Review: "Baby, It's Cold Outside" - This wonderful Frank Loesser standard makes a great guy/girl feature! Recorded by such artists such as Ray Charles & Betty Carter and Steve Lawrence & Edie Gorme, this jazz-flavored setting by Kirby Shaw is great for holiday and other winter concerts. "A Charlie Brown Christmas" - Return to the simple joys of the Christmas season with Vince Guaraldi's jazz renditions of traditional carols and original music written for this classic holiday favorite. "The Christmas Waltz" - The classic holiday hit by Jule Styne and Sammy Cahn is crafted into a lovely arrangement for mixed and women's voices. Optional moments of a cappella singing and simple yet elegant harmonies keep the traditional sound of this holiday favorite while adding freshness for your singers and audience. "The Christmas Song" - From the master himself! Without doubt one of the most creative vocal jazz arrangers ever Gene delivers yet another gem.

Songlist: Baby, It's Cold Outside, A Charlie Brown Christmas (Medley), The Christmas Waltz, The Christmas Song

Review: "We Wish You a Merry Christmas (and All That Jazz)" - Here's the famous traditional holiday greeting set in an easy, laid-back swing style that is just the deal for younger choirs who want to learn jazz style! "Swingle Bells!" - Younger and developing groups will build important vocal jazz skills in this straight-ahead swing arrangement of Jingle Bells. Good voice-leading, well-voiced chords and a supportive and authentic accompaniment will make it right in the pocket for a successful experience!"Christmas Time Is Here" - The tender ballad from A Charlie Brown Christmas is a perfect jazz-flavored choice for younger choirs. Well-crafted vocal lines and a tasty piano accompaniment assure success.

Songlist: We Wish You a Merry Christmas (and All That Jazz), Swingle Bells!, Christmas Time Is Here

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: This close harmony version of the Simon and Garfunkel classic "The Sound Of Silence" works well for beginning groups looking for interesting material, or advanced groups interested in a beautiful mood piece allowing for emotional interpretation. Mixing close harmony with arpeggiated textures, this arrangement allows each voice a turn with the solo line, and plenty of opportunity for rubato and expressive dynamics. This upbeat finger snappin' pop version of the doo-wop classic " Rockin' Robin" will add some spark (and tweet) to your repertoire without being too difficult. The solo moves from part to part, allowing every singer a chance in the spotlight. "Goodbye Old Paint" is a delightful western classic using modern harmonies and approach and "I Don't Know Why I Love You Like I Do" is a ballad of the 40's in block harmonies. The tempo is medium. "Don't Get Around Much Anymore" is one of the many great Ellington songs, arranged here for treble voices. The singers can feel free to alter the scat if it works better that way. "Silent All These Years". Tori Amos broke onto the music scene with this introspective ballad, and this arrangement captures all of the original's delicate moodiness. The background voices weave smooth patterns and ring warm chords. This is an excellent showcase for an expressive soloist (can either be a soprano or alto 1). SSSAA a cappella (4 part with solo).

Songlist: Rockin' Robin, The Sound Of Silence, Goodbye Old Paint, I Don't Know Why I Love You Like I Do, Silent All These Years

Voicing: sheet-music/female-voices/

Review: 'Teach Me Tonight' is an excellent arrangement by Jason A. Smith. Lots of room for improvisation! "Stolen Moments' is an Oliver Nelson classic with lyrics by Mark Murphy. bittersweet clusters and quartal voicings are followed by a 12-bar minor blues solo vamp and out. 'He's Asleep' is a little known tune, written by Alf Clausen (composer for The Simpsons and Moonlighting), and the great lyricist, Tommy Wolf. The arrangement features contrapuntal vocal lines that weave around through mysterious text. Although the piece is harmonically sophisticated, when performed well, it has a feeling of simple innocence. This arrangement would be a worthy challenge for any experienced group. 'The Man I Love' is a 6-part arrangement with fresh reharmonizations. It features an alto soloist, who can stick to the score or embellish freely, depending on her character. 'How Do You Keep The Music Playing' is a beautiful ballad that was originally recorded by James Ingram and Patti Austin as the theme song for the movie, Best Friends. This four-part a cappella arrangement is sensitive to the melodic and lyrical development of the tune, and features the soprano section and/or a female solo throughout.

Songlist: How Do You Keep the Music Playing?, He's Asleep

Voicing: a-cappella/arrangements/vocal-jazz/

Review: This mournful arrangement of the Thelonius Monk ballad, 'Round Midnight' starts with a rubato intertwining intro, then spotlights tense cluster voicings supporting a female soloist throughout. With imaginative reharmonizations, yet good voice leading, this chart is extremely effective and accessible. 'If You Wanna Fly' is an Al Jarreau-style showcase for a strong tenor-baritone soloist. This up-tempo samba features hot choral backgrounds throughout doing horn section licks, an a cappella vocal/percussion break in the middle and some quick unison passages with choir and soloist. 'Not Like This' is another exquisite ballad made popular by Al Jarreau. Contemporary harmonies and recorded by Voice Trek for their CD 'At Last.' Written by Bobby McFerrin and featured on his first album, 'Jubilee' is full of energy and fun. This arrangement is a cappella, with the bass singer doing an instrumental-like bass line throughout. It begins as a samba, goes to swing for a vocal improvisation solo and an ensemble 'soli' section, then back to the samba. The recording by Phil Mattson and the P.M. Singers (Jubilee album) features vocal percussion throughout, emulating a true drum part. If you have an experienced group and you're looking for a showcase piece to feature a talented bass singer and vocal percussionist, this arrangement is for you!

Songlist: Not Like This, Jubilee

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Some of the great vocal jazz arrangers and one of the greatest modern songwriters! "The Look Of Love" - A cool Latin groove and great vocal writing make this Zegree chart a real standout! "What The World Needs Now" - Opening with a soulful soprano sax, this setting moves into a jazz waltz and then a driving 4/4 groove, returning to the jazz waltz for the final vocal build on the lyric: for everyone! "I Say a Little Prayer" - Michele Weir has given this 1967 pop hit by Dionne Warwick a fresh treatment that is ideal for jazz, pop and concert choirs! Solo and group, cascading vocal phrases and a contemporary keyboard part add interest! "A House Is Not a Home" - Philip Lawson, former lead baritone and arranger for the King's Singers has used his experience and talents to set this powerful Burt Bacharach ballad for concert choirs. In the style of the Luther Vandross rendition, this is a powerful concert closer. "Alfie" - arranged by the acclaimed vocal jazz educator Phil Mattson, this song and text is among the most meaningful in contemporary music. Rich harmonies highlight the powerful emotions inherent in the text.

