One of the composer's most ambitious projects to date, "The Last Straw" moves through a wide variety of areas exploring the possibilities of the augmented scale. Ample solo space is given to both the soprano sax and flugelhorn in this double concerto of sorts. The bass trombone and bass also have fun opportunities to let loose in this piece.

The Last Straw

"Afterthought" is a laid-back swing tune that features the drums and the beauty of the flugelhorns and trombones in combination throughout the melody. The solo sections for the trombone and trumpet give them the chance to solo on contemporary changes in two different sections and moods of the tune. The shout chorus after the solos sections showcases the brilliance of the ensemble's sound and also features some nice work for the saxes.

Afterthought

"Lilt" was composed in 2009 for the University of Illinois Concert Jazz Band. It uses a single pastoral theme throughout the entire work in an light-hearted attempt to mimic Irish traditional music.

Lilt

"Over the Rainbow" was arranged in 2011 for Olivia Flanigan and the University of Illinois Concert Jazz Band.

Over the Rainbow

"Autumn Leaves" was arranged in 2010 for the University of Illinois Concert Jazz Band.  This arrangement features extensive reharmonization, superimposing the harmonic advances of contemporary jazz on the timeless melody of this classic.

Autumn Leaves

"Lament for Bob" was composed in 2012 under commission by the United States Air Force Airmen of Note.  This is a tribute to the recent passing of Bob Brookmeyer, one of my largest compositional influences.  This concert piece features the band throughout with a large climactic ending.

Lament for Bob

"Heuristics" was written in the winter of 2012/13.  I sought to build large sections of the piece using the opening motive.  However, in contrast to the large modal sections created using this motive, a tonal section with a diatonic melody interposes at various places, giving a welcome release from the static nature of the modal sections.

Heuristics

"Blue Peace" was inspired by the compositional style of Maria Schneider, particularly her composition "Green Piece". This straight-eighth chart provides extensive modal solo space for the soprano saxophonist while featuring the ensemble using a large palette of contemporary colors. 


Blue Peace

"Fee-Fi-Fo-Fum" contains an interesting progression across jazz arranging styles. Starting in the original tonal regions of the piece, it gives the band a chance to play in the 'Thad Jones' style. After the tenor solo, the piece then progresses in a dark, modal setting, where the harmon mute trumpet develops his setting through his solo. After the modal section, the tune then breaks down further to a drum solo, followed by the heterophonic full band statement of the melody. This piece offers something fun for everyone, and contains a variety of different material. 

Fee-Fi-Fo-Fum

"Figure It Out" was composed in 2011 under commission by the New York Youth Symphony Jazz Band Classic featuring Marcus Printup. This was written for their "Basie and Beyond" concert series, and thus in writing this piece, I strove to pay homage to the lineage of Basie writers, while still stepping a bit 'beyond' their developments. The opening section features a rubato piano intro, followed by a bluesy 'beyond' section by the band. The trumpet soloist then enters, bringing it back inside, and the piece progresses, allowing ample solo space for the trumpet, as well as fun tutti sections for the ensemble. An optional fourth trumpet part is included. 

Figure It Out

"A Fool's Hope" refers to the piano player in this dramatic number. The central theme is the battle between the piano and the band for harmonic control! Framing this is a nice solo section for the tenor sax and a beautiful melody at the beginning and end. 

A Fool's Hope

"Free Play" was inspired by a Steven Nachmanovich book also entitled "Free Play". This fast contemporary swing chart is not for the weak-hearted; a strong tenor saxophonist is a must. The majority of the piece relies on the soloist, who solos throughout the entire piece. After a large climax near the end of the piece, the woodwinds get to test their doubling abilities, while the muted colors in the brass end this driving piece on a quiet note. 

Free Play

"With Every Breath I Take" harkens from the musical "City of Angels", and this ballad arrangement with for a female vocal soloist uproots it from its 'film noir' setting and put it firmly in the jazz style through use of subtle dissonance, dark timbre, and very nuanced ballad playing by the band. The use of four flugelhorns coupled with the trombones and fused with five clarinets evokes a static, but beautiful timbre from the ensemble. 

Scott Ninmer

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