Afro Blue by Mongo Santamaria/arr. Michael Sweeney, Grade 2 Based on the successful arrangement of the standard made famous by John Coltrane, this combo chart features a 3/4 pattern with all sections getting a chance at the chorus and the easy solo section is the perfect opportunity to start young players on improvisation.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
All of Me arr. Paul Murtha, Grade 2 Scored for 1 Alto, 1 Tenor, 1 Bari (opt. Trombone), 2 Trumpets (opt. Alto double w/Trumpet 2), 1 Trombone (opt. double w/Tenor) and rhythm section and easily accessible to young players, this arrangement of the timeless standard is perfect for select ensembles or ensembles with limited instrumentation. Written solo for Trumpet 2.
Things Ain’t What They Used to Be arr. Mark Taylor, Grade 3 A fantastic small ensemble arrangement of the immortal Mercer Ellington standard scored for 1 Alto, 2 Tenors, 2 Trumpets, 1 Trombone and rhythm section. Solos for Tenor sax, Trumpet and drums. Lead Trumpet plays up to high C and Lead Bone plays up to high Ab.
Blue Train by John Coltrane/arr. John Wasson, Grade 2 The classic John Coltrane standard is arranged marvelously for small jazz ensembles (1 Alto, 1 Tenor, Bari, 2 Trumpets, 1 Trombone and rhythm section). Lead trumpet plays an Ab. Written solo for Tenor Sax.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Dos Amigos by George Shutack, Grade 4 New from the pen of George Shutack comes the exciting new feature for two Trumpets. The flowing melodic line is set over a strong Spanish groove. With a floating 3/4 feel as a foundation, the strong melody couples perfectly with the solid ensemble writing to create an abundance of teaching opportunities. A perfect change up for any program or festival.
Brincando Na Bossa by John La Barbera, Grade 4 Tenor (optional solo part), 4th Trumpet (double Flugel) and Lead Trombone (optional solo part) take the lead in this grooving bossa for medium to advanced jazz ensembles.
The Extra Mile by Lars Halle, Grade 4 Featuring a duet of Alto Sax and Flugelhorn on the melody, this bright samba moves effortlessly into a swing groove for the B section of the tune. The distinctive harmonic vocabulary of the chart helps make it a standout at this level. There is solo space for Tenor and Bari, followed by a soft and rhythmic ensemble section.
Gregory Is Here arr. Michael Phillip Mossman, Grade 5 Even though the sax section gets the bragging rights in this outstanding arrangement of this classic mambo chart by Horace Silver, the entire ensemble gets a chance to flex some muscle. Lead Trumpet plays to high D and Lead bone plays to high C.
Iluminada by Michele Fernández, Grade 4 Get ready to move! Opening with a warm and sultry flute solo (opt. Alto or Flugelhorn) this chart transitions into a burning Son Montuno with an infectious melody full of lots of syncopations. Meticulously marked percussion will teach your rhythm section authentic interpretations of the Cáscara, Campanéo and Songo grooves. Your bass player is also in for a treat. Open solo section. Lead Trumpet plays up to high Bb and lead Bone plays up to high Ab.
This Masquerade arr. Mark Taylor, Grade 4 This fresh bossa setting of the classic #1 hit by Leon Russell prominently features your lead trombone player as a soloist as well as the sax section. The solo section cleverly breaks into a double-time feel samba then transitions back for the ending. Lead trumpet plays high Bb and Lead Bone plays high G.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
recommended by Caryn G., Sacred Piano Music Specialist
Curry & Jazz: Piano Hymn Settings with a Blues Touch arr. Craig Curry In addition to his work in many musical genres, Craig Curry has forged a name for himself as a respected sacred jazz arranger. In “Curry & Jazz,” Craig again returns to the medium of jazz putting his unique touch on a variety of beloved hymns with just the right seasoning of blues, while remaining respectful to the original source material.
Titles include: “Doxology,” “A Mighty Fortress Is Our God,” “The King of Love My Shepherd Is,” “Be Thou My Vision,” “Come, Thou Fount of Every Blessing,” “Leaning on the Everlasting Arms,” “To God Be the Glory,” and “Great Is Thy Faithfulness.”
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About the Author: Caryn G. is a graduate of Trinity Lutheran College (Washington state). She has over 24 years of experience working at Stanton’s in both the Piano and Choral departments, specializing in sacred piano music. She is a church pianist/accompanist and has enjoyed being a piano teacher and singing in many choirs over the years. When not working at Stanton’s or at church, she loves spending time with family members and friends, traveling and exploring, watching movies, reading, bike riding and most recently trying to better her culinary knowledge and be a little more artsy by painting rocks and water coloring.
Currents by Vince Gassi, Grade 3 A gentle ballad is always a welcome change of pace in a high-powered concert, and this Vince Gassi original is the perfect chart to fill that slot. There is a lyrical solo line for the Trombone, with beautiful muted brass backgrounds. The piece builds in intensity, moving through several keys, and features some lush musical moments that are the high points of the chart.
