By Louis Armstrong. Arranged by Diego Marani. Score, Set of Parts. 11 pages. Published by Diego Marani (H0.154081-915947). - Score,Set of Parts - - Diego Marani

By Louis Armstrong. Arranged by Craig Garner. Score, Set of Parts. 10 pages. Published by Dorm 40 Music (H0.140411-915947). - Score,Set of Parts - - Dorm 40 Music

Euphonium,Horn,Trombone,Trumpet,Tuba - Digital Download

SKU: A0.1149132

By Louis Armstrong. By Jerry Herman. Arranged by Keith Terrett. 20th Century,Blues,Film/TV,Jazz. 15 pages. Keith Terrett #749261. Published by Keith Terrett (A0.1149132).

A classic arranged for Brass Quintet with optional drums. The chart features a fully written Louis style Trumpet solo. Enjoy!

Hello, Dolly! is the title song of the popular 1964 musical of the same name. Louis Armstrong's version was inducted into the Grammy Hall of Fame in 2001.

The music and lyrics were written by Jerry Herman, who also wrote the scores for many other popular musicals including Mame and La Cage aux Folles.

History:

Hello, Dolly! was first sung by Carol Channing, who starred as Dolly Gallagher Levi in the original 1964 Broadway cast. In December 1963, at the behest of his manager, Louis Armstrong made a demonstration recording of Hello, Dolly! for the song's publisher to use to promote the show. Hello, Dolly! opened on January 16, 1964, at the St. James Theatre in New York City, and it quickly became a major success.

The same month, Kapp Records released Armstrong's publishing demo as a commercial single. His version reached No. 1 on the U.S. Billboard Hot 100, ending the Beatles' streak of 3 chart-topping hits in a row over 14 consecutive weeks. Hello Dolly! became the most successful single of Armstrong's career, followed by a Gold-selling album of the same name.[2] The song also spent nine weeks atop the adult contemporary chart shortly after the opening of the musical. The song also made Armstrong the oldest artist ever to reach No. 1 on the Hot 100 since its introduction in 1958. Billboard ranked the record as the No. 3 song of 1964, behind the Beatles' I Want to Hold Your Hand and She Loves You.

Hello, Dolly! won the Grammy Award for Song of the Year in 1965, and Armstrong received a Grammy for Best Vocal Performance, Male. Louis Armstrong also performed the song (together with Barbra Streisand) in the popular 1969 film Hello, Dolly!.

Lyndon B. Johnson, often referred to by the moniker LBJ, used the tune, rechristened Hello, Lyndon!, as a campaign song for his run in the 1964 U.S. presidential election. This version of the song was performed by Carol Channing at that year's Democratic National Convention, and a recording was made by Ed Ames for distribution at the convention.

The Sunflower controversy:

Hello, Dolly! became caught up in a lawsuit which could have endangered plans for filming the musical. Mack David, a composer, sued for infringement of copyright, because the first four bars of Hello, Dolly! were the same as those in the refrain of David's song Sunflower from 1948. As he recounts in his memoirs, Herman had never heard Sunflower before the lawsuit, and wanted a chance to defend himself in court, but, for the sake of those involved in the show and the potential film, he reluctantly agreed to pay a settlement before the case would have gone to trial.

Brass Quintet Baritone Horn TC,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1273084

By Keith Terrett. By Duke Ellington/Barney Bigard. Arranged by Keith Terrett. 20th Century,Jazz,Standards. 11 pages. Keith Terrett #865274. Published by Keith Terrett (A0.1273084).

An arrangement of C Jam Blues for Brass Quintet. The extra parts are not necessary, but are provided if you have extra players such as a Bb Piccolo Trumpet & Bb Trombone/Euphonium in TC.

New Orleans-born clarinetist Barney Bigard is likely the originator of this tune, a simple blues riff in the key of C. Since Bigard was a veteran member of Duke Ellington’s Orchestra in 1941, Duke had a slice of the pie, too, and undoubtedly arranged the piece for the orchestra. Yet Duke referred to the number somewhat disparagingly as “one of our more or less trite things.�

The number was introduced in a Soundie short film. These three-minute features, produced to be shown on a jukebox-type player, illustrated the band miming to a pre-recorded performance. Entitled “Jam Session� the Soundie was filmed late in 1941 along with four other Ellington numbers. Duke introduces various band members, who then solo: Ray Nance (violin), Ben Webster (tenor sax), Rex Stewart (cornet), Joe “Tricky Sam� Nanton (trombone), and Sonny Greer (drums). The complete ensemble carries the tune to its finish with composer Bigard (clarinet) providing some improvised upper register piping.