Songlist: The Look Of Love, What The World Needs Now, I Say a Little Prayer, A House Is Not a Home, Alfie

Review: Warm harmonies and gently nuanced textures give Roger Emerson's setting special appeal. Steve Zegree's jazz harmonies in this classic ballad, "Try To Remember," from The Fantasticks simply shimmers in this warm a cappella setting! This beautifully lyrical classic ballad, "The Very Thought Of You," is expressively arranged in a lush a cappella setting. Varied choral textures and luscious harmonies make "Hello Young Lovers" an ideal selection for a cappella vocal groups. Also included is "Georgia On My Mind."

Songlist: Hello, Young Lovers, Georgia On My Mind, A Cappella

Voicing: a-cappella/arrangements/vocal-jazz/

Review: The unique six-voice a cappella orchestration of 'Toccata and Fugue in D Minor' is used in order to fully capture the thick chord voicings of this piece. The swing section contains original melodies based on the already established Toccata theme and crescendos into a tenor and bass (vocal-drum) solo. The work concludes with the original finale of the classical fugue. Matt Falker's arrangement of 'A Time For Love' (originally written by Johnny Mandel)' is a beautiful a cappella ballad. The chart is written for SSATBB voices and features a male/female duet in the latter part of the piece. Issa Sorensen's arrangement of Bobby McFerrins 'Good Lovin' will bring the house down with its awesome groove. Not to be confused with the sensational A Cappella band with the same name, 'Rockapella' is an original a cappella piece with a slow, almost Baroque opening that builds into a high-intensity groove. Features soloist and doo-wop bass line for added energy. A lot of fun for audience and performers!

Songlist: Toccata and Fugue in D Minor, Good Lovin', A Time For Love, Rockapella

Voicing: a-cappella/arrangements/vocal-jazz/

Review: 'I Hold Your Hand In Mine' is a hilarious novelty song by famed satirist/songwriter, Tom Lehrer, gets a pseudo-sophisticated arrangement here, resulting in a subtle but very witty comic effect! Great change-of-pace in a jazz vocal program! A few words can be changed if needed. "I Don't Know Why I Do' is a hot ballad of the 40's in block harmonies. The tempo is medium. Jeremy Landig's arrangement of 'Pure Imagination' is five parts and is inspired by the sound of the Real Group. "Crunch" chords and interesting turns of harmony abound, making this a real showoff piece. Set mostly in a rubato ballad style, it shifts dramatically and unexpectedly between keys in the first section. The bridge leads into a sublime soli section bringing the melody back in a slow swing reminiscent of Lil Darlin' but in 7/4! The bridge returns briefly (this time in a Take 6-influenced swing) before the arrangement winds to a close in the original ballad feel. Whitney Houston made Dolly Parton's 'I Will Always Love You' the longest running #1 hit in the country's history, and this arrangement is true to her legendary version: opening simply with the trademark soprano soloist alone, adding a rich pulsing texture after the first verse and building gradually to a chilling climax.

Songlist: I Don't Know Why (I Just Do), I Hold Your Hand In Mine, I Don't Know Why (I Just Do), Pure Imagination, I Will Always Love You

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Jazz lovers will truly enjoy this sensitive a cappella setting of "My One and Only Love". Interesting harmonies and well-crafted vocal lines will make it a joy to rehearse as well. With "What A Wonderful World" Rene Clausen provides a most sensitive arrangement of this timeless standard. Beautiful harmonies entwine around the familiar melody captivating the listener. Kirby Shaw does a great job with "When I Fall In Love". Purity of line and harmony focus attention on the expressive text of this beautiful ballad. Phil Mattson's a cappella arrangement of the vocal jazz standard "September Song" will leave your audience spellbound. Stunning! From the quiet beauty of the lyrics to the shimmering vocal textures, Paris Rutherford's setting of the classic Kurt Weill song "Lost in the Stars" will create a wonderful concert moment. Ideal for vocal jazz groups, madrigal ensembles and concert choirs.

Songlist: My One and Only Love, What A Wonderful World, September Song

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Smooth a cappella harmonies and unique choral textures make the Rodgers & Hart standard "My Romance" an exceptional choice for SSAA ensembles. The warm standard "When I Fall In Love" featured in the movie Sleepless in Seattle, in a stunning a cappella arrangement. The Irving Berlin chestnut : What'll I Do?" Is a delight and varied choral textures and luscious harmonies make "How Deep Is The Ocean?", another Berlin standard, an ideal selection for a cappella female groups. Ultimately romantic! Originally performed by Maxx Factor on The Sing Off Season One, this a cappella arrangement of Love Story is sweet, warm and easy to sing yet full and rich. The melody is in the soprano 2 part with duet and trio lines throughout.

Songlist: My Romance, How Deep is the Ocean (How High Is the Sky), Love Story

Voicing: sheet-music/female-voices/

Review: The arrangement of 'Bye, Bye, Blackbird' is a rubato ballad version of this pretty, old song. There is some re-harmonizaton, but overall the chords remain pretty square. You will find much opportunity to interpret phrasing as you like. The infectious original chart, 'Love Will Find a Way' starts out with a bed of close harmonies that explodes into a funk groove, highlighting a tenor solo. After the ensemble is featured in the bridge, the arrangement moves up a whole step. There is plenty of room for soloing as the tune moves through the chorus and ends with a thick-textured finish. The perfect showcase for your men. The 8-part arrangement of 'Eleanor Rigby' challenges the singer without detracting from the great lyrics. The first two verses can be baritone solos or the entire baritone section in unison. The third verse incorporates some unison and some unusual chord substitutions. The tenor 1 part is mostly in the falsetto range. The tenor 2 part usually falls in the head voice range and is all harmony. Works well as a showcase piece or closer for a male group with strong part-singing skills.

