A "Bold Move" is what Kevin Mills calls a brief musical autobiography. It includes a challenging sax soli with a 32 bar accelerando. When the tempo is finally established the tune becomes a flat out burner.

Standard 16 piece big band.

If you're looking for something different for your holiday concert try this surprising arrangement of "Good Christian Men Rejoice." In "A Few Good Men," Kevin Mills has balanced the traditional carol with an aggressive funk-fusion theme and 13/8. Your band will love this unique groove.

Standard 16 piece big band

Composed by Tom Molter and arranged by Mark Buselli, Artificial Bebop is a swinger with a great bebop line. After the solos, a bebop sax soli with flugelhorn lead gives way to the shout chorus and a few bars from each of the saxes, taking the listener along for a thrilling ride all the way to the last chord.

B’s Tune, by Mark Buselli, gives us a very pleasing medium tempo bop tune with a strong and memorable melody.

In Backswing Rhythm, Mark Buselli has introduced younger bands to improvisation over Rhythm changes in a way that is comfortable to them. Mark has allowed for students to gain experience over these common chord changes without overwhelming them by giving many of the band members four and eight bar improvisational ‘snippets’ and creating interest by spreading it around the ensemble. Mark Buselli’s Backswing Rhythm.

Kevin Mills took the expression "Badda-Bing Badda-Boom" and turned it into a musical hook for this rock funk feature for electric bass guitar. This will at a refreshing change of texture to your program. Easy solo changes are given to all players.

Standard 17 piece big band

‘Bats’, composed by Greg Kehl Moore, maintains melodic continuity while exploring a number of different feels, Including an easy swinging waltz, a hard swinging four, and a medium intensity Afro Cuban groove. The chart utilizes bold harmonies throughout and features a captivating sax soli in five-part counterpoint.

‘The Bean’, by Sue Leigh, is a medium swinger with a memorable head. The tune is lighthearted and playful and has solo space for tenor sax and drums.

Jamey Simmons took the traditional tune of Bill Bailey and brought it to life with this exciting arrangement. This piece is designed to work well at a medium tempo but can be taken faster if you'd like a little more challenge.

Jeff Rinear's "Blue Disclosure" has a floating, atmospheric quality. Brief melodic fragments are tossed throughout the wind sections for a very engaging effect. An optional, less demanding sax soli is included.

Standard 17 piece big band, guitar part is optional.

In 'Blues for the Cause,' Joe Riposo has masterfully scored this driving 12 bar blues to pack a punch from its initial opening statement to the last chord, never once letting go of his sense of swing throughout. Joe has provided chord changes in all parts so the whole band can get a chance to blow. This tune is a strong choice for programming a blues and makes a great opener.

Jack Cooper has hit the mark in providing a medium-up blues that is playable by most bands. In keeping the brass ranges very moderate and the rest of the parts playable, Jack has given up nothing in terms of excitement or musicality in this energetic piece.

In The Boss Hog, Jamey Simmons seamlessly transitions from three-piece horn section to a full-throttle big band sound through a variety of subtle changes. At times simple, at times complex, but always compelling, Jamey Simmons proves himself to be one of the jazz world’s emerging great composers.

'Chico's Tacos' is a latin tune featuring trombone, alto sax, and piano by Greg Stinson. Greg's melodic sense gives everyone something that is interesting to perform, and the 6/4 time signature is a great alternative to the 4/4 we often expect to hear in the latin genre.

A deep hip-hop groove with a captivating theme for electric guitar makes Chock Full O' Boogie absolutely infectious. In this Kevin Mills original, solo changes are supplied for everyone, and the drummer really gets a chance to shine.

Standard 17 piece big band

'Claude's Room,' by Mark Buselli, is a medium-swing tune orchestrated in soft pastels with textures reminiscent of Gil Evans, but before it's over 'Claude's Room' heats up!

Matt Franko's 'Coffee Grounds' is a fresh medium-swing tune based on the changes to 'Have you Met Miss Jones?' Unison saxes carry the lively theme. Solos for piano, trumpet, and trombone.

In addition to being beautiful melody with colorful voicings, Brian Gaber's 'Dameraseru' is a great vehicle for developing and showcasing an ensemble's ability to sculpt a melodic line and bring out nuance and blend. Depending upon your programming needs, 'Dameraseru' has been composed to work equally well to either utilize the improvised solo section or skip the improvisational section altogether, adding a purely compositional element to your concert.