“C Jam Blues� was formally recorded under that title in January, 1942, for RCA Victor Records. It continued be a staple of the Ellington repertoire, generally featuring a handful of the soloists in the band.

Co-composer Barney Bigard left Duke’s band in June 1942, and after a period of freelancing joined Louis Armstrong’s All-Stars in August, 1947. “C Jam Blues� was one of his nightly features with Satch’s ensemble along with “Tea for Two.� Despite playing the tune hundreds, or perhaps even thousands of times during his tenure with Ellington and Armstrong, he continued to perform it during his freelance years in the 1950s until shortly before his death in 1980.

In the late-1950s very simple words were added (“Baby, let’s go down to ‘Duke’s Place’,� etc.) which strangely took a three-member team of writers to assemble: songwriters William Katz and Ruth Roberts and record producer Bob Thiele. Clarinetist Barney Bigard was not included in the composer credits of the song version, although he was a member of Louis Armstrong’s All-Stars when they recorded “Duke’s Place,� featuring Louis on the vocal, with Ellington in 1961.

The piece typically features several improvised solos. The final solo continues in the upper register as the entire ensemble comes in and the music grows to a climax. The melody likely originated from the clarinetist Barney Bigard in 1941, but its origin is not perfectly clear.

It was also known as Duke’s Place, with lyrics added by Bill Katts, Bob Thiele and Ruth Roberts Western Swing band leader Bob Wills and His Texas Playboys recorded the song sometime between mid-1945 through 1947 as part of the Tiffany Transcriptions.

The 10-note occasional riff formed the basis of the Bonzo Dog Doo-Dah Band’s novelty song Intro Outro.

Need an anthem fast? They are ALL in my store! All my anthem arrangements are also available for Orchestra, Recorders, Saxophones, Wind, Brass and Flexible band. If you need an anthem urgently for an instrumentation not in my store, let me know via e-mail, and I will arrange it for you FOC if possible! keithterrett@gmail.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 4 - Digital Download

SKU: A0.1197439

By Louis Armstrong. By Don Raye and Lillian Hardin Armstrong. Arranged by Paul Nagle. 20th Century,Jazz,Traditional. 22 pages. Paul Nagle #796609. Published by Paul Nagle (A0.1197439).

Inspired by the 1926 Hot Five recording, this Brass Quintet version features quotes from Louis solos, quick stretto answers to melody statements, and an exciting back-beat treatment throughout, similar to the original. I have included a drum part,  but even without it the tuba part keeps the action alive to the end!  Enjoy.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1270163

By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Gary Fladmoe (ASCAP). Standards. 15 pages. Gary Fladmoe #862594. Published by Gary Fladmoe (A0.1270163).

A setting for brass quintet of the beautiful George David Weill/Bob Thiele classic made famous by Louis Armstrong. Duration: 3:16. Playable by intermediate musicians. Both Bb and C Trumpet parts are included.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1462691

By Louis Armstrong & His Orchestra. By L. Wolfe Gilbert, Marion Sunshine, and Moises Simons. Arranged by Will Corbin. Latin. 20 pages. Will Corbin #1041438. Published by Will Corbin (A0.1462691).

The Peanut Vendor (El Manisero) was written by Cuban composer Moises Simons in the late 1920s. The song sold a more than a million copies of sheet music and 78rpm records, and sparked rumbamania in the U.S. The National Recording Preservation Board recognizes it as the first American recording of an authentic Latin dance style. It has been covered in recordings something like 160 times, by Stan Kenton, Django Reinhart, Louis Armstrong, Dean Martin and many others.
This fairly simple arrangement is for two trumpets, horn, trombone and tuba. The tuba lays down a beat while the higher voices swap pieces of the melody. It ain't fancy, but it plays well.
If you want different instrumentation, I'm happy to accommodate. Contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 2 - Digital Download

SKU: A0.1464103

By Louis Armstrong. By Bob Thiele and George David Weiss. Arranged by Brock Gainsley. Jazz,Pop,R & B,Soul. 15 pages. Brock Gainsley #1042817. Published by Brock Gainsley (A0.1464103).