Songlist: Love Will Find A Way, Bye, Bye Blackbird, Eleanor Rigby

Voicing: a-cappella/arrangements/vocal-jazz/

Review: "All On A Christmas Morning" is one of the least performed but most hauntingly beautiful of the Alfred Burt Christmas carols, this male chorus version features tight four-and five-part voicings and jazz reharmonizations throughout, a rare step-out solo for the second bass, followed by another step-out solo for the first tenor. Rangy, but worthy addition to any Christmas program. This arrangement of "Away In A manger" seeks to give the lyrics their proper focus. It very effectively catches the mood that was intended with the lyrics, alternating shimmering harmonies with unison lines. Each member of the quartet is featured with one verse per person. This jazz waltz arrangement of "We Wish You A Merry Christmas" is reminiscent of Blue Rondo a la Turk. The top tenor has the melody throughout, sung sweetly above the energetic rhythmic bed of the others. Other than a few slightly tongue twisting lines, this arrangement is not at all difficult, but it is very effective. "What Are The Signs?" This little Alfred Burt Christmas carol is effective on its own or as a prelude to other carols in the program, especially other Burt carols. It begins with a Gregorian chant effect with all voices in a very quiet, low unison, then opens into a beautiful four-part male chorale in its second half. Requires good low range in the second bass part.

Songlist: All On a Christmas Morning, What Are the Signs?, Away In a Manger, We Wish You a Merry Christmas

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: Not to be confused with the sensational A Cappella band with the same name, 'Rockapella' is an original a cappella piece with a slow, almost Baroque opening that builds into a high-intensity groove. Features soloist and doo-wop bass line for added energy. A lot of fun for audience and performers! The lush and comical a cappella arrangement of Tom Lehrer's famous parody, 'I Hold Your Hand in Mine,' is faithful to the original in length and tone. Harmonically, it recalls Gene Puerling with a nod to barbershop. The ranges are well within the limits of a good men's jazz group. Levine added four words after the last chord which should get a big laugh if the audience isn't already in hysterics. 'Rockin Robin' was made popular by Michael Jackson and the Jackson Five. This arrangement, written for four-part men's ensemble with a tenor solo, has tight harmonies and abrupt tempo changes that are sure to keep the audience's attention.

Songlist: Rockapella, Rockin' Robin, I Hold Your Hand In Mine

Voicing: a-cappella/arrangements/vocal-jazz/

Review: This is a nice, simple treatment of the Van Morrison favorite "Moondance". A solo in the second tenor range is true to the melody with some interesting chord subsititutions in the harmony parts. Beginning with a duet between solo and bass, there is plenty of room for some subtle, improvised vocal percussion from the other two voices. A bass part that doesn't get too low makes this a great choice for a young male quartet. An easy, yet effective arrangement of the all time Rodgers and Hart ballad "You Are Too Beautiful", that gives your men's section a chance to really shine! Here's a snappy, toe-tapping rendition of " Let's Get Away From It All". It starts right in on the chorus and cruises along to a big ending. Straight-ahead, very fun to sing, and makes a great show opener. "I've Got A Crush On You" starts with a rubato introduction into a slow-ish swing groove for the chorus. The verse is in the middle and is sung rubato with "oo's" behind the lead. Back to tempo second time around with a half-step modulation into the last'A' with a ritard into the ending.

Songlist: Moondance, You Are Too Beautiful, Let's Get Away From It All

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Here's some jazzy takes on old holiday favorites. "Jazzy Old St. Nick" has surprise pauses and clever orchestration and make this the perfect novelty or concert closer. Who's that up there in the sky, singin' and swingin' as he flies by? Why it's Beboppin' Santa Claus, of course! This jazz original is perfect for show and jazz groups and makes a great opener for your holiday programs. Even your youngest singers will dig this jazzy Jingle Bells! With lots of unison and easy call-and-response vocal parts, this arrangement will practically sing itself.

Songlist: Jingle Jingle Jazz, Jazzy Jinglin' Bells, Jazz Tidings We Bring, Beboppin' Santa Claus, Jazzy Old Saint Nick

Voicing: a-cappella/arrangements/christmas/2parts/

Review: Sing some cool arrangements of the National anthem! Beginning with a beautiful unison, Tsunenori 'Lee' Abe's arrangement of 'The Star-Spangled Banner' goes into rich harmony without going too far away from the original. Mark Burnell's 'Star Spangled Banner' is an adventurous a cappella version as performed by Cooler by the Lake for the Chicago Bulls and White Sox. Kerry Marsh's 'Star Spangled Banner' uses some modal re-harmonization, some slight meter shifts and has a rousing finish, with some surprises. This chart sounds harder to sing than it is, as the voice leading is very logical and smooth but the chords are wonderful. Jason Heald's 'The Star-Spangled Banner' is a swinging version of the true "old standard". This is a very rhythmic a cappella SATB arrangement with a strong gospel feel. The chart opens with a soprano solo and concludes with bold sophisticated harmonies. A terrific opener or closer for any concert or event! America The Beautiful, by Mike Dana is a heartfelt arrangement set in a contemporary harmonic framework, and features brief solos for a soulful tenor, and after a modulation for the second verse, alto. The rubato a cappella setting allows for a naturally fluid interpretation that works equally well for jazz singers, chamber groups, and concert choirs at both high school and university levels

Songlist: The Star-Spangled Banner, The Star-Spangled Banner, The Star-Spangled Banner, The Star-Spangled Banner, America, The Beautiful

Voicing: patriotic/

Review: "How About You". This a cappella tour-de-force is designed to feature a quartet or the entire choir. This vocal adaptation of the Rosemary Clooney/Hi-Lo's recording will challenge the most adept vocalists and will likewise impress the haughtiest self-proclaimed vocal jazz aficionado. "For All We Know" is a lush four-voice a cappella ballad for soprano soloist. Written for and performed by UNC's SUS 4. The inclusion of the verse at the end is inspired by Mark Murphy's rendition. "Cielito Lindo" is a traditional tune with very unusual rhythm approach. Tempo: breakneck. Requires good, strong sopranos. This intense rubato arrangement of the Rogers & Hart classic " My Funny Valentine", though accessible to an upper-level high school SSAA group with some jazz experience, is challenging and muscially rewarding enough for the collegiate ensemble as well. Ranges are moderate: Soprano I extends up to F5, Alto II down to Bb3, keeping the harmonies close. A soprano solo is featured in the bridge over a three-part background, leading to a dramatic high point at "Stay, little Valentine, stay!" Suggestions for breaths, expressive markings and dynamics are detailed in the score.

