Jazz 1

Two Seconds to Midnight - Alan Baylock

Colin Garvey - Trombone, Grayson Slaminski - Trumpet

Senior Feature - Four - arr. Mike Tomaro

Alan Xie- Alto Sax, Will Brouillette - Trombone

Senior Feature - Hey Pachuco! - arr. Shane Porter

Aaron Wise and David Fandler - Drums

 Nolan Bumgardner - Trumpet; Lacey Greicar - Tenor Sax

Jazz 1I

Lacey Greicar and Nolan Bumgardner - Directors

'Round Midnight - Thelonious Monk

Hannah Feutz and Shane McAllister - Alto Sax

Cherry Pink and Apple Blossom White - Perez Prado

Lincoln Greicar - Trombone; Nina Massie - Alto Sax

Jazz 1

Senior Feature - Overture to the Royal Mongolian Suma Foosball Festival - Lyle Mays

Lacey Greicar and Nina Massie - Tenor Sax

Harlem Nocturne - arr. Earle Hagen

Matthew Wieler - Alto Sax

Jumpin' at the Woodside - Count Basie

Matthew Wieler - Alto Sax; Lacey Greicar, Nina Massie - Tenor Sax; Gabriel Salko - Bari Sax; 

Nolan Bumgardner - Trumpet; Colin Garvey, Charlotte Barnett - Trombone; Khris Hackbarth - Bass

Two Seconds to Midnight

Alan Baylock

Alan Baylock’s Two Seconds to Midnight is an electrifying and rhythmically charged piece originally written for jazz ensemble and later adapted for concert band. Baylock, known for his dynamic writing and deep roots in jazz, fuses driving grooves with bold harmonies and high-energy textures to create a work that’s both thrilling and musically sophisticated.

The title evokes a sense of urgency and anticipation—like the countdown before a launch or a big event—and the music delivers on that feeling from the very first note. With a pulse that never quits, Two Seconds to Midnight is packed with syncopated rhythms, shifting meters, and layered instrumental colors that keep the audience on the edge of their seats.

Baylock seamlessly blends elements of jazz, funk, and contemporary concert music, allowing performers to showcase precision, energy, and style. Despite its intensity, the piece is also full of musical wit and playful interaction between sections of the ensemble.

Whether imagined as the final moments before a rocket takes off or the energy of a late-night city on the move, Two Seconds to Midnight is a bold musical thrill ride, offering a modern soundscape that’s as exciting to hear as it is to perform.

Four

Miles Davis (attributed), arranged by Mike Tomaro

“Four” is a jazz standard that sits comfortably in the middle of cool swing and lyrical sophistication. Although widely attributed to Miles Davis, there has been long-standing speculation that the tune may have actually been written by saxophonist Eddie "Cleanhead" Vinson—part of the mystique that surrounds it. First recorded in the 1950s during a golden age of small group jazz, “Four” has remained a favorite among musicians for its sleek melody, relaxed groove, and open harmonic structure that invites creative improvisation.

In this dynamic arrangement by Mike Tomaro, “Four” is reimagined for a big band setting. The familiar melody floats over rich harmonies and cleanly articulated ensemble passages, all while leaving space for soloists to explore and respond. The chart bridges tradition and innovation, highlighting the enduring appeal of Davis’s approach to melody, space, and swing. This piece kicks off the concert with style—cool, confident, and filled with potential.

Hey Pachuco

Royal Crown Revue, arranged by Shane Porter

“Hey Pachuco” first exploded onto the pop culture radar with its unforgettable appearance in the 1994 film The Mask. Performed by Royal Crown Revue, a band at the forefront of the swing revival movement of the 1990s, the song is a fusion of old-school big band swing with punk energy and brassy bombast. Its name references the Pachuco subculture of the 1940s—Latino youth known for their flamboyant zoot suits and rebellious spirit—offering a window into a rich cultural era.

Shane Porter’s big band arrangement captures the tune’s wild spirit, sharp syncopation, and relentless drive. It’s a rhythm section showcase, a brass player’s dream, and a dance number all rolled into one. The explosive tempo, combined with the swagger of the original, makes this piece a full-throttle ride that electrifies the stage. “Hey Pachuco” isn’t just a song—it’s a party with a soundtrack.

