Rich DeRosa has had extensive experience doing arrangements on demand for various bands and vocalists and is always willing to tailor the arrangement to suit the needs of the client. This page offers a tour through some of his unpublished arrangements.
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Arranged originally for the great harmonica player Toots Thielemans, this version with strings and rhythm section is most intimate. There are optional solo parts for trumpet and alto sax. It can also feature violin or possibly a soprano or tenor vocalist. Soloist with Strings *solo instrument may be interchanged
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This tune, made famous by Louis Armstrong, was arranged originally for the great harmonica player Toots Thielemans and the Lincoln Center Jazz Orchestra. The full orchestra version features alto sax. It can also feature violin or possibly a soprano or tenor vocalist. There is an alternate solo part for trumpet that can interchange with soprano or tenor sax. Soloist with Strings, Harp, Chamber Orch (WWs/Br), and Rhythm Section
- featured solo instruments may be adapted for other instruments.
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This arrangement of Wayne Shorter’s beautiful melody features a piano intro, transition, and ending that offers a lullaby setting but with a rather dark and beautifully mysterious hue. Also features improvised solos for the piano and soprano sax. The ensemble writing is lush with melodic counterpoint and grand swells. Lead trumpet range – high C. (Live recording by the WDR Big Band).
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This Louis Armstrong classic features the band “scat singing” Louis’ recorded solo. A joyous romp through the New Orleans’ style always puts a smile on people’s faces. Works great as an opener, for an encore, or a contrast piece. Lead trumpet range – high C. Live recording by the William Paterson University Jazz Ensemble.
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A somber & soulful dedication that features bass & soprano (optional tenor) sax solos. After an “orchestral” introduction and statement of the exposition, the theme is eventually heard in its original groove but played by the bassist. The saxophonist* then improvises followed by the band performing the theme (voiced in a Li’l Darlin’ style). It ends as it begins. (flute/clarinet/b.clar. doubling) Lead trumpet range – Bb. (Live recording by the WDR Big Band. *Trumpet is heard here in place of the saxophone.).
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A suite in three large sections. Consists of tunes and melodic references from the Ellington library. Main tunes are ‘A’ Train, Come Sunday, and Caravan with other themes inlaid contrapuntally that include In a Sentimental Mood, Prelude to a Kiss, Don’t Get Around Much Anymore, Things Ain’t What They Used to Be, It Don’t Mean a Thing…, In a Mellow Tone, Mood Indigo, Cottontail, and Rockin’ in Rhythm. (tpt, t.sx., tbn, pno, gtr, bs, dms)
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A suite in three large sections. Consists of tunes and melodic references from the Ellington library. Main tunes are ‘A’ Train, Come Sunday, and Caravan with other themes inlaid contrapuntally that include In a Sentimental Mood, Prelude to a Kiss, Don’t Get Around Much Anymore, Things Ain’t What They Used to Be, It Don’t Mean a Thing…, In a Mellow Tone, Mood Indigo, Cottontail, and Rockin’ in Rhythm.
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Written in 1999 to commemorate the birth of Duke Ellington, this suite contains three large sections (Moderate Swing featuring Take the ‘A’ Train with Don’t Get Around Much Anymore and It Don’t Mean a Thing in counterpoint - Slow Ballad featuring the beautiful Come Sunday - Fast Latin featuring Caravan). Several other most popular themes from the Ellington library are used in various ways throughout the work, mostly in counterpoint. Features solos on alto, tenor, bari saxes along with trombone, flugelhorn, piano and drums. Lead trumpet range – high F. (Live recording by the UNT One O’Clock Lab Band.) (Available for standard big band or big band with orchestra).