September In The Rain (B.Morris)

Harry Warren and Al Dubin originally penned "September in the Rain" for the 1937 film *Melody for Two*, where it was introduced by James Melton and quickly caught the ear of jazz and pop interpreters alike. Its journey into the permanent jazz canon was cemented by historic recordings from artists like George Shearing and Dinah Washington, transforming a classic Hollywood ballad into a versatile vehicle for sophisticated harmonic exploration. The bittersweet melodic contour and cyclical chord progressions make it an ideal canvas for big band interpreters seeking to balance lush lyricism with driving rhythmic momentum. B.Morris reimagines this classic standard through a distinctively polished lens, setting the work in a comfortable medium-swing tempo that prioritizes relaxed pocket-playing over breakneck virtuosity. The arrangement opens with a atmospheric, rubato-leaning intro before locking into a infectious, foot-tapping groove characterized by subtle counterpoint in the lower reeds and shimmering brass pads. The emotional arc moves effortlessly from introspective melancholy to soaring optimism, driven by rich extended harmonies that evoke the classic West Coast cool schools while maintaining a robust, full-ensemble punch during key dynamic peaks. The melodic presentation is shared collaboratively across the ensemble, with the alto saxophone section taking the initial lead statement before handing off responsibilities to a tightly knit brass soli. Trumpets utilize warm cup-mutes in the middle sections to create a textured, vintage timbre, contrasting sharply with the open-horn shout chorus that highlights the chart's structural climax. Rhythm section parts are meticulously articulated, featuring walking basslines with clear target notes and crisp, interactive drum charting that encourages the drummer to feed the ensemble figures without overplaying. An improvised solo section is provided over standard changes, adaptable for multiple horns depending on the band's soloist roster. Advanced high school ensembles, collegiate jazz orchestras, and professional community big bands will find this arrangement an exceptionally rewarding addition to their repertoire book. While the technical demands on individual players remain moderate, the chart places a premium on section blend, intonation across altered chord extensions, and consistent swing subdivision. Conductor and players alike will appreciate how the clever pacing and transparent scoring allow every voice within the traditional 17-piece instrumentation to be heard clearly, resulting in a sophisticated performance that consistently engages sophisticated jazz audiences. Balancing internal section dynamics is the primary technical hurdle in this arrangement, particularly during the transition from the muted brass backgrounds to the open ensemble passages. The conductor should insist on a relaxed, forward-moving medium-swing eighth-note feel—avoiding any tendency to rush the triplets or play the dotted figures overly stiff. Pay close attention to the dynamic markings under the saxophone soli; the saxes must project clearly over a lightly bouncing rhythm section without forcing their tone. Trumpets should keep their cup mutes seated firmly to ensure a homogeneous sound in the middle register, and trombones need to blend their sustained background chords smoothly with the baritone saxophone. Rehearsals should initially isolate the rhythm section to lock in the subtle ride cymbal and hi-hat placement on beats two and four before layering the horn sections on top. Q: What instruments and parts are included in this big band arrangement? A: The chart is scored for a standard 17-instrument big band lineup, comprising 5 saxophones (Alto 1, Alto 2, Tenor 1, Tenor 2, Baritone), 4 trumpets, 4 trombones, piano, guitar, bass, and drum set, spread across a comprehensive 34-page score and set of parts. Q: What is the difficulty level of this arrangement? A: This arrangement is graded as medium-advanced, making it exceptionally well-suited for advanced high school, collegiate, and professional community big bands that have a solid grasp of swing subdivision and blend. Q: What is the historical style and musical context of this piece? A: Originally written by Harry Warren in 1937, this arrangement treats the timeless standard as a sophisticated medium-swing jazz chart, drawing inspiration from classic cool-jazz and mainstream big band traditions. Q: What makes B.Morris's arrangement unique compared to other versions? A: It features distinctive harmonic reharmonizations, thoughtful use of cup mutes in the brass, and a transparently voiced shout chorus that balances lush, modern ballad textures with an infectious swing groove. Q: What is the performance duration and tempo of the piece? A: The arrangement is designed for a performance duration of approximately 3.5 to 4 minutes, anchored by a steady, moderate medium-swing tempo feel that encourages relaxed pocket-playing and expressive phrasing.