Conductors should emphasize a consistent, driving medium-up swing feel from the outset, ensuring the rhythm section lays down a solid foundation without rushing. The intricate saxophone soli requires careful attention to balance and blend, with each voice articulating precisely to create a unified harmonic statement; consider rehearsing this section slowly and then gradually increasing tempo. Brass articulation should be crisp and energetic, especially in the shout chorus, where dynamic shaping is crucial for maximum impact. Lead trumpet players should be prepared for sustained upper-register playing, while the lead alto saxophone carries significant melodic responsibility. Encourage soloists to engage with the harmonic depth of the tune, providing a solid rhythmic accompaniment from the rhythm section. No special techniques like plungers or falls are explicitly notated, focusing instead on clean execution and dynamic contrast. Q: What instruments and parts are included in this arrangement? A: This arrangement is scored for a standard 17-piece big band, including five saxophones (Alto 1, Alto 2, Tenor 1, Tenor 2, Baritone), four trumpets, four trombones, and a full rhythm section (piano, bass, drums, guitar). Q: What is the difficulty level of "It's All Right With Me (A.Baylock)"? A: This arrangement is rated as advanced, suitable for collegiate, advanced high school, community, and professional jazz ensembles due to its technical demands, intricate voicings, and required improvisation. Q: What is the musical style and historical context of this piece? A: This is a contemporary big band arrangement of the classic Cole Porter jazz standard "It's All Right With Me," originally from the 1953 musical *Can-Can*, presented in a vibrant, driving medium-up swing style. Q: What makes Alan Baylock's arrangement of "It's All Right With Me" unique? A: Baylock's treatment is distinguished by its sophisticated reharmonizations, intricate saxophone solis, energetic brass figures, and a powerful shout chorus, all while maintaining a driving, contemporary swing feel. Q: What is the typical performance duration and tempo for this arrangement? A: The typical performance duration for this arrangement is approximately 4-5 minutes, performed at a brisk medium-up swing tempo, around 180-200 beats per minute.