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

Cole Porter introduced "It's All Right With Me" in his 1953 Broadway musical *Can-Can*, where it was originally performed by actor Peter Cookson. It rapidly crossed over from the Great White Way into the essential jazz canon, embraced by bebop and hard bop architects due to its sophisticated, winding harmonic progression and propulsive rhythmic drive. Legendary interpretations by artists such as Frank Sinatra, Ella Fitzgerald, and Sonny Rollins cemented its status as an ultimate vehicle for improvisational exploration. The composition bridges classic Broadway sophistication with the harmonic urgency of mid-century jazz, making it a perennial favorite for instrumentalists seeking both melodic charm and technical challenge. George Stone’s brilliant big band treatment transforms Porter’s classic into an exhilarating, high-energy modern swing showcase. Set at a brisk, driving up-tempo swing feel, the arrangement pulses with vibrant anticipation and sophisticated urban cool. Stone eschews predictable writing in favor of dense, contemporary harmonic structures, shifting metric accents, and razor-sharp ensemble interplay. The mood shifts fluidly from sleek, driving urgency during the head to explosive, brass-heavy climaxes that demand absolute precision and collective virtuosity from the entire ensemble. The arrangement opens with an arresting, rhythmic hook before handing the primary melody to the saxophone section, buoyed by crisp, syncopated punctuations from the rhythm section. Stone crafts a breathtaking saxophone soli that showcases intricate line-writing and demands flawless articulation across all five voices. Featured solo space allows frontline improvisers to stretch out over Porter's demanding changes, while a masterclass of a shout chorus builds relentlessly, utilizing upper-structure triad voicings and dynamic contrast to create a massive wall of sound before the triumphant final cadence. Advanced college ensembles, top-tier high school jazz bands, and professional big bands will find this 68-page chart an exceptionally rewarding centerpiece for festival performances or concert programs. Because of the rapid tempo and intricate bebop-infused lines, it requires a rhythm section with impeccable time and a horn section capable of agile, unified articulation. Conducting this chart offers a masterclass in balancing dense brass counterlines with flowing woodwind textures, ensuring that every nuance of Stone's sophisticated arranging palette cuts through cleanly. Executing George Stone’s chart requires absolute rhythmic discipline, particularly at the prescribed brisk up-tempo swing metronome marking. The primary technical hurdle lies in the execution of rapid, harmonically complex bebop lines shared between the saxophones and brass; players must prioritize light, voiced articulation over sheer volume to keep the dense chord extensions transparent. The rhythm section is the engine here—the drummer should maintain a crisp, conversational ride cymbal pattern with steady hi-hat on beats two and four, avoiding heavy backbeats that could bog down the forward momentum. Brass players should approach high-register passages with controlled breath support, utilizing clean cut-offs and precise doits or falls where indicated in the score rather than exaggerated effects. During the ensemble shout chorus, balance is critical: ensure the underlying sax countermelodies are audible beneath the soaring trumpet leads. Rehearsal should begin section-by-section at a reduced tempo, focusing heavily on syncopated figures and unison passages before integrating the rhythm section and bringing the chart up to performance speed. Q: What instrumentation and parts are included in this publication? A: This 68-page arrangement is scored for a standard 18-instrument big band, comprising 2 alto saxophones, 2 tenor saxophones, 1 baritone saxophone, 4 trumpets, 4 trombones, guitar, piano, bass, and drums, along with a comprehensive conductor score. Q: What is the designated difficulty level for this arrangement? A: This chart is graded as advanced (Level 4/5), making it best suited for accomplished university ensembles, advanced high school jazz bands, and professional big bands with strong technical proficiency. Q: What musical style and historical context does this arrangement inhabit? A: It is an up-tempo modern jazz swing arrangement of Cole Porter’s classic 1953 Broadway standard from *Can-Can*, merging traditional Tin Pan Alley sophistication with contemporary big band harmonic language. Q: What makes George Stone's arrangement unique compared to other versions of this standard? A: Stone's treatment stands out through its intricate, modern harmonic voicings, a sophisticated saxophone soli, and a powerhouse shout chorus that reinterprets Porter’s changes with fresh rhythmic and structural vitality. Q: What is the approximate performance duration and tempo feel of the piece? A: The arrangement is designed as a high-energy, driving up-tempo swing chart that typically clocks in at around 3 to 4 minutes, depending on the length of the improvised solo choruses taken.