Puttin On The Ritz (I.Berlin)

Irving Berlin penned "Puttin' on the Ritz" in 1927, publishing it in 1929 before it achieved immortalization in the 1930 film of the same name sung by Harry Richman, and later revitalized globally by Fred Astaire's iconic 1946 recording in *Blue Skies*. Rooted in the golden age of American popular song, Berlin’s syncopated masterpiece transitioned seamlessly from Tin Pan Alley novelty into a staple of the permanent jazz canon. Its asymmetrical rhythmic construction—highlighting the famous "high hat and white tie" cadence—presents an irresistible framework for big band adaptation, balancing sophisticated urban irony with an infectious, high-energy dance pulse. Propelled by an upbeat, driving medium-swing groove in 4/4 time, this chart radiates vintage theatrical sophistication mixed with brassy big band punch. The emotional trajectory shifts dynamically from a sly, understated swagger in the opening verses to an explosive, celebratory release of energy by the final chorus. Berlin's clever melodic intervals are framed by crisp, interlocking section writing that evokes the glittering ambiance of 1930s supper clubs while maintaining a thoroughly modern, swinging momentum. In this definitive arrangement, the writing treats the iconic melody with both reverence and fresh inventive vigor. Rich, extended chord voicings in the brass sections provide a lush harmonic underbelly, while sharp, unison woodwind lines navigate the syncopated twists of the head. A tightly woven sax soli showcases sectional blend and articulation control, setting the stage for a classic, high-octane shout chorus that expands the dynamic range to a roaring fortissimo. Modulatory touches and clever counter-melodies keep the listener engaged, avoiding predictable square phrasing by injecting unexpected rhythmic stabs and Ellingtonian coloristic effects. Melodic duties are shared fluidly across the ensemble, transitioning from muted trumpets carrying the initial statement to powerful tutti interventions where the full big band drives the rhythm forward. Featured solo space allows a featured horn player to stretch out over standard changes, backed by a rhythm section that must maintain an assertive, feather-light ride cymbal pulse. Advanced high school bands with strong section leaders, as well as collegiate and professional community big bands, will find this 32-page manuscript deeply rewarding. It demands precise articulation, stylistic versatility, and a keen ear for ensemble balance, making it a guaranteed showstopper for any sophisticated concert program or festival performance. Success with this arrangement hinges on achieving an authentic, buoyant medium-swing feel without rushing the tempo. The rhythm section acts as the primary engine; the drummer should emphasize a crisp, driving ride cymbal pattern with a distinct two-and-four hi-hat chick, keeping the comping transparent to let the horns breathe. Horn players must pay meticulous attention to dynamic contrasts, treating short notes with a dry, focused stenciled length and long notes with a warm, supported core. Section leaders should ensure uniform articulation, particularly during the fast-moving syncopated figures in the sax soli. Brass players should utilize cup or basket mutes where indicated to capture the authentic period tone color, ensuring that falls and doits remain controlled and stylistically appropriate rather than exaggerated. Rehearsals should initially focus on locking in the ensemble's rhythmic unison passages at a slower tempo before bringing the chart up to performance speed. Q: What instruments and parts are included in this big band arrangement? A: The standard 15-instrument instrumentation features Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone 1, Tenor Saxophone 2, Baritone Saxophone, complete trumpet and trombone sections, and a full rhythm section, spanning a total of 32 comprehensive pages of score and parts. Q: What is the difficulty level of this chart? A: This arrangement is graded as intermediate-advanced, making it ideal for accomplished high school jazz ensembles, collegiate bands, and professional community big bands looking for a polished festival or concert piece. Q: What is the historical style and background of this piece? A: Based on Irving Berlin's 1929 classic popularized by Fred Astaire, this arrangement honors the traditional Tin Pan Alley roots while infusing it with a classic mid-century big band swing style. Q: What makes this specific arrangement unique? A: It features sophisticated extended harmonic voicings, a tightly crafted saxophone soli, and a powerhouse shout chorus that reinterprets Berlin's famous syncopation with fresh dynamic textures and clever counter-melodies. Q: What is the recommended performance tempo and duration? A: The arrangement is set to a driving medium-swing tempo (approximately 120-126 BPM), resulting in a performance duration of roughly 3 to 4 minutes depending on the length of the improvised solos.