In Dawson’s Freak, Greg Kehl Moore offers an original funk tune title that is accessible by most groups. Its compelling groove and modern lines belie how easy this tune is to play, yet it offers musical depth for student and professional groups alike. If you are looking to program a funk piece for your next concert, Dawson’s Freak is a great choice.

Jack Cooper’s Demitasse is a 3/4 original that, as is its name suggests, offers a light and lilting melody line as its main thematic component. Punctuated and contrasted by strong bursts from the brass and rhythm section, this chart has many compelling elements to offer, including a ‘winds only’ section and the option of solo space for a number of different instruments.

This easy blues is perfect for younger bands. After it’s eerie introduction, the chart just naturally swings. It offers younger students a chance to gain experience improvising over the blues.

Pete Whitman’s Dr. No-Know is an aggressive swinger which hits hard and doesn't let up. It's a fun ride for players and audience members alike. The piece has solos for trumpet, trombone, and drums.

In "Fats Navarro Rides Again" Tom Anderson gives us an up-tempo romp in the Stan Kenton tradition. This tune has solos for trumpet and piano, and features a sweetly understated sax soli. This is a great concert opener!

Includes Trumpet 5 and Trombone 5 parts in addition to standard 17 piece big band.

Gordy Haab's film scoring experience is evident in his gorgeous ballad, 'For Peggy and Dad.' From its opening through its lush melody, Gordy's compositional prowess can be witnessed in the way each musical element unfolds and develops, weaving a tapestry that concludes with the same elegance with which it began.

After it's lush chorale style introduction, Kyle Newmaster's "Headin' East" gives way to a lively theme in a Latin rock style. Swing sections are interspersed in this very satisfying arrangement.

Standard 16 piece big band

This gospel swing shuffle by Adi Yeshaya burns right out of the gate and keeps on romping. Building through a chorale-style interlude, a few solos, and a number of key changes the intensity level just keeps climbing until Adi finally brings us home!

Chip McNeill originally wrote Hush Hush as an alto saxophone and optional trumpet feature for the Maynard Ferguson band. The world-class compositional qualities of this chart remain intact, while keeping the brass parts within very playable ranges. Modestly placed at a medium/advanced level, this chart is a great feature for your lead alto player.

Mark Buselli is a master of melody and swing. In 'I Remember Sherrie' he has given us a lyrical opening statement followed by a double time swing section, and concluding with another brief visit to the half-time ballad feel. Mark's ability to create a deft bebop line and vibrantly voice every entrance is brilliantly woven together, creating a wonderfully compelling offering.

‘In Deep Water’ is an advanced offering by Brian Gaber that is well worth the effort put into it. Alternating between straight eighth feel, swing, and brief moments in three, the melodic content is as strong as the intricate lines that are prominent throughout. With moderate range demands from the lead trumpet and playable chord changes, “In Deep Water” is a strong choice for bands looking for the excitement of an advanced jazz work without some of the demands of much advanced literature.

"In Walked Wendy" features an angular blues head and three tasty contrasting sections. A tenor sax solo is required but everyone gets a chance to improvise on the open blues section

Standard 16 piece big band

‘Lady of the Sands’, by Mark Buselli, is an instantly appealing ballad with a light tropical feel.

The arrangement has doubles for flute and clarinets, but all doubles are optional.

In "Laughter & Forgetting," Dave Martin achieves a haunting and spacious affect, while keeping parts very playable. This colorful arrangement, with its primary use of simple polyrhythms, Sounds very fresh to the ears.

17 pieces - soprano sax in place of tenor 1, flugelhorn written into trumpet 1 part but can be considered optional. The rest of the instrumentation is standard.

Adi Yeshaya is among the most highly regarded arrangers of the Twin Cities. In Lazy Orange, he offers a minor blues which packs more of a punch than its title might suggest.

The Long Road Home was commissioned by the Delevan-Darien High School in Wisconsin, and is everything that a great chart should be. Composer Jamey Simmons describes the groove as a ‘laid back Norah Jones funk’,and it captures a Midwest openness and earthiness that offer a beauty and heart that transcend the notes on the page. Every moment of this chart is a joy to listen to and perform, and it will surely be a classic in years to come.

Loosely Speaking, by Brian Gaber, is a powerful medium level blues that can’t help but swing. It has solo space for tenor sax and piano, but can easily be opened to accommodate more soloists. The brass ranges are moderate in this strong offering for student and professional groups alike.