Songlist: For All We Know, Cielito Lindo, My Funny Valentine

Review: One of the greatest songs of all time, Jerome Kern's classic romantic ballad "The Way You Look Tonight" shimmers in a rich a cappella setting highlighted by lush harmonies and gently arched phrasing in a superb arrangement by Kirby Shaw. "Smile" - This exquisitely lush a cappella setting of the familiar lyric, "smile though your heart is breaking", shares a wonderful message of hope and perseverance. An ideal closing selection. The beautifully lyrical Gershwin ballad "Love Walked In" has never before had such a well-crafted, fully textured setting! This gorgeous a cappella treatment is well suited to traditional concert and pop programs! Phil Mattson does a wonderful jazz arrangement of " I'll Be Seeing You" while "How Deep Is the Ocean" has varied choral textures and luscious harmonies that makes Irving Berlin standard an ideal selection for a cappella vocal groups. Ultimately romantic!

Songlist: The Way You Look Tonight, Smile, I'll Be Seeing You, Love Walked In

Voicing: a-cappella/arrangements/vocal-jazz/

Review: "Almost Like Being in Love" - This Lerner and Loewe hit is an American classic. It is set here as an updated a cappella version by Darmon Meader for the New York Voices - an amazing vocal jazz arrangement not to be missed. Beginning with solo and backing vocals, it soon takes off in a bright, happy bounce. "Tenderly" - Surround your audience in a tapestry of sound with this a cappella ballad setting of the great American standard from 1946. The jazz vocals are relatively accessible, but offer plenty of opportunities to develop blend, style and intonation. Wonderful competition piece or as an encore for a concert choir! "Never Let Me Go" - Made famous by the legendary Dinah Washington, this deeply expressive standard is richly arranged for unaccompanied jazz choir. Expanded ranges and divisi provide challenge, but offer rewards for the advanced group. "My One and Only Love" - Beautiful a cappella textures shape this classic Sinatra ballad into a fantastic vocal jazz showpiece! From full homophonic harmonies to solo lines with vocal accompaniment, this setting is a compelling spectrum of sound.

Songlist: Almost Like Being in Love, Tenderly, Never Let Me Go, My One and Only Love

Voicing: a-cappella/arrangements/vocal-jazz/

Review: "It Only Takes a Moment" - The beautiful song from Hello Dolly in a lush a cappella ballad setting! With heartfelt lyrics, rubato phrases, and rich choral harmonies, this will be a wonderful feature for jazz, pop and concert choirs. "My Funny Valentine" - A lush a cappella setting of this timeless standard features soprano solo or soli. Quite accessible! "Their Hearts Were Full of Spring" - Originally popularized by the Four Freshmen, this iconic arrangement of the Bobby Troup song helped pave the way for a cappella vocal jazz as well as influencing the singing style of the Beach Boys. "The Nearness of You" - One of the greatest songs of all time, Hoagy Carmichael's classic romantic ballad shimmers in a rich a cappella setting highlighted by lush harmonies and gently arched phrasing in this superb arrangement.

Songlist: It Only Takes a Moment, My Funny Valentine, Their Hearts Were Full of Spring, The Nearness of You

Voicing: a-cappella/arrangements/vocal-jazz/

Review: This a cappella treatment of Rodgers and Hart's 'Little Girl Blue' has become a classic amung vocal groups. Plenty of vocal and dynamic range to give this chart lots of freedom for interpretation and make it your own. One of Harold Arlen's great ballads, 'Last Night When We Were Young' is written a cappella for SSATB choir with a short soprano solo. Chords are colorful but not difficult to hear. 'Exactly Like You' is a great a cappella medium swinger that is fun to sing and a fine program opener. Written by Bobby McFerrin and featured on his first album, 'Jubilee' is full of energy and fun. This arrangement is a cappella, with the bass singer doing an instrumental-like bass line throughout. It begins as a samba, goes to swing for a vocal improvisation solo and an ensemble 'soli' section, then back to the samba. The recording by Phil Mattson and the P.M. Singers (Jubilee album) features vocal percussion throughout, emulating a true drum part. If you have an experienced group and you're looking for a showcase piece to feature a talented bass singer and vocal percussionist, this arrangement is for you!

Songlist: Little Girl Blue, Last Night When We Were Young, Exactly Like You, Jubilee, Jubilee, Last Night When We Were Young, Exactly Like You

Voicing: a-cappella/arrangements/vocal-jazz/

Review: The beautiful 1937 ballad, 'I Can Dream, Can't I?' moves between lush harmonies and flowing counterpoint. It is richly texutred, yet accessible to most groups. ''Their Hearts Were Full of Spring' is as close as a mixed group can get to the original TTBB, Four Freshman, original. A very romantic a cappella ballad with lush harmony throughout! 'Am I Blue' sounds incredibly lush for having a maximum of 4 parts. A la Gene Puerling but easier. A definite "oo and ah" creator!

Songlist: I Can Dream Can't I?, Their Hearts Were Full Of Spring, Am I Blue

Voicing: a-cappella/arrangements/vocal-jazz/

Review: This lush a cappella arrangement of 'I've Never Been In Love Before' features the entire vocal ensemble. The emotional lyric and fresh harmonization make this chart fun to rehearse and perform. Billie Holiday and Blood, Sweat and Tears helped to make 'God Bless The Child part of the standard jazz literature. It is a beautiful arrangement! 'Nancy with the Laughing Face' is another beautiful Johnny Mercer melody arranged in a very singable a cappella setting. A short solo with choir backgrounds sets up a beautiful and sensitive ending. Phil Mattson's arrangement of 'Love For Sale' was originally written for Chanticleer with a female solist. Now your vocal group can enjoy this beautiful gem!