Early Morning by Doug Beach, Grade 3 Programming the right ballad is always a challenge. “Early Morning” by Doug Beach will make that decision a little easier. Written to feature your choice of Alto Sax, Trumpet or Tenor Sax, this beautiful ballad will be a memorable choice on any program. The pensive melody is supported by warmly scored backgrounds that build as the chart unfolds. The double time ensemble section provides a wonderful contrast to the ballad feel. A must have chart for any library.
Last Night of Summer by Terry White, Very Easy This extremely playable laid back latin rock chart is the perfect difficulty for young ensemble success. With very easy rhythm section parts and limited ranges and rhythms in the horns, this is a great choice for bands getting ready for their first concert and looking for a change of pace. There are written solos for Alto Sax and Trumpet with the option to improvise.
Snowberry by Yukiko Nishimura, Grade 4 We are so happy to welcome Yukiko Nishimura to the Excelcia Jazz catalog! You are undoubtedly familiar with her captivating works for other types of concert ensembles, and her advanced and sophisticated harmonic vocabulary works perfectly in the Jazz world. This is a touching and heartfelt ballad that would be equally at home on a concert stage or at a festival performance.
Blue Valentine by Jamie Roth, Grade 1.5 If you are looking for a unique change of pace chart for your next performance, check out “Blue Valentine.” This Jazz Rock ballad is flowing and melodic but filled with contemporary harmony. The focus is on the ensemble throughout.
EKG by Peter Sciaino, Grade 3 This chart defies definition! Complex interweaving lines with lots of syncopation create a floating soundscape that rises and falls with each phrase. There are some wonderful musical moments where the chart lands on sustained suspended chords that highlight the end of each section. This is a fascinating chart!
Testifyin’ by Steve Shanley, Grade 3 “Testifyin’” is a soulful gospel rock ballad that brings heartfelt emotion and dynamic contrast to your jazz band’s performance. Designed to feature any soloist, the open solo section includes accessible chord changes and suggested pitches, making it ideal for developing improvisers. Clearly notated rhythm section parts provide solid support throughout. A powerful a cappella ensemble moment builds to an emotional peak before the soloist returns for a reflective, expressive close.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
recommended by Austin Swack, Instrumental Education Specialist
The New Orleans Blues by Jelly Roll Morton/arr. Richard Webb, Grade 4 Ferdinand Joseph LeMonthe (c. 1890-1941), better known by his pen name “Jelly Roll” Morton, was a New Orleans-born ragtime pianist, composer, and band leader. One of the first musicians to play the New Orleans music that would come to be known as “jazz,” he was also one of the first artists to notate his jazz compositions on paper. He would claim, years later, that he had “invented” jazz, something historians dispute. His popular works include Dead Man’s Blues, King Porter Stomp, Alabama Bound, and the Tiger Rag. His 1920s recordings by his hand-picked band The Red Hot Peppers are considered classics in the early jazz idiom. Morton’s “The New Orleans Blues” appears to have been composed between 1900-1910, when the composer was touring the United States.
Bubble Gum Blues by Caryn Wiegand Neidhold, Grade 1 Get ready to groove with “Bubble Gum Blues” – the perfect introduction to jazz for your beginning orchestra! Students will learn to swing like pros, lay down a smooth walking bass line, and take their turn in the spotlight with an easy-to-learn solo – either improvised or pre-written. Fun rehearsal lyrics help lock in the rhythms, and an optional drumset part adds an authentic jazz vibe. Watch your students “POP” with excitement as they bring this catchy tune to life!
Droid Funk by Dylan Fixmer, Grade 3 Inspired by the whimsical space robots of childhood, this exciting piece will get your string orchestra grooving and improvising with confidence. Written solos in each part provide scaffolded improvisation practice and highlight students seeking a challenge. Prepare for a jump to groove-speed; your orchestra is about to get funky!
Cyborg by Michael Hopkins, Grade 4 “Cyborg” by Michael Hopkins is an upbeat, high energy blues-rock piece for intermediate orchestra. This is a great piece for working on left hand chromatic fingering, syncopated rhythms, and crisp articulations. Written in a modified 12-bar blues form, the music features all sections of the orchestra on thematic material. You and your students will have fun performing this exciting work for intermediate orchestra.
About the Author: Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Bravito! by Michele Fernández, Grade 2 Teach your early jazz players authentic Merengue style with this fiery Latin original. Great yet accessible parts for all sections and your rhythm section will be on fire. Open solos for all sections and a fun opportunity for the trumpets to make verbal shaker sounds. Lead trumpet plays E, lead bone plays Eb.
Bossa Corrente by Dean Sorenson, Grade 1 The timeless beauty and power of the Mighty Mississippi River is the inspiration for “Bossa Corrente.” In a river, the current (“corrente” in Portuguese) refers to the flow of the water The composer captures the Mississippi’s unyielding river flow using distinctive melodies, rich counterpoint, and layered musical textures. These techniques, combined with a relaxed Bossa Nova groove, paint a picture of the Mississippi as its current cuts a swath from the forests of northern Minnesota to the Crescent City of New Orleans, Louisiana. The open solo section allows students to improvise using only the notes of the concert D Aeolian scale. A written suggested solo is also included.