My arrangment of the RNB, Pop song 'What A Wonderful World', written by Bob Thiele and George David Weiss and originally recorded by Louis Armstrong in 1967.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1460696

Composed by Eddie De Lange and Louis Alter. Arranged by Will Corbin. Jazz,Pop. 15 pages. Will Corbin #1039599. Published by Will Corbin (A0.1460696).

Here's a latter-day Dixieland favorite which first appeared in the 1947 film New Orleans. It was performed in that setting by Louis Armstrong and the great Billie Holiday. This arrangement is adapted for brass quintet from an old stock chart of mixed instrumentation.
If you want to use different instruments, I'm happy to accommodate. Contact me at wilcor@aol.com.

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1462284

Composed by Edward Ory. Arranged by Will Corbin. Jazz. 23 pages. Will Corbin #1041039. Published by Will Corbin (A0.1462284).

My dad loved Dixieland music, so I arranged a lot of it for his enjoyment (and we made it part of the party we put together to celebrate his life, along with a lot of martinis). Muskrat Ramble was one of the first. It's a Kid Ory tune -- although that has long been in dispute -- that was first recorded in 1926 by Louis Armstrong and his Hot Five. This arrangement is not quite so hot, since it's a kind of tamed down Dixie for two trumpets, horn, trombone and tuba.
If you need alternative instrumentation, please contact me at wilcor@aol.com.

By Louis Armstrong. Arranged by Mark Thome. 18 pages. Published by Mark Thome (H0.301241-915947). - - - Mark Thome

By Louis Armstrong. Arranged by Thomas Graf. For Trumpet,Trombone,Tuba,Horn in F,Euphonium,Brass Quintet. Jazz,Blues,Dixieland,Swing. Intermediate. Score,Set of Parts. 21 pages. Published by Thomas Graf - the-hit-factory.com

By Louis Armstrong. Arranged by Thomas Graf. Jazz, Blues, Broadway, Musicals, Movies. Score, Set of Parts. 27 pages. Published by Thomas Graf - the-hit-factory.com (H0.113871-60230). - Score,Set of Parts - Jazz,Blues,Broadway,Musicals,Movies - Thomas Graf - the-hit-factory.com

By Louis Armstrong. Arranged by Andrea Bonaldo. Score, Set of Parts. 25 pages. Published by Andrea Bonaldo

Brass Quintet Horn,Trombone,Trumpet,Tuba - Level 3 - Digital Download

SKU: A0.1458413

Composed by Spencer Williams. Arranged by Will Corbin. Blues,Historic,Jazz. 22 pages. Will Corbin #1037395. Published by Will Corbin (A0.1458413).

Basin Street sits on the edge of the French Quarter of New Orleans. A few years before this song was written, it served as the border of a red-light district known as Storyville. A city councilman named Sidney Story came up with the idea of creating a district to which prostitution would be limited, where it could be watched and regulated. So The District was created in 1897; it soon became known as Storyville, much to the chagrin of Councilman Story. During its 20-year official life, a visitor could buy a blue book for two bits that listed prostitutes alphabetically and by race and address. It was abolished in 1917 during World War I because it violated a rule that no house of prostitution could be within 5 miles of a military base. The Navy wanted its sailors pure of heart. It's also a place where jazz grew up. The bordellos hired musicians to entertain customers, who weren't particularly interested in the music. So the mostly black performers were free to experiment, to try new syncopated rhythms, to blend the sounds of African drums and plantation gospel to come up with what would become known as Dixieland music. Storyville (it would later mostly be razed for public housing, and still later begin to gentrify as property values rose) was where Spencer Williams wrote the song in 1928; Louis Armstrong, who spent some of his childhood nearby, first recorded it in 1928. It has since been recorded by dozens of other artists.
If you need alternative instrumentation, I'm happy to accommodate. Contact me at wilcor@aol.com.