The Dance Of Denial (M.P.Mossman)

Composed and structured by master trumpeter and arranger Michael Philip Mossman, "The Dance Of Denial" stands as a brilliant contemporary big band vehicle that bridges modern jazz composition with rich Latin-jazz traditions. Mossman, celebrated for his extensive work with Tito Puente, Mario Bauzá, and the Afro-Cuban Jazz Orchestra, brings authentic cultural fluency and intricate harmonic sophistication to this chart. Drawing inspiration from cross-cultural modal colors, the piece infuses a striking sense of exotic mystery into a modern large-ensemble framework. It represents an adventurous staple of contemporary jazz writing, designed to test an ensemble's stylistic versatility while delivering high-octane excitement for festival and concert audiences alike. The musical character is defined by a dynamic interplay between an energetic Afro-Cuban style and an authentically notated cha-cha groove. Alternating rhythmic feels propel the chart forward, shifting seamlessly between aggressive, percussion-heavy modal sections and infectious, danceable grooves. The mood balances tension and release, evoking a dramatic narrative through shifting tonal centers and sharp accents. Mossman's characteristic writing style shines through extended tertian and quartal harmonies, intricate counterpoint, and vibrant horn section solis that demand precision and stylistic dedication from every player on the bandstand. Melodic responsibilities are shared fluidly across the ensemble, featuring prominent writing for the saxophone and brass sections. The arrangement provides designated solo space for both alto saxophone and trumpet, allowing standout improvisers to stretch out over sophisticated harmonic progressions. Additionally, robust feature sections for the drummer and auxiliary Latin percussionists anchor the rhythmic foundation, making auxiliary percussion an essential component rather than an afterthought. Technical challenges lie primarily in executing clean, syncopated Latin figures, maintaining accurate subdivision during tempo shifts, and navigating crisp articulation across dense ensemble passages. Advanced high school, collegiate, and professional big bands will find this chart exceptionally rewarding. It serves as an ideal vehicle for developing an ensemble's capability in Latin-jazz idioms away from standard swing repertoire. The combination of brilliant orchestration, authentic rhythmic notation, and deep stylistic demands ensures that "The Dance Of Denial" remains a memorable centerpiece for competitive festivals and advanced concert programs. Conductors should approach this chart with a primary focus on rhythmic integrity and stylistic authenticity within the percussion and rhythm sections. The groove must remain locked; ensure the auxiliary percussionists and drummer clearly define the contrast between the aggressive Afro-Cuban feels and the smooth, linear cha-cha sections. Horn players must articulate syncopated figures with dry, punchy accents, avoiding lazy swing eighth notes where straight, subdivision-driven Latin feels are required. Pay close attention to dynamic balance during dense ensemble solis; the brass should never overpower the delicate inner-voice counterlines executed by the saxophones. Soloists should be encouraged to explore modal and altered vocabulary that matches the exotic, tense atmosphere of the composition. Rehearsals should begin slowly, locking in the subdivision with a metronome before layering in the dynamic swells and dramatic peaks written into the full score. Q: What instruments and parts are included in this arrangement? A: This 58-page set includes a full conductor score and 18 individual instrumental parts: two alto saxophones, two tenor saxophones, baritone saxophone, four trumpets, four trombones, guitar, piano, bass, drums, and auxiliary percussion. Q: What is the difficulty level of this arrangement? A: This piece is graded as a Level 4 (advanced/late intermediate), making it well-suited for accomplished high school bands, collegiate ensembles, and professional community big bands. Q: What musical style and historical context define this piece? A: Written by Michael Philip Mossman, the piece is a contemporary Latin-jazz production number that blends an aggressive Afro-Cuban feel with authentically notated cha-cha grooves and modal mystery. Q: What makes this specific arrangement unique? A: It stands out due to Mossman’s authentic integration of Latin percussion orchestration, dynamic groove transitions, and featured solo opportunities for both alto saxophone and trumpet. Q: What are the performance duration and tempo considerations? A: While performance time varies based on solo choruses, the chart functions as a substantial production number requiring precise tempo management to navigate alternating Afro-Cuban and cha-cha feels effectively.