Sanctum - A Jazz Sextet for 6 Horns

Hey everyone. This is my latest composition. I really like the way this one came out. It's a little sextet for trumpet, alto sax, tenor sax, 2 trombones and bari sax (voiced in that order). I really worked hard on the head, but the solo section to the end was a bit rushed. Some suggestions to make that more interesting would be greatly appreciated. Also, I didn't write any solos in and I don't plan to.

Try not to comment on something that would be at the fault of the mp3 file. (i.e. backgrounds engulfing the melody)

The changes are based mainly on a circle fifths motion, so I guess I need to work on making more creative changes.

Well, enjoy.

Sanctum - A Jazz Sextet for 6 Horns

Haven't listened yet (at work, no speakers) but I took a quick glance, and the chart looks cool, I'll listen when I get home.

Any particular reason you specified "bass trombone" in the score? The part certainly doesn't require one...

Thanks! And when I originally picked the instrumentation in finale I guess I had different intentions, but then the trombones just became more of a way to round out the chords.

I really enjoyed the melody. I don't know if you notice, but a lot of modern jazz musicians opt for cool chord progressions, rather than a lyric melodic line. You did both! Great job.

Cool.

I had a chance to listen, and must say it's quite impressive. it's REALLY tough to pull off "chamber" style music in jazz (or so I expect, I've never tried it) Without the rhythm-section to anchor the groove and provide harmonic/rhythmic/feel support, things like this often end up a bit...awkard and sparse.

You, however, managed to get around that.

It's good - the harmonic language is solid (which is rare in younger players); your voicings are really nice (been digging into some Gil Evans have we?); orchestrationally it works pretty well, and the lack of rhythm-section isn't noticed. Well done.

One thing I would recommend - and this is purely a notational thing - when you have off-beat anticipations (i.e. measure 71) it's easier to read if you were to write that as an 8th tied to a quarter. Even though you didn't hide the middle of the bar, it would make it clearer that it's an anticipation.

BUT, that's my only comment...

Great chart... Who do you listen to?

Anthony:

Thanks a lot man. I try to put melody first and chords second.

Robin:

First off, thanks for listening. I love hearing from experienced jazz players/writers.

I actually felt quite comfortable with this ensemble even with its lack of rhythm section. I think I'm going to continue writing for similar types of ensembles. And the voicings are original to me as far as I know. I just establish the chord with strong chord notes at the bottom and then stack color notes in fourths on top.* Which is why I like this ensemble because it lets me include all these color notes. But I go back and forth from that to closed voicings so they don't all sound the same.

*i.e.

9

13

3

7

5

R

And as far as listening goes, I have never heard Evans' music, but it sounds like I certainly should give a listen. I don't listen to nearly as much jazz as I should, but Here's what's on my favorite jazz playlist: Art Blakey, Arturo Sandoval, Maynard Ferguson, Bill Chase, Mingus, Mangione, Ellington, several songs from the Kendor Jazz Collection, Brubeck, Gillespie, Miller, Gordon Goodwin, Lee Morgan.

And that's about it.. Again, not nearly as much as it should be. And you can see the trumpet player trend there haha.

For some good listening in that "chamber jazz" Robin was talking about, check out Rova Saxophone Quartet, though they do have a pretty set style across what I've heard (a few albums).

I dunno, the voicings were cool, but it's hard for me to understand why you avoided a rhythm section with such a traditional setup and composition style.

It had some moments.

First off, thanks for listening.

I "avoided" a rhythm section simply because I wanted to. I wanted to write a chamber style jazz piece. The bari sax was the primary source of rhythm in the piece and the backing horns set up the chords well. So why add a bass, which would essentially double the role the bari; or a piano/guitar, which would mess up the voicings I carefully orchestrated? And I don't know. Drums might enhance the group, but it would sound strange to just have a drum set and 6 horns.

Oh and I've heard of the Rova Quartet before. Not really my style.