It's All Right With Me (T.Newsom)

Cole Porter penned "It's All Right With Me" for his hit 1953 Broadway musical *Can-Can*, where it was originally introduced by Lilo. It swiftly transitioned from the theatrical stage into the foundational canon of jazz standards, celebrated for its restless, shifting harmonic minor modalities and sophisticated, conversational lyricism. Over the decades, the tune became a rite of passage for jazz luminaries, most notably immortalized by instrumentalists like Sonny Rollins, Art Blakey, and Ella Fitzgerald, who seized upon its relentless momentum and sophisticated AABA song form. It remains a quintessential vehicle for exploring modal tension and resolving sophisticated bebop-infused chord changes in an uptempo blowing format. Tommy Newsom’s masterful big band adaptation injects high-octane energy into Porter’s classic framework, operating at a brisk, driving medium-up swing tempo. The chart pulses with an irrepressible forward drive, balancing polished sophistication with aggressive, straight-ahead momentum. Newsom—renowned equally for his decades of sophisticated arranging on *The Tonight Show Starring Johnny Carson* and his deep roots in big band jazz—brings a pristine, immaculate craftsmanship to the score. His writing avoids cheap effects, opting instead for razor-sharp dynamic contrasts, crystalline horn textures, and an infectious, toe-tapping buoyancy that keeps both the ensemble and the audience completely riveted from the first downbeat. The arrangement wastes no time establishing its vibrant character, launching directly into crisp, punchy ensemble figures that highlight Newsom’s signature crispness in the brass and saxes. The saxophone section enjoys rich, intricate soli passages that weave modern post-bop harmonic extensions into Porter's classic changes, while the brass interject with biting, articulate stabs. A dynamic shout chorus forms the emotional apex of the chart, meticulously voiced to maximize the acoustic footprint of a 17-piece big band without ever sounding congested. Solo opportunities are strategically integrated to spotlight standout improvisers within the rhythm section or front line, providing ample space for swinging, extended choruses backed by tight, reactive background riffs. Advanced high school ensembles, collegiate jazz orchestras, and professional big bands will find this chart to be an exhilarating addition to their repertoire. While the rapid tempo and intricate harmonic landscape demand facility and rhythmic precision, the payoff is immense, rewarding groups that possess tight section articulation and a refined sense of swing stylistic awareness. This 108-page publication includes a comprehensive conductor score alongside a full 17-instrument set of parts, ensuring that directors have every resource necessary to polish this brilliant piece to performance perfection. Navigating Tommy Newsom’s arrangement of "It's All Right With Me" requires pristine articulation and an unrelenting, driving swing feel set around quarter note = 208–216. The primary technical hurdle lies in the brisk tempo combined with rapid, sequential harmonic shifts; rhythm section players must maintain a rock-solid, feather-light ride cymbal pulse while the horns execute clean, synchronized bebop lines without dragging. Conductors should pay special attention to the dynamic contrast between the understated background figures and the roaring ensemble shout choruses, ensuring that the brass do not overblow during denser chordal voicings. Saxophones must prioritize a unified, homogeneous tone during their intricate soli sections, keeping the eighth-note lines buoyant and evenly weighted. Articulation markings—particularly the short, punchy staccatos and well-measured accents—are critical to capturing Newsom's signature broadcast-era crispness. Rehearsals should initially be broken down at a slower tempo to lock in intonation on altered dominant chords before gradually accelerating up to performance speed. Q: What specific instruments and parts are included in this publication? A: This complete 17-instrument big band arrangement includes a full conductor score and individual parts for Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone 1, Tenor Saxophone 2, Baritone Saxophone, 4 Trumpets, 4 Trombones, Piano, Guitar, Bass, and Drums. Q: What is the difficulty level of this arrangement? A: This chart is graded as advanced, making it best suited for college jazz ensembles, advanced high school bands, and professional groups with strong technical facility and solid section reading skills. Q: What is the historical background and musical style of this piece? A: Originally composed by Cole Porter for the 1953 Broadway musical *Can-Can*, this arrangement translates the famous standard into an energetic, hard-swinging big band jazz chart crafted in the sophisticated style of master arranger Tommy Newsom. Q: What makes Tommy Newsom’s arrangement unique compared to other versions of this standard? A: Newsom’s treatment stands out due to its immaculate, broadcast-ready voicings, razor-sharp brass stabs, intricate saxophone solis, and a driving shout chorus that expertly balances traditional swing aesthetics with modern harmonic flair. Q: What is the performance duration and tempo recommendation for this chart? A: The arrangement is designed to be played at a brisk, driving medium-up swing tempo of around quarter note = 208 to 216, resulting in a performance duration of approximately 3 to 4 minutes depending on solo choruses.