Chili Pepper Puree by Doug Beach, Grade 2 A driving latin feel is the foundation of this new chart from Doug Beach. With a strong melody, solid voicings and an open solo section, this piece will be not only a great concert or festival choice, but also a wonderful vehicle for teaching young players this important style.
Danza del Gato Verde by Mike Collins-Dowden, Easy This original laid back latin tune will make other cats green with envy. Young bands will love the groove on this chart almost as much as it’s playability. The solo section features space for any instrument to play a written suggested solo or improvise over the spicy Latin groove.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Ahead of the Curve by Steve Briody, Grade 3 “Ahead Of The Curve” is a fast-paced, hard-swinging opener that sets an exciting tone for any concert or festival performance. This Steve Briody original features a catchy melody, strong ensemble writing, and engaging interplay between sections. Despite its brisk tempo and moments of harmonic variety, the chart remains highly accessible for developing bands. The solo section offers a slight departure from the main changes and includes clear, suggested solos to support young improvisers. Bold, vibrant, and uplifting, “Ahead Of The Curve” is an impressive addition to any jazz program!
Ain’t Misbehavin’ arr. Dallas C. Burke, Medium Easy This laid back swing treatment of the jazz standard has so many dynamic moments that your band will love! The band goes from a lazy feel to blowing the roof off the auditorium with some big ensemble hits that reach out and grab the audience throughout the chart. This features written or ad-lib solos from the Alto Sax and Trumpet.
Another One for Ray by Ryan Fraley, Grade 2.5 Let the bass take the spotlight in this straight-ahead swing chart with a classic jazz feel. Written to showcase the upright bass, it keeps the groove locked in while the band provides solid support with a brass interlude and a sax soli. This chart swings hard and gives your bassist a well-deserved moment to shine. (Top trumpet note: G5)
Danger Island! by Rich Woolworth, Medium Easy Get ready for fun with this unusual chart. Just like your favorite adventure movie, it’s brimming with action and excitement! Drums and auxiliary percussion set the mood as the Saxophones take the melody. After a bold statement from the ensemble there’s an extended Tenor solo, which leads into a call-and-response between the Drums and the horns. The Trumpets take the melody into a big finish, with a large terrifying chord from the entire band.
In Your Own Sweet Way by Dave Brubeck/arr. Annie Booth, Grade 3 Check out this gorgeous Brubeck melody set in an easy swing groove around 120 BPM. Featuring your lead alto player on the melody with suggested written-out solo space. Lead trumpet range is to A above the staff, and all the usual optional parts, including flute and vibes.
The Jody Grind by Horace Silver/arr. Mark Taylor, Grade 3 Enrich your jazz musicians with the music of Horace Silver with this arrangement of one of his most soulful blues tunes. Tenor Sax 1 and Trumpet 2 play the first statement of the head creating the original sound before the Alto 1 joins in. Expert scoring wraps the melody in hip figures and great ensemble hits. Solo changes for Trumpet 2.
Wise Up by Gordon Goodwin, Grade 3.5 A terrific swing-shuffle grove around 150 BPM. This chart is simply fun and hip. Solo space is provided for alto, tenor, bari, trumpet, and trombone with sample solos provided for E-flat, B-flat, trombone, and C instruments, and very flexible. Each section gets to shine in this superb chart and optional parts include flute, vibes, and percussion. The lead trumpet range is to high D.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Ho, Ho, Ho (Who Wouldn’t Go) arr. Steve Parsons, Grade 3 Arranger Steve Parsons scored a hit recently with his clever Christmas chart called “Sleighin’ It,” and this new arrangement picks up where that one left off. It is “Up on the Housetop” with a funky Motown groove. Wailing horn licks and a rockin’ rhythm section make this a surefire hit at your holiday concert.
Deck the Halls arr. PinkZebra, Grade 3 Unleash the holiday cheer with this exuberant and swinging jazz take on “Deck the Halls”! This playful arrangement is a quick-learn and bursts with joyful energy, featuring catchy riffs and a driving groove that will make it a sure-fire crowd pleaser at December concerts. A free jazz solo practice track is available for this arrangement and features the full band heard in the demo recording during the solo section minus the soloist.
St. Nick’s Island Vacation arr. Tim Waters, Medium Easy This Latin treatment of “Jolly Old St. Nicholas” conjures up visions of St. Nick the day after Christmas enjoying his favorite cold beverage on tropical beach. The Alto, Tenor and Trumpet made it on the nice list with a chance to improvise during the solo section. With its infectious groove in the rhythm section and plenty of ensemble hits, this chart is fun for all!
The Holly and the Ivy arr. Jeff Jarvis, Grade 3 Jeff Jarvis has transformed this simple eight-measure carol into a full-blown jazz waltz for a big band. Jeff created a clever introduction and several transitional passages with a ton of cool chords to make the chart sound interesting and fresh from beginning to end. This will add some sparkle to your holiday concert!