Jamey Simmons’ ‘Lyric Sweet’ is a feature for trombone solo. This melodic ballad also has an extended double time section.

Greg Kehl Moore offers a tune entitled ‘M Fred Romp’. This difficult piece is thrilling to perform and requires a musically mature rhythm section.

Adi Yeshaya arranged Pete Whitman’s small group ballad, Meme’s Love Song, and reworked it for large jazz ensemble. This Ellington-esque arrangement showcases wonderful ensemble writing and features lead alto.

In MidKnight Swing, Joe Riposo has given us a wonderfully accessible blues that maintains interest in the ensemble section by augmenting standard blues changes with chromatic approaches as well as a two chorus drum and winds unison soli. The solos revert back to standard blues changes, and then it’s out with a visit back to the melody, a brief statement by the drums, and a last strong punch by the whole ensemble.

'Mr. Earl Goes Hawg Wild' is an up-tempo ride that is well worth the challenge it provides. Jack Cooper has created an interestingly hip post-bop line through his use of alterations, and the result is an angularly accessible melody that is engaging for all. The saxes take on bulk of the melodic line, and solo space is included for bari sax and trumpet 2.

Nefarious Times is a jazz/rock fusion chart by a world class writer. Brian Gaber has created an exciting and hip modern work that, although requiring a significant but brief high range contribution from your lead trumpet player, is very playable in terms of parts and solo changes by the other members of the ensemble.

Laura Caviani's 'No Better Time' features catchy latin and rock themes. This tune is a great addition to any musical performance!

Rodrigo Villanueva’s “Not Yet!!!” is a hauntingly beautiful melody akin to many of the recordings on the ECM label. It features alto saxophone 2 through the solo section, and with its lush textures and rich voicings offers bands the opportunity to explore this style from the jazz idiom.

Greg Kehl Moore’s Noviembre is a jazz samba feature for trumpet. Greg’s artistry is evident throughout in his use of tonal colors and rich voicings. His ability to build a big band results in a piece that is masterfully crafted from beginning to end.

Alto Sax and Tenor Sax 1 have flute double, Tenor Sax 2 and Bari Sax have clarinet double, 4 flugelhorn parts. 5th trumpet part required. Extra percussion part included.

Jamey Simmons shows once again that difficulty level is not a prerequisite for a professional sounding jazz chart, and that bands of many different ability levels should be offered exciting charts well within their reach. “One Step Over The Line” is just such a chart. Its exciting 3/2 funk is far simpler than it sounds, and the moving lines throughout are designed to be playable by most bands. With an easily navigable solo section and a dramatic close, this chart is just the ticket for your group.

This contribution by Jamey Simmons starts with a compelling groove by the trombones and rhythm section and as each layer is added the fun just builds. The piece culminates in a shout chorus that is scored with excitement and intensity, yet keeps the brass in very moderate ranges. 'Pork Chops and Applesauce' is a medium-level tune that is instantly appealing to performers and listeners alike.

Chip McNeill originally wrote 'Rhythm Method' for the Maynard Ferguson band. This chart offers everything you would want out of an advanced-level tune - the lines are burning, the voicings are top-notch, and the intensity level is high throughout. 'Rhythm Method' represents the quintessential up-tempo big band piece and is a strong choice in any program.

Drawing on his years of experience in Vegas as well as years of leading his own big band, Steve Devich has created Rob Not Bob, an in-the-pocket swinger by someone who knows what swing is all about. It features a call and answer between the catchy sax melody and the brass’ equally engaging reply. After the trombone solo, the swing is interspersed with brief latin sections, and finally the melody is revisited before the whole band takes it home!

From our top-selling writer, Jamey Simmons, comes 'Rubber Biscuit.' The chart is angular and funky, and packed with sonic surprises. Solos for trumpet and piano.

The parts for this medium-up swinger by Dave Singley are designed to lay well on all of the instruments. In S.P.G., Dave has done a great job of composing a tune that is energetic and exciting for bands to perform, yet remains comfortably playable for most bands.

Once again Jack Cooper shows that he is equally adept at writing for younger groups as well as more experienced groups. Sammy’s Corner is a relaxed swinger that works well at a variety of tempos, providing the director many options of how to approach and program the piece. The lines lay well, and provide plenty of interest for musicians and audience members alike.