Songlist: I've Never Been in Love Before, God Bless the Child, Nancy With The Laughing Face

Voicing: a-cappella/arrangements/vocal-jazz/

Review: 'Aspen Waltz' is a lush a cappella original, by Randy Crenshaw, with a twelve-tone treatment of melody, supported by rich, Singers Unlimited-sytle chordal textures. Features soprano soloist, small group or section. Written by Bobby McFerrin and featured on his first album, 'Jubilee' is full of energy and fun. This arrangement is a cappella, with the bass singer doing an instrumental-like bass line throughout. It begins as a samba, goes to swing for a vocal improvisation solo and an ensemble 'soli' section, then back to the samba. 'Straighten Up and Fly Right' is a famous Nat Cole song heard on Natalie Cole's multi-Grammy winning Unforgettable album. There are solos for alto or tenor. Featuring traditional jazz-type harmonies, the feeling is bright with a lively tempo. 'Spring Can Really Hang You Up The Most' is a fun, beautiful piece fill with great jazz harmonies. 'Alice in Wonderland' is a sensitive ballad interpretation of the popular jazz waltz by Sammy Fain and Bob Hilliard. Ranges from unison opening to lush six-part harmony and features a tenor solo.

Songlist: Straighten Up and Fly Right

Voicing: a-cappella/arrangements/vocal-jazz/

Review: An English/American folk standard, this arrangement of 'Aura Lee' is a group feature and begins as a ballad with octave unison, then some traditional harmony continues with ever-increasing reharmonization and works its way into a medium-swing setting with tight, rich harmony. 'Amazing Grace' is a traditional gospel, shuffle arrangement with jazz harmonies is sure to satisfy. The larger the ensemble, the better this one will sound. The 6/8 meter keeps the gospel flow and the harmonic structure will keep the jazz ears awake with its reharmonization. The opening and closing solo melody may be as free as your gospel ear desires. The 'Shenandoa' arrangement is here in a spiced up ballad setting. It begins with a tenor solo with later group entrance featuring diverse, harmonic settings, key changes, soprano solo, short tenor/soprano duet and, at the end of the group harmony, gently fades just like the ol' river. Close harmony chords and arpeggiated textures combine to make for a lush, complex, and moving rendering of, the Irish ballad, Danny Boy. A tenor solo and baritone duet share the melody with the ensemble. The simple folk melody in 'The Water is Wide' is the foundation for this complex choral work. Each verse has its own flavor, ranging from flowing arpeggiated textures to rich close harmonies.

Songlist: Aura Lee, Amazing Grace, Shenandoah, Danny Boy, The Water Is Wide

Voicing: a-cappella/arrangements/world-music/

Various Arrangers : Vocal Jazz Christmas

Review: From the poignant unison opening phrase through the stunning unfolding of breath-taking choral warmth, ;'I'll Be Home For Christmas' is not to be missed! Lushly romantic harmonies will create an unforgettable musical spell. The happiness and glow of the holiday season is brought to life in this warm a cappella arrangement of '(There's No Place Like) Home For the Holidays' by Mac Huff. Sumptuous harmonies support the simple and expressive melody line. From its lush bell-tone opening to the lyrical harmonic treatment of the chorus, there's no doubt this a cappella setting of 'The Christmas Song' is a rare treat! Written with Lowell Everson, 'Vocal Jazz A Cappella Christmas, a collection of fourteen vocal jazz Christmas treats, is arranged with delightful harmonies and skillful voice leading. The songs are challenging, yet accessible for the high school or college level vocal jazz ensemble. Also fun to sing when you want to liven up your Christmas carol session or holiday season!

Songlist: I'll Be Home For Christmas, The Christmas Song, Merry Christmas, Darling, (There's No Place Like) Home for the Holidays, Vocal Jazz A Cappella Christmas

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: 'Have Yourself a Merry Little Christmas' is A wonderful arrangement by one of the great arrangers, Morgan Ames. 'We Wish You a Merry Christmas' is short and sweet, as fast as you can sing it. It is sung with hums and oo's, no lyrics. The feeling is humorous with traditional harmonies. 'Boogie Woogie Santa' has a 40's, slightly big band feel for voices with a soprano lead. The tempo is lively with pop harmonies. This is a fun, not serious tune. 'Santa Claus is Comin' to Town' is a blend of the Motown (Jackson 5) and rock (Bruce Springsteen) versions of this modern seasonal classic, this driving yet easy to sing arrangement makes for a perfect holiday closer or encore. Melody in soprano line which can be sung as a solo or section. Vocal percussion is optional. The beautiful carol, 'Some Children See Him,' by Alfred Burt and Whila Hutson opens with a tenor solo, soon joined by a warm background chorus. Serene yet gently moving forward with subtle meter and key changes. Little moments for every part to shine. Can be a wonderful counterpoint to the more up-tempo Christmas songs.

Songlist: Have Yourself a Merry Little Christmas, We Wish You a Merry Christmas, Boogie Woogie Santa, Santa Claus is Comin' to Town, Some Children See Him

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: 'Have Yourself a Merry Little Christmas' is a sweet, heartfelt, close harmony arrangement of this holiday classic featuring a rich baritone solo line and plenty of Puerlingesque harmonies. Based on Greensleeves (traditional) with a warmer lyric 'Once Upon a Christmastime' includes many solo lines meant for free interpretation. 'Some Children See Him' is a Christmas standard written in the 50's by Los Angeles session singer, Alfred Burt. Burt's original changes are reinterpreted in this great arrangement by Morgan Ames. Based on Silent Night sung without words until the last line, 'Silent (Sleep In Heavenly)' has many short solo lines meant for free interpretation. 'Santa Claus Is Comin' To Town' is transformed into a hard-swingin', lighthearted arrangement. It features solos for a male and female, a half chorus scat solo, and a big shout chorus finish. Light vocal percussion and a strong bass singer are necessary. You will love this harmonically challenging, yet rewarding piece!

Songlist: Have Yourself a Merry Little Christmas, Some Children See Him, Silent (Sleep In Heavenly Peace), Santa Claus Is Comin' to Town

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: Thad Jones, a wonderful writer, left us the beautiful, sensitive piece, 'A Child Is Born.' With all due respect to the music, the arrangement is simple, sparse and, of course, a cappella. Vocalists must work wholeheartedly with breathing, phrasing, matching of vowel shapes, cutoffs and impeccable dynamics. Ellen Hoffman's arrangement of 'A Song For Christmas' is a fun jazzy tune for all who love the season. A knockout amalgam of jazz waltz/traditional carol moves 'Carol of the Bells' along at a rocket pace with phrases alternating between straight 8th and swing, and harmonic content between jazz and traditional. The middle section of the piece offers a brief slowdown before returning to the fast-paced crescendo to the climax. With an uptempo swinging groove, a rockin solo and gorgeous background vocals, 'Merry Christmas Baby' is sure to be an audience pleaser at your holiday concert.