You Better Sleigh! by JaRod Hall, Grade 3 This is a winter holiday musical scavenger hunt to discover – how many tunes you can find in this chart? It’s a funky swing performed in cut time around 108 BPM. Lead trumpet range is to written G with optional high C. Solos are provided for tenor 1 and trumpet 2. Optional instruments include flute and vibes. You’re gonna LOVE this one!
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
When You’re Smiling arr. Mike Dana, Grade 2.5 Classic Basie-style medium swing fits this excellent chart. The suggested tempo is 118 BPM, and the lead trumpet range is to written G. Solos are provided for alto 1 and trumpet 1, and the usual optional parts, including flute, clarinet, and vibes. A tasty, well-written arrangement.
Big Little City by Dean Sorenson, Grade 2 Composed during a visit to Reno, Nevada – THE BIGGEST LITTLE CITY IN THE WORLD – “Big Little City” is an easy minor blues skillfully scored to make your band sound its best. Ideal for teaching classic swing style to young players, Sorenson’s focus on moody unison lines and contrapuntal textures give this chart a mature, sophisticated sound. Two solo sections offer students plenty of opportunities to stretch their minor blues chops or perform the written suggested solo. As with all First Place for Jazz charts, flexible instrumentation allows maximum student participation.
I Can’t Believe That You’re In Love With Me arr. Peter Blair, Grade 2 Recorded by the fantastic New York Voices on their album “Sing, Sing, Sing,” this Jazz classic found new life. It swings from top to bottom with lots of creative exchanges between sections. This one is straight-ahead fun!
Intermodal by Kris Berg, Grade 1.5 The components of this new chart from Kris Berg are usually only found in music at more advanced levels, but Kris has made these cool features reachable by younger bands. The intriguing solo section has opportunities to showcase a number of players on short segments interspersed with ensemble figures.
Luck of the Draw by Doug Beach, Grade 2 From the opening notes to the final chord “Luck of the Draw” bristles with energy and excitement. The hard charging swing groove provides the perfect setting for the rhythmic melodic line. With plenty of ensemble work and an open solo section, this is the perfect opener on your next program.
Quasi-Modal by Paul Baker, Grade 2 A great introduction to Modal Jazz in F Natural Minor that swings hard at 164bpm. Saxes and trombones carry a unison melody that expands into unison counterpoint. Written solos are provided for Alto, tenor, trumpet, trombone, and guitar. Additional solos may be added as desired. A major feature of this chart is an optional 16 bar drum solo which is accompanied by bell-tone chords in the ensemble, referencing the bells of Notre Dame Cathedral. A short sax soli follows leading into the final shout and ending. Trumpet to written G. Trombone to F. Piano and bass parts are written out.
Softly, As In a Morning Sunrise arr. Rick Stitzel, Grade 2 A hip and accessible medium swing chart that is based around a ii-V-I progression in C minor. Lots of great unison rhythmic and melodic writing makes ensemble playing comfortable for young players and gives the melody to all parts. Written solos for saxes and flute. Optional flute, clarinet, F horn, tuba, and vibraphone parts included.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Discovery Jazz Collection Titles include: “Basic Basie,” “Basin Street Blues,” “Blues for Mr. B,” “Down for the Count,” “Fast Break,” “Hangin’ In,” “Here’s That Rainy Day,” “How High the Moon,” “Louie, Louie,” “Mercy, Mercy, Mercy,” “My Funny Valentine,” “Satin Doll,” “Stand by Me,” “Tuxedo Junction,” and “Woodchopper’s Ball.”
Easy Jazz Classics Enjoy great flexibility with the Easy Jazz Ensemble series! Playable with 4 saxes, 3 trumpets, 3 trombones and rhythm. Titles include: “Birdland,” “Born to Be Wild,” “Eli’s Comin’,” “Here, There and Everywhere,” “How High The Moon,” “Malaguena,” “A Night in Tunisia,” “Peanut Vendor,” “Shake, Rattle, and Roll,” “Stompin’ at the Savoy,” “A String of Pearls,” “Summertime,” “Take The A Train,” “Watch What Happens,” and “Yardbird Suite.”
Easy Jazz Favorites Enjoy great flexibility with the Easy Jazz Ensemble series! Playable with 4 saxes, 3 trumpets, 3 trombones and rhythm. Titles include: “Ain’t Misbehavin’,” “All the Things You Are,” “Blue Train (Blue Trane),” “Caravan,” “Chameleon,” “Fly Me to the Moon (In Other Words),” “The Girl from Ipanema (Garota De Ipanema),” “In the Mood,” “Inside Out,” “Milestones,” “A Nightingale Sang in Berkeley Square,” “One Note Samba (Samba De Uma Nota So),” “Route 66,” “St. Louis Blues,” and “When I Fall in Love.”
The Best of Sammy Nestico Sammy has done a masterful job with this early jazz classic. Written specifically with younger players in mind, this one is guaranteed to boost your band’s confidence level and help them sound terrific. Titles include: “Do Nothin’ Till You Hear from Me,” “First Wish,” “Good News,” “Just in Time,” “A Little Blues, Please,” “Martinique,” “Odyssey,” “On the Sunny Side of the Street,” “Satin Doll,” “St. Louis Blues,” “Sugar Valley,” and “88 Basie Street.”