In ‘Second Guess’, Jamey Simmons puts an easy modal chord progression into a fresh new groove. The arrangement is not difficult, and the hipness remains intact.

Gordy Haab uses a simple blues motive as a launching pad, and then develops it into a strong, swinging blues. After providing solo space for trumpet 2 and trombone 2, 'Senator Blues' dives into a sax soli followed by a beefy shout chorus. The ensemble fades until it makes its last aggressive statement, providing for a very engaging blues all the way through.

In Simon Says, Kevin Mills offers what he calls a ‘danger shuffle.’ The arrangement generates a surprising amount of intensity while placing very moderate range demands on the brass.

This medium-easy bossa nova by Jack Cooper is a wonderful example of ease of playing without compromising musicality. In 'Sin Viento,' Jack shows his thorough understanding and mastery of how to score at this ability level and maintains interest throughout. The piece includes optional parts for flute, clarinets, and tuba but can be played with more limited instrumentation as well.

Wade Clark’s ‘Something Borrowed is a bright and optimistic bossa nova. Extra parts are included so that any combination of instruments can play the head.

In ‘Stepping Lightly’, Jamey Simmons pays an affectionate tribute to the great Thad Jones. The bass player shares the melodic duties in this very satisfying charge.

Jeff Huddleston bases the initial melody of 'Strauss' Swing' on a twelve tone row, but uses traditional jazz harmony to underscore the angularity of the melodic line. The jazz waltz gives way to a funkier 4/4 feel for the solo section, and after culminating in a shout chorus returns to the twelve tone row that it began with. 'Strauss' Swing' is a strong piece that provides an interesting and rewarding change to your concert programming.

Sway, by Greg Kehl Moore, presents the ensemble with a different kind of latin groove. This medium-level Cha Cha is a great vehicle for providing the rhythm section the opportunity to experience this common latin feel and offers the rest of the group an imaginatively scored exciting piece to perform.

Mark Buselli’s Taboo, arranged by Brent Wallarab, is a medium level ballad flugelhorn or trumpet feature reminiscent of Round Midnight. With the proliferation of rock ballads for jazz ensemble, this beautifully lyrical tune provides an opportunity for contrast in your programming, giving bands a vehicle for working on an authentic jazz ballad.

"Take It Light," by Laura Caviani, is a fast and fun swinger which achieves a very pleasing balance between contemporary and classic big band writing. In addition to the improvised solos, a brief space for the drummer to shine is included.

Standard 17 piece big band. The trumpet solo may optionally be played on flugelhorn.

Teka, composer Susan Leigh's gentle latin number, combines a wonderful melody with very playable parts. The tune requires soprano sax and has solos in tenor sax and piano.

Soprano sax replaces one of the alto parts, otherwise standard 16 piece big band.

If most of your band's muscle resides in the sax section, this burner from Jamey Simmons may be perfect for you. "There Will Never Be Another Knut" is an up-tempo swing based on the changes from "There Will Never Be Another You." The piece gives your sax section a chance to strut while keeping the brass parts very playable.

Standard 17 piece big band

Greg Kehl Moore’s tune ‘Tubs of Slaw’ starts with a colorful chorale-style intro followed by an exciting ride in a funk-rock vein.

"Two Brothers" was the first composition to wear the Increase Music name. In this medium up swing, your two tenors get the first statement of the head, as well as the final word of the piece. In between, there's something challenging for everyone and some solo time for your drummer.

Standard 16 piece big band

Jack Cooper took the chord changes to the Cole Porter standard “I Love You”, and created Two In Love. At times a lyrical bossa nova and at times a latin powerhouse, Two In Love is a medium/advanced chart that is as exciting to listen to as it is to play.

Jamey Simmons’ ‘Waltz for Babus’ is a lyrical loping waltz and which requires a solid improviser on trumpet.

Jamey Simmons has taken the classic “When the Saints” in a completely new direction. Using reharmonizations and contemporary lines, “When the Saints” sounds as if it were penned in the new millennium. This chart lays very comfortably for less experienced groups, yet is so solid that more advanced groups will find it musically pleasing to play as well, making it a great choice in any concert program.

Standard 17 piece big band

For ‘Whittier Park’, Kyle Newmaster set out to capture some of the harmonic vocabulary of William Schuman and Igor Stravinsky in an up-tempo funk treatment. The effect is powerful and exciting to perform.