These are the charts that I believe to be the most adventuresome in my catalog, regardless of difficulty level. They range from edgy pop material to especially modern jazz sounds, and they work well to separate your group from the others at festivals and to challenge your audience to reconsider what vocal jazz groups can do!

Cutting Edge

The hip and fresh track from The Pat Metheny Group's "Imaginary Day" album is given a wordless vocal setting.   The tune has grooving and chill moments as well as epic, powerful, dramatic spots for your group to really let loose!

Follow Me (Level 3.5 SSATB)

Composer(s) -- Chris Cornell
Arranger -- Kerry Marsh
Voicing (with percentage of divisi measures) -- SSATB (S2 42%)
Measures -- 130
Level -- 5
Accompaniment -- Fully-notated piano and bass parts, drums
Original/Reference Artist -- Soundgarden
Performance Time -- 5:42
Meter/Tempo -- most 4/4 @ 96 (improv section with alternating 5/4 bars)
Solos -- SA lyric: 22 bars, Any voice improv: 12 bars
Style Notes -- Rock with jazz reharmonization and jazz voicings
Arrangement Features	Unison ostinato intro, complex accompaniment in choruses, chart builds to finish, power chords in improv section, soft aca break before big finish
Suggested programming role(s) -- Closer or mid-set
Range Extremes -- Sop 1: Bb5
Lyric Summary -- conveys a sense of inner struggle and disillusionment. It describes a world filled with decay and despair. The repeated plea to the "Black hole sun" represents a desire for relief from pain and emptiness. The lyrics touch on the loss of genuine voices and a longing for something authentic.
Demo Credits -- Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano and Bass programming: Kerry Marsh
Drums: Matthew Chalmers
Commission Credit -- Rodriguez High School Vocal Jazz (CA), Scott Miller, dir. 
Release Year -- 2023

Black Hole Sun (SSATB Lv5) KerryMarsh.com Demo

Composer(s)-- David Bowie, John Lennon and Carlos Alomar
Arranger -- Kerry Marsh
Voicing (with percentage of divisi measures) -- SSATB (S2 50%)
Measures -- 87
Level -- 4
Accompaniment -- Fully-notated piano and bass parts, drums
Original/Reference Artist -- David Bowie
Performance Time -- 3:36
Meter/Tempo -- Mostly 4/4 @ 96
Solos -- Tenor improv/lyric mixed: 25 bars
Style Notes -- Funk rock, jazz voicings
Arrangement Features -- Follows the Bowie vibe with some extra harmonic colors, horn-like figures in ensemble at times
Suggested programming role(s) -- Any role, possible opener/closer
Range Extremes -- Sop 1: Ab5, opt. very low bass moment
Lyric Summary -- The lyrics describe the effects and pitfalls of fame, such as the tendency to compromise personal values, the ephemeral and hollow nature of fame, and the pressure and scrutiny it brings, leading to potential criminal behavior.
Demo Credits -- Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano and Bass programming: Kerry Marsh
Drums: Matthew Chalmers
Commission Credit -- “Badinage” from Hutchinson Community College, Neal Allsup, dir.
Release Year -- 2023

Fame (SSATB Lv 4) KerryMarsh.com Demo

Composer(s) -- David von Kampen
Arranger -- David von Kampen
Voicing (with percentage of divisi measures) -- SATBaB (Bari 7%)
Measures -- 97
Level -- 4
Accompaniment -- Fully-notated piano and bass parts, percussion
Original/Reference Artist -- N.A.
Performance Time -- 3:51
Meter/Tempo -- Mostly 4/4 @ 102
Solos -- Any voice improv: 19 bars
Style Notes -- Straight 16ths contemporary jazz
Arrangement Features -- Through-composed, modal harmony
Suggested programming role(s) -- Mid-set
Range Extremes -- Sop: D5, Bass: F#2
Lyric Summary -- Wordless vocal
Demo Credits	 -- Soprano/Alto Vocals: Julia Dollison
Tenor/Bass Vocals and solo: Kerry Marsh
Piano, Bass and Percussion: David von Kampen
Commission Credit -- None
Release Year -- 2023