Songlist: A Child Is Born, A Song For Christmas, Carol of the Bells, Silent Night

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: 'Let it Snow' is written for an a cappella jazz group with sort of a Manhattan Transfer meets Take 6 approach. The SAATBB a cappella arrangement of 'Silent Night' starts simply and plaintively, then fills out harmonically over three verses. Provides a nice quiet moment for a Christmas concert. 'Santa Claus Is Comin To Town' is transformed into a hard-swingin', lighthearted arrangement. It features solos for a male and female, a half chorus scat solo, and a big shout chorus finish. Light vocal percussion and a strong bass singer are necessary. You will love this harmonically challenging, yet rewarding piece! Students, pros and parents alike will love the a cappella swing arrangement of 'Winter Wonderland. Fun to sing and has a big ending. Low bass has a written walking-bass line.

Songlist: Silent Night, Winter Wonderland, The Christmas Waltz, Let It Snow

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: The touching Alfred Burt/Wihla Hutson Christmas carol, 'Some Children See Him' is a gentle but jazz-flavored arrangement. Some reharmonization, yet retains the sweet quality of the original. Features female and male solo spots. The arrangement of 'O Christmas Tree' is an upbeat a cappella version featuring close harmonies and key changes. A brief, warm rubato opening is followed by a swing scat duet, full group in major and minor keys, a foray into 3/4, then a final swing section under a scat solo. SSATTB requiring a strong bass. 'Have Yourself a Merry Little Christmas' has a light and happy feel. Bass pedals, soprano descant, bass lines and rhythmic shots occur throughout. A modulation in the last A section is delightfully unexpected. It's a great chart to end the Christmas show.

Songlist: Some Children See Him, O Christmas Tree, Have Yourself a Merry Little Christmas

Voicing: a-cappella/arrangements/christmas/vocal-jazz/

Review: "Autumn Leaves" - A fresh take on a classic standard with intricate, yet accessible jazz harmonies and effortless voice leading. The vocals sing like falling and drifting leaves throughout the piece. A standout ballad for your jazz, show, or concert choir!"Bill Bailey, Won't You Please Come Home?" - What a fun and smart arrangement of this popular song originally penned by Hughie Cannon! A standard for jazz and Dixieland bands, the fun of this piece is now captured in a new SSAA voicing for women. This gem is great for concert and show choirs."Their Hearts Were Full of Spring" - Originally popularized by the Four Freshmen, this iconic arrangement of the Bobby Troup song helped pave the way for a cappella vocal jazz as well as influencing the singing style of the Beach Boys."The Nearness of You" - One of the greatest songs of all time, Hoagy Carmichael's classic romantic ballad shimmers in a rich a cappella setting highlighted by lush harmonies and gently arched phrasing in this superb arrangement.

Songlist: Autumn Leaves, Bill Bailey, Won't You Please Come Home?, Their Hearts Were Full of Spring, The Nearness of You

Voicing: sheet-music/vintage/

Review: A great collection of vocal jazz arrangements by some of the best arrangers in the genre. Bette Midler's sass is captured in this fast, furious and fun arrangement by Deke Sharon of Cole Porter's Miss Otis Regrets. Andrew Sisters-esque 3 part melody above a walking bass line punctuated by brassy horn (vocal) passages. A great "Story Song", works well as a closer or encore. The Thelonius Monk ballad "Round Midnight" most recently featured in the movie of the same name. This arrangement starts with "wind" sounds, a rubato intertwing introduction, then spotlights tense cluster voicings supporting a female soloist throughout. With imaginative reharmonizations, yet good voice leading, this chart is extremely effective and accessible. "For All We Know" - A lush four-voice a cappella ballad for soprano soloist. The inclusion of the verse at the end is inspired by Mark Murphy's rendition. Commissioned by the New York-based chorus Women Singing, the Scottish folk song "The Skye Boat Song" is written to evoke images of the stark beauty of the Highlands. The melody that tells the legend of Bonnie Prince Charlie is supported by water ripples and wind that the background voices weave together. In the middle section, the story is told by a narrator. Take a journey through the poetic landscape with rich harmony and soaring lines.

Songlist: Skye Boat Song, For All We Know, Round Midnight, Miss Otis Regrets

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Wow! The #1 pop hit from 1977 "I Wish" by Stevie Wonder in an a cappella vocal setting that really cooks will be tons of fun to rehearse and absolutely killer in concert! Featuring optional vocal bass and percussion and an exciting shout chorus, this chart is hot, hot, hot! "Vincent" is the hit song by Don McLean written as a tribute to Vincent van Gogh. It is also known by its opening line, "Starry Starry Night", a reference to van Gogh's painting The Starry Night . The 1975 pop hit "You Are So Beautiful" by Joe Cocker translates beautifully to an a cappella setting. Lush harmonies and vocal textures create a special musical atmosphere. A superb a cappella setting by Steve Zegree of the Beatles classic "In My Life", this will be a fine showcase for pop, jazz and concert groups.

Songlist: Vincent (Starry Starry Night), You Are So Beautiful, In My Life, I Wish

Voicing: a-cappella/arrangements/vocal-jazz/

Review: 'The Barber of Seville Overture' has been a long-time favorite in King's Singers concerts. From the subdued opening theme in the "strings" to the rousing "full-orchestra" close, this instrumental work is creatively brought to life - King's Singers style. It's hard to keep a straight face while singing this hilarious novelty arrangement of 'William Tell Overture' for "serious" choirs. Sung entirely on syllables which imitate the sounds of Rossini's original orchestral percussion, brasses, and woodwinds, this one will be best when performed tongue in cheek. And from the initial fanfare to the final cadence, seasoned choirs will sound great on the full chords and percussive "Lone Ranger" themes. 'Tango to Evora' was masterfully arranged by Vancouver Chamber Choir conductor Jon Washburn. The sensual but innocent tango melody in the choir gives an expressive background to a 'floating' soprano solo.