Swing Classics for Jazz Ensemble Titles include: “American Patrol,” “April in Paris,” “Blue Skies,” “Boogie Woogie Bugle Boy,” “I Ain’t Got Nobody,” “I’m Beginning to See the Light,” “In the Mood,” “It Don’t Mean a Thing (If It Ain’t Got That Swing),” “Ja-Da,” “Just a Gigolo,” “Leap Frog,” “Little Brown Jug,” “Night Train,” “Satin Doll,” “Stompin’ at the Savoy,” and “Woodchopper’s Ball.”
Authentic Sounds of the Big Band Era Titles include: “Artistry in Rhythm,” “Chattanooga Choo Choo,” “The Elk’s Parade,” “Hawaiian War Chant (Ta-Hu-Wa-Hu-Wai),” “I’m Coming Virginia,” “Little Brown Jug,” “Moonlight Serenade,” “My Reverie,” “One O’Clock Jump,” “Quaker City Jazz,” “720 in the Books,” “Sing, Sing, Sing (With a Swing),” “So Rare,” “Song of India,” “South Rampart Street Parade,” and “Stompin’ at the Savoy.”
Exciting Sounds of the Big Band Era Titles include: “At Last,” “Back Bay Shuffle,” “Blues on Parade,” “Cherokee,” “Do Nothin’ Till You Hear from Me,” “Don’t Be That Way,” “Don’t Get Around Much Anymore,” “E ager Beaver,” “In a Minor Mood,” “In a Mist,” “In the Mood,” “Johnson Rag,” “Pennsylvania 6-5000,” “Taking a Chance on Love,” and “Two O’Clock Jump.”
Original Big Band Sounds arr. Jeff Hest This collection is made up of direct transcriptions of big band recordings by Glenn Miller, Tommy Dorsey, Benny Goodman and Duke Ellington. Arranger Jeff Hest has meticulously transcribed these jazz standards with the original instrumentation and has included transcriptions of the improvised solos – “Don’t Be That Way,” “Don’t Get Around Much Anymore,” “Little Brown Jug,” “Moonlight Serenade,” “Pennsylvania 6-5000,” “Sing, Sing, Sing Pt. I ,” “Sing, Sing, Sing Pt. II,” “Stompin’ at the Savoy,” and “Song of India.”
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
The Jazz Educator’s Handbook by Jeff Jarvis and Doug Beach The second edition of “The Jazz Educator’s Handbook” has been revised and updated by co-authors Doug Beach and Jeff Jarvis. First published in 2002 this new edition has been streamlined and modernized for the contemporary classroom. Whether you are a veteran jazz educator or a band director with minimal jazz experience this resource offers field-tested strategies to help you offer the best possible training for your students. In addition to the many printed music examples in the book there are over 150 MP3 audio recordings that complement the text available for download.
Jazz Pedagogy: The Jazz Educator’s Handbook and Resource Guide by J. Richard Dumnscomb and Dr. Willie L. Hill, Jr. Here is a comprehensive guide that opens the doors to the world of jazz education. Written by internationally recognized and successful jazz educators who are experienced at teaching jazz to elementary, middle school, high school and college students as well as to teachers and administrators. You will find realistic and practical solutions to challenges such as the jazz concept, understanding the rhythm section, jazz improvisation and jazz styles, including a great section on Latin jazz. Uniquely innovative, this one-of-a-kind handbook incorporates the web as an ongoing resource tool that provides the ultimate in reference information. The attached DVD presents audio/video demonstrations of rehearsal techniques, how to really teach jazz improvisation and how to understand and improve the rhythm section.
Rehearsing the Jazz Band by Mary Jo Papich and Ryan Adamsons This book provides one huge room where everyone can gather to ask questions on the art of rehearsing and listen to answers from people who know. It includes chapters by Caleb Chapman, John Clayton, José Antonio Diaz, Curtis Gaesser, Antonio Garcia, Gordon Goodwin, Roosevelt Griffin III, Sherrie Maricle, Ellen Rowe, Roxanne Stevenson, Steve Wiest, and Greg Yasinitsky. Includes suggested jazz charts from each author.
Use the books in the series as: • reference guides for the working music educator. • supplements to instrumental techniques and methods courses that are a part of music education degree programs. • stand-alone texts for undergraduate or graduate level jazz pedagogy courses. • introductions to jazz topics for students studying privately. • refreshers for seasoned jazz professionals.
In “Volume 1: Jazz Ensemble Auditions and Repertoire Selection,” the author takes a look at the reasons for teaching jazz in school music programs, the rationale behind the grading of jazz materials, and some of the basics to starting a jazz ensemble program – in particular holding auditions and selecting repertoire. Included with each book is online access to correlated duplicable resources in the Kjos Multimedia Library.