Color Theory - KerryMarsh.com Demo

Composer(s) -- Julia Dollison
Arranger -- Julia Dollison
Voicing (with percentage of divisi measures) -- SSATB (S2 12%)
Measures -- 125
Level -- 4
Accompaniment -- Fully-notated piano part
Original/Reference Artist -- Julia Dollison
Performance Time -- 4:34
Meter/Tempo -- 4/4 @ 112
Solos -- S/A lyric solo: 49 bars
Style Notes -- Straight 8th modal contemporary jazz
Arrangement Features -- Soloistic ensemble lyric phrasing, recurring background figure, soli section
Suggested programming role(s) -- Mid-set
Range Extremes -- Sop 1: Eb5, Bass: G2
Lyric Summary -- about self-affirmation, personal growth, and moving on from past relationships. The speaker embraces their independence and present circumstances, while acknowledging occasional nostalgic reflections on what could have been. The song encourages both the speaker and others to progress forward without looking back.
Demo Credits -- Soprano/Alto Vocals: Julia Dollison, Tenor/Bass Vocals, Piano programming: Kerry Marsh
Commission Credit -- None
Release Year -- 2023

Forward Like So SSATB - KerryMarsh.com Demo

Composer(s) -- Straight 8th modal contemporary jazz
Arranger -- Soloistic ensemble lyric phrasing, recurring background figure, soli section
Voicing (with percentage of divisi measures) -- Mid-set
Measures -- Sop 1: F5, Alto 2: F3
Level -- about self-affirmation, personal growth, and moving on from past relationships. The speaker embraces their independence and present circumstances, while acknowledging occasional nostalgic reflections on what could have been. The song encourages both the speaker and others to progress forward without looking back.
Accompaniment -- Soprano/Alto Vocals: Julia Dollison, Piano programming: Kerry Marsh
Original/Reference Artist -- Jazz Education Network
Performance Time -- 2023
Meter/Tempo -- 4/4 @ 120 first half (and ending), middle section double time
Solos -- S/A lyric: 44 bars, Any voice improv: 40 bars 
Style Notes -- Swing (fast and medium), jazz harmony
Arrangement Features -- Adapted from Kristin Korb arrangement, mostly original changes, metric modulation to double time, soloistic lyric phrasing in ensemble, returns to original tempo, then ends with brief Afro-Cuban groove
Suggested programming role(s) -- Solid opener or second tune in set
Range Extremes -- Sop 1: A5 briefly
Lyric Summary -- The song celebrates old-fashioned things: moonlight, rain on a windowpane, April's songs. Passing trends don't matter; holding hands and sighing do. The singer is old-fashioned and wants their loved one to be too, asking them to stay that way together.
Demo Credits -- Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano and Bass programming: Kerry Marsh
Drums: Matthew Chalmers
Commission Credit -- Folsom High School Jazz Choir, Curtis Gaesser, dir.
Release Year -- 2023

Forward Like So SSAA - KerryMarsh.com Demo

Composer(s) -- Perrin Moss, Naomi Saalfield, Simon Mavin and Paul Bender
Arranger -- Kerry Marsh
Voicing (with percentage of divisi measures) -- SSATB (S2 div 29%)
Measures -- 129
Level -- 5
Accompaniment -- Fully-notated piano/keyboard and bass parts (complex writing, with chords included), drums
Original/Reference Artist -- Hiatus Kaiyote
Performance Time -- 5:53
Meter/Tempo -- Multi-meter, mostly 4/4, multi-tempo, starts partially rubato around 93, changes to grooving @ 83 
Solos -- SA melismatic lyric solo: 56 bars
Style Notes -- Complex neo-soul, jazz harmony
Arrangement Features -- Loose tempo at start with solo feature, transition to groove and more ensemble, ending stretches back out and finishes subtly
Suggested programming role(s) -- Mid-set or unusual opener/closer role
Range Extremes -- Sop 1: F5 briefly
Lyric Summary -- about the journey of personal growth, emotional exploration, and building a deep, reciprocal connection with someone, culminating in shared transcendence
Demo Credits	 -- Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano, bass and drums programming: Kerry Marsh
Commission Credit -- Valencia High School “Two ’n Four” (CA), Christine Tavares-Mocha, dir.
Release Year -- 2023