Songlist: Tango To Evora, The Barber of Seville Overture, William Tell Overture

Voicing: a-cappella/arrangements/wordless/

Review: This arrangement of "Shuffle Off To Buffalo" takes the listener on a captivating journey by train from a Buffalo of the 40's to one of the 90's. Equipped with train sounds and humorous quotes, this Warren/Dubin tune is lively and fun to sing. Each chorus is introduced with a rubato verse which creates a pleasing contrast. "Longing for My Love" is a composition in the style of Take Six, but much easier to learn. Surprising jazz harmony changes on uh-syllables. Very contemplative and a nice change for a normally vacuous repertoire. "Blame it On My Youth" is in the style of Autumn Leaves with notated vocal jazz improvisation part. In this emotional jazz ballad the lyrics tell of longing while two loving people are apart. "Remember Me" is a beautiful SSAA a cappella ballad. Although it is a harmonically lush arrangement, it is very singable.

Songlist: Shuffle Off To Buffalo, Longing For My Love, Remember Me, Blame It On My Youth

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Sung either soli or solo, the front section of 'Give Me the Simple Life' really sets up this chart for success. A written-out bass solo leads into an a cappella SSAA quartet feature that is 'a real gas!' Back to the bridge, on through a key change to the classic Basie "Splanky" ending. Suitable for contest or concert. Freytag's latin version of 'Summertime' will be fun for the singers and the audience. 'Playrooms' is an a cappella jazz waltz, that will set a gentle tone in your program. The text, written by Jackie Farrell, describes the beauty of young children and of the simple joys often forgotten by adults. 'Queen of Hearts' is a playful, easy to sing yet very full sounding version of this repeated pop and country top ten hit. The lead moves from part to part, giving the upper three parts each a chance to sing the melody. The alto 2 "bass line" features plenty of lyrics and countermelodies as well. 'I Remember Clifford,' a classic Benny Golson tune, is set here for female voices and a torch-style soloist. The tribute to jazz great and trumpet player, Clifford Brown, has remained a jazz standard since first introduced. The lush harmonies provide a beautiful setting for Golson's tribute. The soloist has freedom to sing the line as written or develop her own solo line.

Songlist: Give Me the Simple Life, Playrooms, Queen of Hearts, I Remember Clifford

Voicing: a-cappella/arrangements/vocal-jazz/

Review: A warm and beautiful melody with poignant lyrics set in a sensitive, a cappella arrangement makes 'Try A Little Tenderness' a festival or concert favorite. The lyrics and melody to 'Draw Me A Circle' have an almost child-like simplicity. Setting it within the framework of a harmonically sophisticated arrangement has created a lovely and poignant piece. It is a cappella, rubato and features a fairly lengthy soprano solo. 'Sounds Like Fun' is a short and sweet showpiece. It is part ballad, part rhythmic masterpiece. The hot chords and flashy vocal moves eloquently, but not difficultly, to the very end. This chart is sure to be enjoyed by all those who sing it or just listen to it! 'Nina Never Knew' is an expressive and sensitive ballad setting with a beautiful, lyric melody. Medium difficult, but well worth the effort!

Songlist: Sounds Like Fun, Nina Never Knew, Try a Little Tenderness, Draw Me a Circle

Voicing: sheet-music/female-voices/

Review: "I'm Always Chasing Rainbows" is a whimsical gem for female voices and will captivate your audiences. Kirby's exquisite arrangement of this classic song lets each section blossom with a turn at the melody. Mac Huff's arrangement of Bette Midler's #1 pop hit "From A Distance" has powerful lyrics and a timeless melody that will create an unforgettable concert moment. Magical! Michele Weir's arrangements of "Rock-A-Bye Baby" is a smooth jazz delight and the vocal jazz standard "Java Jive"gets a great a cappella treatment with the Kirby Shaw touch! Still swings!

Songlist: I'm Always Chasing Rainbows, Java Jive, From a Distance, Rock-A-Bye Baby

Voicing: a-cappella/arrangements/vocal-jazz/

Review: "Soul Bossa Nova" is not for the faint of heart! The Quincy Jones instrumental used in the Austin Powers' movies has been adapted to an a cappella vocal setting that really cooks and will totally wow your audience! Bailando is the gerund of the Spanish word, "bailar" which means to dance, move rhythmically to music, as well as to skip or bounce in a dance-like manner. This arrangement by Greg Jaspere id bound to get everybody swingin' along. "O Sapo" - In this irresistible Brazilian song setting, vocal lines imitate percussion patterns to create a truly infectious groove. "Gota" - The music line and wordless vocal jazz treatment fuses with ethnic folk music in a truly original way. A true 'performance piece' and favorite in the repertoire of Swedish vocal giants The Real Group, Gota has quickly gained recognition world wide. For vocal jazz oriented high school and beyond.

Songlist: Gota, Soul Bossa Nova, Bailando, Ba Ba Doo Ba (A Jazz Improv), O Sapo

Voicing: a-cappella/arrangements/wordless/

Review: Here's a collection of arrangements by Ward for unaccompanied women's voices. This arrangement of the old Irving Berlin standard "I Got Rhythm" evokes a Dixieland combo while Ellington's "Don't Get Around Much Anymore" swings with a fun opportunity for some voices to scat. "It Was a Lover and His Lass" also has a lot of scat-like syllables (e.g. "hey-ding-a-ding") while "Reeds of Innocence" has a strong rhythmic element in the writing, with vocal imitations of flute sounds. It goes along at rather a moderate pace and is not difficult to sing. This is a fun collection for singers and for audiences alike.

Songlist: Don't Get Around Much Anymore, I Got Rhythm, It Was a Lover and His Lass, Reeds of Innocence

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Here are the four movements of Mozart's "Eine Kleine Nacthmusik," which Ward Swingle has arranged for voices with the hopes that groups will perform the piece in its entirety. For the Swingle Singers this offered a change from the succession of 2- or 3-minutes pieces typical of many of their programs. Rondo is a good exercise in fast, intricate scat singing and Menuetto is often used in Ward's seminars to introduce the whole "vocal-instrumental" concept.

Songlist: Menuetto, Rondo, Allegro, Romance

Voicing: a-cappella/arrangements/vocal-jazz/

Review: Leonard Bernstein once said of Beethoven that when he had a choice of notes, he always picked the right one. The same can be said of Franz Schubert. His unerring choice of notes produced some of music's greatest melodies. A must for your medium jazz ensemble!