Excellence in Jazz Pedagogy Volume 2: Jazz Ensemble Rhythm Section by Dean Sorenson In “Volume 2: Jazz Ensemble Rhythm Section,” the author takes a look at the jazz ensemble rhythm section – the engine that powers band. Leading a jazz ensemble successfully requires not only a basic knowledge of each rhythm section instrument and notation used for that instrument, but also a thorough understanding of how to dissect and perfect the rhythm section sound and groove. This book will address those needs in a comprehensive yet concise manner. Included with each book is online access to correlated duplicable resources in the Kjos Multimedia Library.
Excellence in Jazz Pedagogy Volume 3: Jazz Theory Concepts & Practical Applications by Dean Sorenson “Excellence in Jazz Pedagogy, Volume 3” focuses on fundamental jazz theory concepts and practical applications for both performance and teaching situations. Understanding the unique elements of jazz theory is particularly important to any jazz ensemble director, especially those working with younger or more inexperienced players. It is valuable knowledge to have when interpreting scores, working with the rhythm section, and helping soloists with improvisation. Theoretical understanding is even more critical for those wishing to compose or arrange for any type of jazz ensemble – large or small.
Topics in this volume include: • chord construction, notation, and voicing • polychords • chord extensions and alterations • modes of the major scale • modes of the melodic minor scale • non-modal scales • chord/scale relationships • tonal harmony • substitute chords • modal harmony • common song forms • practical applications of jazz theory to improvisation and rhythm section performance
Part II: Conductor as Teacher focuses on the best jazz repertoire published today for beginning ensembles and provides a Teacher Resource Guide for each work. Each Teacher Resource Guide includes background information on both the composer and the history of each chart, technical and stylistic considerations, a discussion of musical elements of the work, and measure-by-measure rehearsal tips for the best jazz repertoire tailored for beginning ensembles. The repertoire covers Grade 1 through Grade 3.5.
This book is a truly significant resource for both beginning jazz educators and their students, and an invaluable contribution to the field.
This book is the ideal tool for anyone seeking a deeper understanding of the preeminent music for jazz ensembles by seminal jazz composers.
In addition, leading jazz educators and musicians contribute chapters on topics such as: “Why Teach Jazz?” by Wynton Marsalis; “A Multi-Cultural Approach to Jazz Education” by Ronald Carter; “Rehearsal Techniques: A Holistic Approach Integrating Composition, Improvisation, Theory, and Cultural Considerations in the Rehearsal” by Ron McCurdy; “The Rhythm Section: The Band within the Band” by Reginald Thomas; and “Promoting a High School Jazz Band” by Ron Modell.
In addition, this book includes Teacher Resource Guides to more than 65 of the top jazz charts, broken down into developing, intermediate, and advanced categories. Each Teacher Resource Guide includes vital information on the composer, the composition, historical background, technical requirements, stylistic considerations, musical elements, form and structure, listening suggestions, and additional references.
“Teaching Music through Performance in Jazz” is an essential resource for jazz leaders at all levels and is a major contribution to the jazz field.
Central to this volume are the Teacher Resource Guides for 100 of the top jazz charts for developing, intermediate, and advanced ensembles.
Each Teacher Resource Guide provides detailed background information on the chart’s composer and its historical perspective, plus technical and stylistic considerations, a discussion of musical elements, and a measure-by-measure description of the form and structure of each piece. These Teacher Resource Guides provide deep insights for jazz leaders looking to identify and prepare works for ensembles of all sizes and experience levels.
“Teaching Music through Performance in Jazz, Volume 2” is a major contribution for jazz educators and leaders. This volume is an essential tool to enhance your teaching and your students’ understanding of jazz.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Ain’t Misbehavin’ arr. Dallas C. Burke, Grade 3 This early jazz standard from the great Fats Waller makes a great vehicle for marching bands. With just the right mixture of laid back swing and driving hits from the band, this arrangement makes an exciting production number your students will love!
Can’t We Be Friends arr. Dallas C. Burke, Grade 3 This swingin’ jazz standard was a big hit for Frank Sinatra and Linda Ronstadt. This driving and dynamic arrangement swings hard from start to finish and makes a great production number in any jazz field show.
It Had to Be You arr. Dave Henning, Grade 3 This epic treatment of the early swing standard has it all. From the cinematic intro this chart moves into a laid back swing before blowing down the house and swinging hard to finish out the tune!
Puttin’ on the Ritz arr. Allen Gray, Grade 3 One of the all time great jazz standards, this chart makes a dynamic statement for marching band. With its infectious drum and low brass groove at the top to it’s down and dirty finish, this chart is a hit! Make some big noise with this swinger!
When You’re Smiling arr. Dave Henning, Grade 3 This swing tune has been covered by all the greats including Frank Sinatra and Louis Armstrong (just to name a few). With its laid back swing that builds into an epic blow, this tune makes a memorable closer for any show!
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
A Little Jazz Mass by Bob Chilcott, SAB with piano and optional bass & drum kit Now celebrating its 20th anniversary, this highly original and effective concert setting of the five-movement Latin Missa brevis embraces a variety of jazz styles. The stylistic piano accompaniment can be played as written or serve as a guide, and bass and drums can join in ad lib, though a notated bass part is also available.
