Adapted from Kurt Elling’s iconic rendition of Jaco Pastorius’ “Three Views of a Secret,” this SSATB chart surrounds a deeply expressive baritone soloist with guitar, piano, bass, and drums. The bass part is fully notated, while the piano chart uses slashes and chord symbols with two written passages. Elling’s own melodic phrasing is on the page, along with his sweeping vocalese created with Phil Galdston and inspired by Wayne Shorter’s solo on Weather Report’s 1980 “Night Passage.” After the head, an improv section invites either a vocal or instrumental solo; the demo features guitar, but any confident improviser can step in.

Pastorius’ harmony stays full of pleasant ambushes, yet the jazz-waltz groove quickly feels inevitable, underscoring the “three” motif running through both title and lyric. Singers will find themselves navigating dense colors one moment and transparent textures the next, all in service of a lyric that leans into mystery and transcendence. The chart requires mature ears and rhythmic poise, yet once it clicks, the journey feels organic and fresh at every turn. A decisive final tag provides the kind of payoff that makes for a knockout concert closer.

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A Secret In Three Views (SSATB Lv5) KerryMarsh.com Demo

Karrin Allyson’s funky boogaloo “minor blues with a bridge” gets a vibrant SSATB treatment here from Jennifer Barnes, originally written for her UNT Jazz Singers (featured on the demo and Part Tracks). A lyric alto or soprano solo kicks things off and returns near the end, with open solo space for either singers or instrumentalists in between. Fully-notated piano, bass, and drums keep the groove locked in, with optional guitar and shaker parts adding some tasty color. Ensemble writing blends unison call-and-response across treble and bass clefs with occasional octave doubling for punch. The soli section is a highlight—showy without being unapproachable—and the clean, supportive background figures make rehearsal time efficient, especially with the stellar Part Tracks from UNT. Though the lyric may pine, the deep bluesy pocket and cheeky rhythmic swagger make it hard not to smile. Works anywhere in your set—opener, closer, or a mid-program groove injection.

Wish You Were Mine (SSATB Lv3.5) KerryMarsh.com Demo

A true reimagining of the timeless jazz classic! A blast of modal harmony from the vocals serves as a surprising intro before the tune moves into a unique driving groove in 3/2 meter that frames for the melody of the well-known jazz standard. The rhythm section (with fully notated piano and bass parts) features a syncopated ostinato in the piano, a specially-crafted pattern from the drums and an almost pointillistic, stabbing bass part, all coming together to create a fresh new perspective. The song is fully reharmonized in Kerry’s identifiable harmonic language, and the vocals are given loads of rich, ringing voicings that are a joy to sing. No lyric solos, so this one is a nice feature for group singing, although an improv section is supported by vocal backgrounds, which then lead into a brief but hip soli section. A full recap of the head makes this chart more accessible than your audience will likely notice, and a strong, surprising move in the coda helps this arrangement serve as a great set opener. 

Just Friends (SSATB Lv4) KerryMarsh.com Demo

Arranged by John Stafford II, “Feel” is a steamy collaboration between Jacob Collier and Lianne La Havas that appeared on Collier’s “Djesse, vol. 2”. The arrangement, edited by Kerry Marsh for a special release in this catalog, is faithful to the original recording while making adaptive part assignments to make an otherwise unattainable lush recording performable by a vocal jazz ensemble with at least four sopranos (two of them splitting to S2), two altos, two tenors and two basses, plus a soprano/alto soloist and an optional additional two alto voices for a brief trio moment. The chart is written in two SSATB choirs, and there is a good deal of SATB writing in each choir. A fully-notated keyboard part sounds great with a Rhodes patch but can be played on piano, and a fully-notated bass part and drums are also included. So…those are the logistical details…not too bad for an 11 to 13-singer group with the right voice parts covered. Artistically…the mood is as sensual as the name implies, and the lightly-swinging groove also features loose phrasing to create a deeply relaxed effect and tell a metaphorical story of a meaningful romantic encounter. Honestly, if you’ve got the performers for it, all that’s left is to hit “play” on the ScoreFlipper and be transported. 

Feel (SSATB+SSATB Lv4) KerryMarsh.com Demo

hrs and hrs acoustic cover

This is our take on Ed Sheeran's "Don't" mashed up with Blackstreet's "No Diggity."

Arranged & Produced by Jordan Lankhorst

Don't Diggity

We are a 6 piece vocal group based out of Kansas City, KS. We all met in vocal jazz and choir at KCKCC and love making music with our voices. 

Don't Diggity

Gmi

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