Songlist: Moment Musical Op.94 No. 2, Moment Musical Op. 94 No. 3, Moment Musical Op. 94 No. 6

Review: A collection of Christmas medleys. From the arranger: This medley has a strong jazz feeling with "Jingle Bells" in a fast tempo, "Il est ne" half that fast and Es ist ein Ros' entsprungen" half as fast again. As with my Bach arrangements, this medley contains a fusion of jazz and classical styles. "God Rest You Merry Gentlemen" is treated here in a medium-tempo jazz style including some scat singing. "The First Noel" is in a more traditional choral style whereas "Go Tell It On the Mountain" has a strong Dixieland feeling. "El Noi de la Mare" is one of my all-time favorite melodies. It comes from the Catalan region near Barcelona. I've given the Czech carol "Hanej, nynej, Jeziski" ("Rocking Carol") a Mozart-like accompaniment, and Canzone d'i Zampagnari" some rhythms suggesting Italian folk music. The Norwegian carol "O Jul med din Glede" has "bouree" rhythms contrasted with a light, jazz feeling. "Komt, Verwondert u hier Menson" (Dutch) has a "pop" style with even 8th notes. "Away in a Manger" is done as a bass solo with string-like accompaniment.

Songlist: Swingle Bells I, Swingle Bells II, Swingle Bells III, Swingle Bells IV, Swingle Bells V

Review: "Les anges dans nos campagnes" should have a careful "fusion" of classical and jazz styles. I've arranged "O Tannenbaum" as a duet for baritone and soprano combining the German text with some scat singing. "Bel Astre que j'adore" is a simple arrangement with a soprano solo. Silent Night, the most famous of all Christmas melodies, doesn't require a lot of comment. The voices accompanying the alto solo simulate muted brass sounds in the first verse and become woodwinds in the second. "Deck the Halls" starts out in a fast, Mozart-like style then transforms into medium-tempo, big band feeling. "What Child is This?" has a soprano solo with some improvisational scat singing and an accompaniment in 3/4 jazz tempo. Includes "O Come, O Come Emmanuel," "Twas in the Moon of Wintertime," and "Bring a Torch, Jeanette Isabella." "Swingle Bells X" was commissioned by the Mid-America Singers and I have added it to the already existing "Swingle Bells" medleys. This one mixes Latin, Huron and French carols. I was surprised by how easily they fit together!

Songlist: Swingle Bells VI, Swingle Bells VII, Swingle Bells VIII, Swingle Bells IX, Swingle Bells X

Review: The Swingle Singers often use "Flight Of The Bumble-Bee"as an encore piece. It has to go as fast as possible using a great variety of scat syllables in order to avoid lock-jaw. It also includes a fairly literal vocal transcription of Debussy's famous piano piece, "Claire de Lune." The tessituras are quite wide ranging from low D-flats for the basses to high B-flats for the sopranos. It is probably best sung with the help of microphones. This transciption of a Chopin "Etude Op. 25 No.9" is probably easier to sing than it is to play! It should be performed at a brisk pace, with the main melody alternating between the Tenors and the First Sopranos. "Overture to Marriage of Figaro" - It was an interesting challenge to arrange this wonderful overture for eight voices. My group has often used it to open a concert. Of course it is very difficult but quite a few choirs have managed to master it. I think it works equally well on or off mikes, as long as a proper balance is maintained among the voices. Ward Swingle

Songlist: Flight of the Bumble-Bee, Clair de Lune, Etude 25 No. 9, Overture to Marriage of Figaro

Voicing: a-cappella/arrangements/8-parts/

Review: 'Pastime With Good Company' is an evocation of Renaissance vocal and instrumental styles in which some of the singers are asked to imitate recorders, tabors and shaums. 'The Agincourt Song' recounts the victory of Henry V over the French at Agincourt. As in 'Pastime with Good Company,' the singers must imitate the sounds of Renaissance instruments. 'Country Dances' is a fast-moving potpourri of traditional country tunes. One theme that recurs is that of the Arkansas Traveler. The accompanying sounds evoke various country-music instruments: fiddles, banjos, jugs, etc. 'Music History 101 is a trip through Music History to the tune of "Twinkle, Twinkle, Little Star," treated as a Gregorian Chant, a Medieval Round, a Madrigal, a Bach Chorale, a Schubert Lied and many other styles including jazz and rap. El paisanito features an alto duet with an accompaniment that imitates strumming Spanish guitars. In the men's version, the duet is sung by two male altos. 'L'amour de moi' features a soprano solo with a string-like accompaniment along with vocalized bass and drums. The three melodies in 'Tour garcon qui sert bien son maitre' come from the province of Quebec. These arrangements were commissioned by the McGill Univeristy Chamber Choir in Montreal.

Songlist: Pastime with Good Company, The Agincourt Song, L'amour de moi, Country Dances, El paisanito, Music History 101

Voicing: a-cappella/arrangements/8-parts/

Review: This version of "Oh, Johnny, Oh" is an evocation of the Andrews Sisters' recording. Three soloists become the Andrews Sisters, while the other singers scat the accompaniment (brass, rhythm and bass guitar). Here the singers have to keep things swinging without the help of bass and drums. Al Jarreau wrote some wonderefully "onomatopaeic" words for Brubeck's fine piano piece, "Blue Rondo a' la Turk.". Ward Swingle transcribed the piano part as faithfully as possible for voices.Perhaps Kurt Weill's most famous song, Mack the Knife was written during his Berlin period, first sung by his wife Lotte Lenya; and later, in a very popular jazz version, by the great Bobby Darin. "Saints Fugue" was first written for the French Swingle group in the early 70's using only scat syllables. Ward Swingle revised it later adding the traditional words.

Songlist: Oh, Johnny, Oh!, Saints Fugue, Blue Rondo a la Turk, Mack The Knife

Voicing: a-cappella/arrangements/8-parts/

Review: Cole Porter's "Miss Otis Regrets" is an ironic tale of betrayal, revenge and punishment in the form of a minidrama compressed into some 48 measures. It's surely one of the most startlingly original standards in the repetoire. Arranged for 19 voices, "Chatanooga Choo-Choo" was made famous by Tex Benecke, the Modernaires and the Glenn Miller Band. Ward Swingle has attempted a faithful, entirely vocal, adaptation. Also included in this package is "You're The Top."

Songlist: Chatanooga Choo Choo, Fascinating Rhythm, You're the Top, Miss Otis Regrets

Voicing: a-cappella/arrangements/vocal-jazz/