Too Close For Comfort (B.May)

"Too Close For Comfort," a vibrant jazz standard, originated from the 1956 Broadway musical *Mr. Wonderful*, where it was introduced by the legendary Sammy Davis Jr. The song quickly transcended its theatrical roots, becoming a staple in the repertoires of countless jazz vocalists and instrumentalists. Its enduring appeal lies in its catchy, optimistic melody and clever lyrical interplay, embodying the effervescent spirit of mid-20th-century American popular song and the burgeoning post-bop jazz scene. This piece, with its sophisticated yet accessible harmonic structure, solidified its status as a jazz standard, frequently performed and recorded by icons such as Mel Tormé and Nat King Cole, who further cemented its place in the Great American Songbook. It represents an era when Broadway tunes seamlessly crossed over into the jazz idiom, providing rich material for improvisation and arrangement. Billy May's arrangement of "Too Close For Comfort" is a quintessential example of his distinctive big band style, renowned for its driving medium-up swing feel and impeccable orchestral voicings. Set in the bright key of F major, the arrangement exudes an infectious energy and playful mood, characteristic of May's best work. It opens with a crisp, rhythmic introduction that immediately establishes the tempo and sets the stage for the melody, often carried initially by the brass or saxophones in unison or close harmony. May's signature "slurpy" brass sound, achieved through precise articulation and dynamic shaping, is evident throughout, contributing to the arrangement's unique sonic fingerprint. The overall energy is consistently high, propelled by a walking bass line and a swinging drum pattern that perfectly complement the ensemble's powerful statements. May's genius shines through in his masterful use of sectional writing and dynamic contrasts. The arrangement features intricate soli sections for the saxophones, showcasing their agility and blend, often punctuated by powerful brass interjections. A highlight is the expertly crafted shout chorus, where the entire ensemble unites in a thrilling, harmonically rich statement that builds to a climactic peak. While the arrangement is primarily an ensemble showpiece, there are typically opportunities for featured soloists, often in the trumpet or tenor saxophone chairs, allowing for individual expression within May's meticulously constructed framework. These solo sections are usually supported by sophisticated ensemble figures, maintaining the arrangement's momentum and harmonic interest. The piece culminates in a powerful, definitive ending, leaving a lasting impression of exuberance and musicality. This arrangement is ideally suited for college-level jazz ensembles, advanced community big bands, and professional groups. Its demands include precise articulation, strong sectional blend, and the ability to navigate May's characteristic voicings and dynamic shifts. The technical challenges, while significant, are incredibly rewarding to overcome, offering musicians a deep dive into the artistry of one of jazz's most iconic arrangers. Performing this chart provides an invaluable experience in understanding the nuances of classic big band writing, from its tight rhythmic foundation to its soaring melodic lines and powerful ensemble passages. Conductors should emphasize a consistent, driving medium-up swing feel from the outset, maintaining a tempo around quarter note = 160-170 BPM. The key technical challenges include the precise execution of Billy May's signature brass articulations, often involving short, punchy phrases followed by sustained, slurred notes. Rehearsal should focus on achieving a unified "slurpy" sound in the brass sections and crisp, synchronized saxophone soli passages. Dynamic contrasts are crucial; ensure clear differentiation between forte ensemble statements and softer, more nuanced accompanying figures. Special attention should be paid to the shout chorus, where careful balancing of all sections is necessary to achieve maximum impact without overblowing. Drummers should lay down a solid, swinging foundation with a strong ride cymbal pattern, while bassists maintain a steady, walking quarter-note pulse. Encourage soloists to embrace the tune's bright, optimistic character while navigating the provided chord changes. Q: What instruments and parts are included in this arrangement? A: This arrangement includes parts for 18 instruments: Alto Saxophone 1, Alto Saxophone 2, Tenor Saxophone 1, Tenor Saxophone 2, Baritone Saxophone, Trumpet 1, Trumpet 2, Trumpet 3, Trumpet 4, Trombone 1, Trombone 2, Trombone 3, Bass Trombone, Guitar, Piano, Bass, Drums, and a Conductor's Score. Q: What is the difficulty level of this arrangement? A: This arrangement is considered advanced, suitable for college-level jazz ensembles, advanced community big bands, and professional groups due to its intricate voicings, demanding articulations, and dynamic requirements. Q: What is the musical style and historical context of "Too Close For Comfort"? A: "Too Close For Comfort" is a classic jazz standard from the 1956 Broadway musical *Mr. Wonderful*, embodying the vibrant, optimistic big band jazz style of the mid-20th century. Q: What makes Billy May's arrangement of "Too Close For Comfort" unique? A: Billy May's arrangement is distinguished by its driving medium-up swing feel, signature "slurpy" brass voicings, intricate saxophone soli sections, and a powerful, meticulously crafted shout chorus that builds to a thrilling climax. Q: What is the typical performance duration or tempo for this piece? A: The typical performance duration for this arrangement is approximately 3-4 minutes, played at a medium-up swing tempo of around quarter note = 160-170 BPM.