Art Dedrick: Pioneer in Jazz Education by Jason Dedrick Art Dedrick co-founded Kendor Music, the first company to publish professional-sounding jazz charts that were playable by students at all skill levels. This book documents his remarkable life overcoming daunting challenges to become a trail blazer in jazz education. It includes interviews with Sammy Nestico, John LaBarbera, Rusty Dedrick and others, as well as photos, news articles and correspondence with colleagues such as Doc Severinsen.
Born on a small farm in Western New York, Dedrick studied music and went on to play trombone and arrange for major big bands, including Red Norvo and Vaughn Monroe. In 1944, he was stricken with polio and had to use a wheelchair for the rest of his life. Subsequently, he returned to his hometown to teach music, but soon realized there were few good scores for his school dance bands to play, so in 1954, he and two other music teachers founded Kendor Music. Kendor published hundreds of Dedrick’s compositions and arrangements, as well as other jazz greats such as Sammy Nestico, Thad Jones, Phil Woods, Buddy Rich and Toshiko Akiyoshi.
In the late ‘60s, Dedrick launched the Free Design, a pop vocal group consisting of his four oldest children. They recorded seven albums, including their hit single “Kites Are Fun”, and appeared on numerous TV shows such as Johnny Carson’s Tonight Show and the Mike Douglas Show.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Jazz Harmony by Frank Sikora Beginners and advanced learners can deepen their knowledge of jazz harmony with this comprehensive textbook. With numerous practical exercises and examples, audio tracks and solution section.
The Jazz Theory Book by Mark Levine Written in the language of the working jazz musician, this book is easy to read and user-friendly. At the same time, it is the most comprehensive study of jazz harmony and theory ever published. “The Jazz Theory Book” takes the student from the most basic techniques such as chord construction and the II-V-I progression through scale theory, the blues, “I’ve Got Rhythm” changes, slash chords, the bebop and pentatonic scales, how to read a lead sheet and memorize tunes and a study of reharmonization that is almost a book in itself. Satisfaction guaranteed!
Jazz Pedagogy by J. Richard Dunscomb and Dr. Willie L. Hill Jr. Here is a comprehensive guide that opens the doors to the world of jazz education. Written by internationally recognized and successful jazz educators who are experienced at teaching jazz to elementary, middle school, high school and college students as well as to teachers and administrators. You will find realistic and practical solutions to challenges such as the jazz concept, understanding the rhythm section, jazz improvisation and jazz styles, including a great section on Latin jazz. Uniquely innovative, this one-of-a-kind handbook incorporates the web as an ongoing resource tool that provides the ultimate in reference information. The attached DVD presents audio/video demonstrations of rehearsal techniques, how to really teach jazz improvisation and how to understand and improve the rhythm section.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
I Got You (I Feel Good) arr. Paul Murtha, Grade 2 Here is the signature hit by the “Godfather of Soul” in a solidly scored version perfect for young players. With a funky groove that captures the style of the original this chart also features solo opportunities for any combination of alto sax, trumpet, and trombone.
Pyramid Power by Doug Beach & George Shutack, Grade 1 This driving rock chart is sure to be a hit, not only with the band, but with the audience as well. The infectious groove, the building pyramids, and the catchy melody all combine to create a perfect chart for your next program. The Jazz Foundations scoring ensures that the chart will work with virtually any instrumentation.
Midnight Creeper arr. Terry White, Grade 1.5 A funky-rock groove on a great jazz tune played around 112 BPM. Suggested solos provided for trumpets 1 and alto 1 with trumpet 1 range to written top line F. An excellent blues chart that is fun to play and easy to assemble.
Phat Tuesday by Peter Sciaino, Grade 4 In the composer’s own words, “I was going for a New Orleans vibe…like a Dirty Dozen Brass Band sort of thing but it went J.B. horns (James Brown) style at some point.” That beautifully sums up this great new funk chart – searing horn lines and a cooking rhythm section.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Reggaeton by Steve Shanley, Grade 2.5 The “reggaeton” genre is one of the most popular musical styles in the world, and now you can finally play it with your jazz band! Steve Shanley’s “Reggaeton” utilizes the infectious groove in a jazz chart for developing musicians. You’ll love the accessible rhythm section parts and easy solo section, and your young jazzers will love the feel and groove of this fun chart. A perfect closer for your next concert or festival! Highly recommended!
MonteBello Mambo Rock by Michele Fernández, Grade 2 Michele Fernández’s unique approach to writing for Jazz ensemble and her attention to detail is evident in this great new “Afro-Latin” chart written with younger players in mind. There is a written sample solo in alto sax 1, but all the parts include the solo changes.
Meet Me at the Taqueria by Doug Beach & George Shutack, Grade 2 A driving Latin feel is the foundation of this chart. With a strong melody, solid voicings and an open solo section, this piece will be not only a great concert choice, but also a wonderful vehicle for teaching young players this important style.
Carnival by David Samuel, Grade 3 Let the festivities begin! This bright Latin chart is the perfect change of pace chart for contest/festival or for your home stage. Intriguing harmony and rhythmic vitality make this chart shine!
