It's Alright With Me (J.Martin)

Cole Porter introduced "It's Alright With Me" in his 1953 Broadway musical *Can-Can*, where it was originally performed by actor Peter Cookson. It quickly leaped from the Great White Way into the American jazz canon, cemented by iconic recordings from legends like Ella Fitzgerald, Sonny Rollins, and the Oscar Peterson Trio. Representing the pinnacle of mid-century Tin Pan Alley sophistication, the composition is celebrated for its restless, ascending harmonic progression and driving AABA form. It stands as a quintessential jazz standard that bridges Broadway lyricism with the harmonic exploration of the post-bop era, demanding both melodic sensitivity and rhythmic agility from interpreters. Jim Martin’s dynamic big band adaptation translates this theatrical masterpiece into an electrifying up-tempo swing showcase. Driven by an exuberant, breakneck tempo and sparkling brass textures, the arrangement captures the urbane wit and relentless momentum of Porter’s original line while injecting modern big band muscle. The mood is sophisticated, breathless, and high-energy, evoking the electric atmosphere of a 1950s Manhattan jazz club at midnight. Lush, extended upper-structure voicings in the saxophones contrast sharply with crisp, punchy ensemble punctuations, creating a rich sonic tapestry that balances classic swing aesthetics with contemporary harmonic color. Martin’s distinctive approach shines through clever thematic development and a brilliantly constructed shout chorus that builds inexorably in tension and volume. The arrangement opens with a high-velocity hook before handing the primary melody to a tightly knit saxophone soli that showcases section precision. Featured improvised solo space is provided for key chairs, allowing advanced improvisers to stretch out over Porter’s sophisticated changes. The ensemble writing utilizes clever counterpoint and dynamic shading, ensuring that even during dense tutti sections, clarity and rhythmic propulsion remain paramount. The climactic shout chorus serves as the structural anchor, utilizing blistering brass counterlines and driving ride cymbal pulses to propel the band toward a breathless, high-impact finish. Advanced high school, collegiate, and professional big bands will find this chart an exhilarating addition to their repertoire. Because of the demanding tempo and intricate ensemble figures, it requires confident players across all sections, particularly within the rhythm section, which must maintain an unyielding, feather-light swing feel at high speeds. Conductor and ensemble alike will find immense artistic satisfaction in navigating Martin’s clever transitions and rich harmonic twists, making it a show-stopping programmer for festival stages, formal concerts, and advanced repertoire showcases. Navigating Jim Martin’s arrangement of "It's Alright With Me" requires absolute rhythmic precision, particularly from the rhythm section, which anchors the breakneck tempo. The drummer should prioritize a crisp, driving ride-cymbal pattern with light hi-hat chokes on beats two and four, avoiding heavy-handedness to keep the ensemble texture buoyant. Brass players must execute short, articulated notes with punchy, transparent tongue-attacks, ensuring that fast-moving bebop lines do not blur together. Pay close attention to dynamic markings during the saxophone soli; the section must project clearly over a subtle, interactive comping piano and walking bassline. Standard big band articulation rules apply—swing eighth notes must be evenly interpreted with natural forward momentum, and all falls and doits should be stylized rather than exaggerated. Rehearsals should begin under tempo, isolating complex syncopated ensemble figures before gradually working up to the performance velocity to ensure absolute tightness across all sections. Q: What instruments and parts are included in this publication? A: This 92-page publication is scored for a standard 17-instrument big band lineup, consisting of five saxophones (Alto 1, Alto 2, Tenor 1, Tenor 2, Baritone), four trumpets, four trombones, piano, guitar, bass, and drums, alongside a comprehensive full conductor score. Q: What is the difficulty level of this arrangement? A: This chart is rated as advanced, making it ideal for collegiate, professional, and elite high school big bands that possess strong technical command at fast tempos and experienced soloists. Q: What is the style and historical context of this piece? A: Styled as a high-energy up-tempo jazz swing chart, it adapts Cole Porter’s classic 1953 Broadway composition from *Can-Can* into the grand tradition of mid-century and modern big band performance. Q: What makes Jim Martin’s arrangement unique? A: Martin’s treatment stands out through its sophisticated extended harmonic voicings, a tightly crafted saxophone soli, and a blistering, structurally unified shout chorus that reinterprets Porter’s changes with modern big band vitality. Q: What is the performance duration and tempo feel? A: The arrangement is designed as a fast-swing chart with a duration of approximately 3.5 to 4.5 minutes, depending on the number and length of open improvised solo choruses taken.