Struttin' With Some Barbecue (J.Ferguson)

Louis Armstrong’s seminal 1927 recording of "Struttin' With Some Barbecue"—co-composed by Armstrong and his wife Lil Hardin Armstrong, with later lyrics added by Don Raye—stands as a cornerstone of early jazz repertoire. Originally captured by Louis Armstrong and His Hot Five, this quintessential New Orleans-meets-Chicago jazz standard epitomizes the transition of jazz from collective polyphonic improvisation to the era of the celebrated soloist. The tune's infectious, driving rhythm and buoyant melody have made it a timeless vehicle for swing and traditional jazz interpreters alike, embodying the joyful exuberance, blues-drenched phrasing, and rhythmic vitality of the roaring twenties. Brought into the big band idiom through the lens of legendary trumpet virtuoso Harry James, this arrangement translates small-group polyphony into a roaring, high-octane 17-piece orchestral masterclass. Set in a driving, medium-up swing feel at roughly 180 BPM, the chart radiates unbridled energy and swagger. The harmonic language expands upon the original three-chord framework, incorporating rich, brass-heavy voicings characteristic of James’s swinging powerhouse style. From the opening shout to the final cadence, the arrangement balances vintage jazz-age charm with the polished, precision-driven muscle of a classic swing era big band. Harry James approaches the score with a deep reverence for the melodic integrity of the head while injecting trademark brass pyrotechnics and sophisticated section writing. The arrangement features crisp, call-and-response figures between the saxophones and the brass, punctuated by biting plunger-mute effects, dramatic dynamic swells, and blistering high-note trumpet passages. The melody is initially carried by the reed section before being handed off to powerful brass solis that demand exceptional articulation and breath support. A standout feature of the chart is its soaring shout chorus, which builds relentless tension through interlocking syncopated rhythms before releasing into a triumphant, full-ensemble resolution. Advanced high school, collegiate, and professional big bands will find this arrangement an exhilarating challenge and a guaranteed crowd-pleaser. While the rhythm section must maintain an unyielding, buoyant 4/4 walking groove without rushing, the horns require pristine stylistic unity, particularly in balancing the bright, brass-heavy textures against the nimble saxophone counter-lines. Solo opportunities are provided for featured improvisers to stretch out over traditional blues changes, making this 51-page score a brilliant showcase for bands looking to honor swing history while delivering high-impact, virtuosic entertainment. Executing this chart successfully requires a firm grasp of 1930s and 40s swing articulation, where eighth notes are consistently swung with an underlying triplet feel rather than played evenly. The rhythm section is the engine: the bassist must drive the ensemble with a strong, quarter-note walking pulse, while the drummer keeps a crisp, feather-light ride cymbal pattern accented by traditional Charleston rhythms on the hi-hat (hits on beats 2 and 4, plus the "and" of 4). Brass players should utilize cup and plunger mutes where indicated to capture the authentic vocal qualities of the swing era, paying close attention to seamless transitions between open and muted playing. Rehearsals should initially focus on sectional balance, ensuring the complex counter-melodies in the saxophones are never buried by the heavyweight brass backing figures. Directors must carefully pace the dynamic peaks, saving maximum power for the climax of the shout chorus to ensure the arrangement maintains its dramatic arc from the first measure to the final chord. Q: What instruments and parts are included in this arrangement? A: The 51-page score and set of parts are scored for a standard 17-instrument big band lineup, featuring four trumpets, four trombones, five saxophones (typically two altos, two tenors, and one baritone), and a full four-piece rhythm section comprising piano, guitar, bass, and drums. Q: What is the difficulty level of this chart? A: This arrangement is graded as advanced (appropriate for top-tier high school, collegiate, and professional big bands) due to its demanding brass ranges, fast swing tempo, and the requirement for tight ensemble articulation and stylistic cohesion. Q: What is the historical and stylistic background of the piece? A: Originally composed by Louis and Lil Hardin Armstrong in 1927 for the Hot Five, this piece is a foundational jazz standard that has been re-imagined here through the sophisticated, high-energy big band lens of trumpet icon Harry James. Q: What makes this specific arrangement unique? A: Unlike strict transcriptions of the small-group original, Harry James reimagines the classic tune for a 17-piece orchestra, infusing it with signature swing-era voicings, dynamic call-and-response passages, plunger-mute effects, and a thrilling, brass-heavy shout chorus. Q: What is the recommended performance tempo and duration? A: The arrangement is designed to be performed at a driving, medium-up swing tempo of approximately 180 beats per minute, with a standard performance duration of roughly 3 to 4 minutes depending on solo extensions.