Building A Ladder - KerryMarsh.com Demo

Composer(s) -- Edward Heyman, Robert Sour, Frank Eyton and John Green
Arranger -- Kerry Marsh
Voicing (with percentage of divisi measures) -- SSATB (S2 26%)
Measures -- 191
Level -- 5
Accompaniment -- Fully-notated piano and bass parts, drums
Original/Reference -- Artist	
Performance Time -- 5:43
Meter/Tempo -- 5/4 @ 172
Solos -- S/A lyric solo: 24 bars, Any voice improv: 8 bars
Style Notes -- Complex modern swing
Arrangement Features -- Based on Esperanza Spalding version, Soli section is octaves figure sung in unison with bass, shout half-chorus head out, vamps
Suggested programming role(s) -- Any role possible
Range Extremes -- Sop 1: B5
Lyric Summary -- classic jazz standard that expresses deep longing and passionate love. The lyrics convey the singer's intense devotion, to the point of feeling lost and desperate without the object of their affection.
Demo Credits -- Soprano and Alto Vocals: Julia Dollison
Tenor and Bass Vocals, Piano and Bass programming: Kerry Marsh
Drums and Percussion: Matthew Chalmers
Commission Credit -- Folsom High School Jazz Choir, Curtis Gaesser, dir.
Release Year -- 2023

Body And Soul - KerryMarsh.com Demo

A beautiful contemporary reimagining of the hit from The Mamas and the Papas, taking you through polyphony and sudden surprising harmonic detours.  Notated piano and bass parts and good voicing leading make this chart very singable by groups with some experience and maturity, and the payoff is chills-inducing.

California Dreamin' - (SATB Level 4) (arr. David von Kampen)

Composer(s) - Avery Chapman
Arranger - Avery Chapman
Voicing (with percentage of divisi measures) - SSAATTB (S div 20%, A div 16%, T div 5%)
Measures - 87
Level - 3
Accompaniment - A cappella
Original/Reference Artist - NA
Performance Time - 3:00
Meter/Tempo - Rubato, approx 112
Solos - SAB trio with brief S solos
Style Notes - Expressive ballad
Arrangement Features - Creative use of space, octaves/prime unison vs. close harmony and density, polyphonic moments, implied multi-meter
Suggested programming role(s) - Ballad spot (2nd to last?)
Range Extremes - Sop 1 D#5, Bass E2 (8va works)
Lyric Summary - From Avery’s programming notes: This piece was written for the Jazz Vocal 1 Ensemble at The University of Miami. The text explores the idea of transition and how music is often at the center of any transition I go through. Music is the anchor, the constant that keeps us grounded even in the most unsure of times.
Demo Credits - Soprano/Alto Vocals: Avery Chapman, Tenor/Bass Vocals: Kerry Marsh
Commission Credit - Arranged for University of Miami JV1
Release Year - 2023

Going When It's Gone (SSAATTB Lv 3) KerryMarsh.com Demo

This arrangement of Britney Spears' hit "Circus," inspired by the Dirty Loops version, brings a highly complex and exciting twist to the original. The Dirty Loops' "high-information" approach to jazz-fusion style arranging turns this song into a playful and energetic piece that’s perfect for opening or closing your set.

This arrangement is highly energetic throughout, featuring a lyric solo for a high tenor or alto. The ensemble parts are dynamic, often changing roles to sound like a synthesizer, singing lyric responses, or taking the lead melody. The rhythm section parts are particularly challenging, but if you don't have players skilled enough to handle the complexity, an Accompaniment Track is available and can be used in performance.

Over the years, many groups have had great success with our Dirty Loops adaptations ("Roller Coaster," "Rolling In The Deep," and "Baby"), and I'm thrilled to finally make "Circus" available. This arrangement promises to deliver the same level of excitement and complexity, making it a standout piece in any performance.

Circus (SSATB L5) KerryMarsh.com Demo

Returning to the catalog after years out of print, this arrangement of "Eleanor Rigby" is an epic a cappella treatment that transforms the Beatles' classic into a dynamic vocal jazz journey. With an extended introduction that travels through several key centers, the piece features an intricate bass vocal part set against surprising modal harmonies above. This collaborative arrangement by Kerry Marsh and Julia Dollison employs a wealth of contemporary vocal jazz arranging devices and tonal colors, creating a captivating soundscape that challenges even skilled vocal jazz and pop groups.

Originally written by Paul McCartney and released on The Beatles' *Revolver* album in 1966, "Eleanor Rigby" is renowned for its poignant lyrics and innovative use of classical instrumentation. The song explores themes of loneliness and isolation, which resonate with audiences to this day. 

This chart pushes the boundaries of traditional a cappella, offering a complex and emotive interpretation that leaves listeners truly astonished. Perfect for ensembles seeking a challenging and rewarding piece that showcases their technical prowess and emotional depth.