My Favorite Things arr. Michele Fernández, Grade 4 Here’s a wonderful new take on a timeless melody. Michele Fernández shows her Latin expertise in this high-energy and sizzling arrangement for jazz ensemble. Sure to be a favorite with all audiences, and an impressive choice for contest or festival.
Habanero Hustle by Andrew Lesick, Grade 3 This is a unique chart that blends a fiery, driving Latin groove with a more carefree Chuck Mangione feel. After a percussive intro, a trio with Tenor, Trumpet and Trombone present the head of the tune. There is an optional Conga part included, but adding other percussion instruments would spice up the flavor of the chart.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
Beyond the Notes: Thoughts on Meaningful Music Making by Paula A. Crider After more than fifty years as a music educator and conductor, the legendary Paula Crider has experienced it all – the lows and the highs, the messes and the magnificence of teaching music at all levels. With love, wit, and sincerity, she now shares her hard-earned wisdom in this must-read for anyone who teaches music.
There is something here for educators on every leg of the teaching journey. Crider’s conversational narrative begins with her unconventional student-teaching experience and moves through the essentials for music educators – everything from score study, rehearsal strategies, and conducting technique to classroom culture and teacher self-care.
Not only does Crider touch on pedagogy, but she also discusses the often elusive “secret ingredients” that turn notes on the page into meaningful musical experiences.
“Beyond the Notes” proves Crider to be a role model of skill, artistry, passion, and purpose whose insight and experience will have readers returning to this book over and over.
Best Wishes by Paul Clark, Grade 1 Veteran composer Paul Clark’s “Best Wishes” is an absolutely beautiful ballad for very young jazz ensembles! The melody in the alto sax can be played as a solo, or it can be doubled with other altos as a section feature if desired. There are no range or rhythm problems for either band or soloist; just a pretty melody over lush chords and counter-lines. A lovely piece playable with limited instrumentation, this is tremendous music for the youngest of jazz musicians. Simple can be a good thing – and this ballad is simply great! Beautiful!
Cinema Paradisoby Ennio Morricone/arr. Mark Taylor, Grade 3 Morricone’s memorable movie theme has been recorded by artists ranging from trumpeter Chris Botti to violinist Joshua Bell. Here is a beautiful setting for young jazz ensembles featuring a flugelhorn soloist in a Latin ballad style. Perfect as a change of pace for any program festival.
Nuvola by Peter Sciaino, Grade 1 If you have an outstanding young Alto Saxophone or Trumpet soloist, this is the perfect vehicle to showcase their talents. The relaxed even-eighth note tempo of the piece makes it easier for the soloist to navigate. All the solo lines are written out and chord changes are also included if the performer is a budding improviser.
Movin’ Easy by Paul Baker, Grade 3 “Movin’ Easy” swings hard, beginning with the piano stating the entire melody, and offering a chance to show off the rhythm section on its own before the ensemble kicks in for the second chorus. Tenor sax and trumpet solos are provided and are based on the chord changes of Duke Ellington’s classic “Don’t Get Around Much Anymore.” A 16 bar a cappella ensemble section shows off the horns before the rhythm rejoins at the bridge to close out the chart – almost. The piano and rhythm section take us the rest of the way, a la Count Basie, to a signature ending. Trumpet range is to written high C. Trombone range is to G. Bass and piano parts are written out.
Swing Low, Sweet Chariot arr. Steve Shanley, Grade 3 Perfect for a contrasting selection for concert or festival use, Steve Shanley’s arrangement of “Swing Low, Sweet Chariot” is written in the slow swing style of the Count Basie Orchestra. The subdued opening statement can feature your trombone or saxophone section. There are solos for trumpet, trombone, and tenor saxophone (written solos provided), and an exciting shout section will bring down the house. With tasty rhythm section contribution throughout, this is sure to be an audience and band favorite! OH SO COOL!
Slide Show by Paul Baker, Grade 2 As the title suggests, this chart prominently features the trombone section, both on the melody as well as a soli section. “Slide Show” is based on the chord changes of Sonny Rollins’ classic jazz standard “Doxy.” Written solos are provided for alto sax or trumpet as well as tenor sax or piano or guitar. Bass and piano parts are both written out, too. The shout section provides saxophone section soli space before the trombones get the final say in the outro. Trumpet range is to written G. Trombone range is to F.
About the Authors: A former band director, Ken taught grades 5-12 band and music appreciation in both public and parochial schools in Central Ohio, and has been at Stanton’s since 2004. His iPod ranges from jazz and funk to classic and alternative rock, and symphonies. His interests include reading, history, traditional amusement parks, outdoor activities (especially hiking), and watching hockey.
Austin Swack joined the Stanton’s team after a decade of teaching band in Texas public schools, where his ensembles were consistently recognized for superior performance. He is equally at home with beginner and advanced students and has extensive experience programming for ensembles at all ability levels. Additionally, he is a versatile arranger as well as an experienced clinician and adjudicator. In his free time, Austin enjoys running, cycling, and cheering on the Blue Jackets!