2012 Releases

Eleanor Rigby (SSATBaB L5) KerryMarsh.com Demo

Laura Mvula's bouncy, uplifting, soulful song from her album "Sing To the Moon" is arranged for vocal jazz ensemble, using unconventional rhythm section instrumentation and clapping to produce an interesting and beautiful texture and setting a vibrant scene in the mind of the listener. Great solo feature for an alto who can tell a story.

Green Garden - SSATB - Level 3

This arrangement of Becca Stevens composition highlights the cross-rhythms and unusual harmonies in her writing, utilizing clapping and other devices to bring out surprising textures. The beautifully-written lyric tells of how a group of sisters were effected by their fathers' departure from the family. A female soloist is featured, and a free-ish improvisation section keeps the arrangement in the jazz realm.

Canyon Dust - SATB - Level 4.5

David von Kampen’s SATB setting of Radiohead’s “Exit Music (For A Film)” (inspired by Brad Mehldau’s version) balances dark, brooding mood with approachable choral writing—excellent voice-leading, smart use of unison and two-part textures, and no divisi. Includes a brief guitar improv section with vocal backgrounds. Subtle touches of jazz harmony enrich the original’s stark emotional impact. Scored for piano, guitar, bass, and drums. Best programmed in a “deep cut” mid-set or as a powerful second-to-last piece.

Fully-notated piano, bass and guitar, drums

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Exit Music (For a Film) (SATB Lv 3) - KerryMarsh.com Demo

For advanced women's groups! This setting of Julia Dollison's "derangement" of the classic standard pulls no punches, and is meant for top-level high school and college treble vocal jazz ensembles. With challenging harmony for the singers and complex modern conceptual playing for the rhythm section, this chart will push your group to a new level and serve as a deeply artistic take on a familiar song. 

All the Things You Are (SSAA - L4.5) - KerryMarsh.com Demo

The almost-self-titled song from The Bird and the Bee is a surprising but effective vocal jazz ensemble feature. The song features unusual...just about everything...and works especially well if an Rhodes sound is available in performance, but it's all done within the context of a lilting, swinging waltz feel. A brief female soloist is featured. 

Birds and the Bees (SATB - L3) - KerryMarsh.com Demo

Fans of "Hymn of Acxiom" and "Hide and Seek" will likely be drawn to the power of this setting of Regina Spektor's song painting an impressionistic picture of citizens rising up to take back power from an oppressive government. Interpretations will vary of this beautifully crafted and veiled lyric. The Peter Gabriel version on which this a cappella setting is mostly inspired is wildly dynamic and foreboding, and this arrangement brings out this quality as well as portraying moments of Russian choral music. 

So, you know...a light opener for your advanced eight-part choir. 

The included optional cello part carries the rhythmic pulse at the end of the piece, so when possible, I would encourage its use. The flugelhorn part is slightly less prominent (and is not featured on the demo recording), but may add some interesting color to your performance if the player is sensitive and willing to experiment with avant garde techniques.

Apres Moi (SSAATTBB - L5) - KerryMarsh.com Demo

This is an adventurous vocal jazz ensemble adaptation and re-imagining of the Cassandra Wilson version of a 1972 song by The Stylistics. The groove energy is driving throughout this dark and moody piece, and the 12/8 rhythmic content will challenge both your singers and instrumentalists while keeping your listeners constantly engaged. Cassandra's phrasing is used in the lyric sections, which gives the ensemble a natural-sounding flow, and although the written parts will seem challenging, the demo and Part Tracks will make the learning process for your singers much easier than simply relying on the notation. The arranging features several texture changes, including an exciting a cappella break with near Collier-level reharmonization for that moment, followed by a fairly wild-flourish from the rhythm section. The final portion of the chart features space for vocal or instrumental improv accompanied by intense vocal backgrounds, and the piece doesn't circle back around, but rather fades into the darkness, appropriately enough. Check this one out for an interesting and unusual piece on your group's set!

Children Of The Night (SSATBaB Lv5) KerryMarsh.com Demo

A wordless vocal chart based on Dave Glenn's composition for his "Little Big Band" on their album Journeys. A post-bop modal fast swinging tune with an offbeat name, this chart works as a great opener or closer for your program, and features plenty of solo space for improvising vocalists or instrumentalists, with accessible chord changes with wide open spaces. 
Fully-notated piano and bass parts, drums