’Round Midnight

Thelonious Monk (with contributions from Cootie Williams and Bernie Hanighen)

Arguably Thelonious Monk’s most famous ballad, “‘Round Midnight” is a haunting, deeply expressive piece that has become one of the most recorded jazz standards of all time. Monk originally composed it in the early 1940s, and it reflects his singular approach to harmony and melody—full of unexpected twists, rich dissonances, and an introspective mood that sets it apart from typical love songs or blues ballads.

The tune’s haunting character is enhanced by its ambiguous harmonies and wandering melodic lines, evoking the stillness and emotional complexity of late-night solitude. Lyrics were later added by Bernie Hanighen, and trumpeter Cootie Williams helped popularize the piece with his 1944 recording. Miles Davis famously performed it at the 1955 Newport Jazz Festival, and it has since been interpreted by countless legends.

Whether played as a smoky ballad or a slow swing, “‘Round Midnight” is always emotionally rich and musically intricate. It invites soloists to explore subtle phrasing and expressive nuance, requiring a mature sensitivity to its depth. More than just a song, it's a quiet meditation on loneliness, beauty, and the reflective power of music when the world has gone to sleep.

Cherry Pink and Apple Blossom White

Music by Louiguy (Louis Guglielmi)

“Cherry Pink and Apple Blossom White” is a Latin jazz classic with an irresistible blend of romantic charm and rhythmic vitality. Originally written in French as “Cerisiers Roses et Pommiers Blancs” by Louiguy—who also composed the famous “La Vie en Rose”—this tune gained worldwide popularity in the 1950s thanks to Cuban bandleader Pérez Prado, whose mambo-style instrumental recording featured a dazzling trumpet with signature sliding notes.

The piece became a chart-topping hit in the U.S. and the U.K., and its infectious groove made it a staple in both jazz and dance band repertoires. Combining a lyrical, almost whimsical melody with the percussive flair of Latin rhythms, the tune is as fun to play as it is to hear. The trumpet usually takes the lead, often incorporating wide glissandos that mimic the original recording’s unmistakable charm.

“Cherry Pink and Apple Blossom White” is pure musical joy—a piece that dances between cultures, styles, and eras. It brings color, flair, and a hint of nostalgia to any program, all while celebrating the universality of melody and rhythm.

Overture to the Royal Mongolian Suma Foosball Festival

Lyle Mays

Only Lyle Mays could write a piece with a name like Overture to the Royal Mongolian Suma Foosball Festival and somehow make it sound as epic as it is whimsical. A longtime musical partner of Pat Metheny, Mays was a master of blending jazz with elements of classical, progressive rock, and global music traditions. His compositions often feel like film scores without a film—filled with shifting moods, textures, and a sense of story.

This overture is no exception. It’s bursting with complex rhythms, brilliant counterpoint, and colorful orchestrations that push both players and listeners outside the ordinary. You’ll hear jazz harmonies one moment, then unexpected twists that feel almost cinematic. The piece moves through several contrasting sections, mimicking the structure of a classical overture while keeping a foot firmly planted in the jazz world. Playful yet challenging, this is music that refuses to take itself too seriously—while still being seriously impressive.

Harlem Nocturne

Earle Hagen, arranged by Sammy Nestico

 Originally written in 1939 by Earle Hagen and Dick Rogers, “Harlem Nocturne” has become one of the most enduring saxophone ballads in the jazz canon. Hagen, who later became well-known for composing television themes (The Andy Griffith Show, among others), crafted this sultry and evocative piece as a tribute to the Harlem jazz scene—one of the cultural epicenters of 20th-century American music.

This arrangement by the great Sammy Nestico leans into the noir atmosphere of the original, allowing the lead alto saxophone to sing with a smoky, torch-song quality. The melody is dripping with bluesy bends and slow-burning emotion, supported by lush harmonies and subtle accompaniment from the rest of the band. It’s a piece that rewards patience and nuance—an invitation to sink into the mood and just listen. “Harlem Nocturne” reminds us that jazz can be as intimate and haunting as it is bold and brassy.

Jumpin’ at the Woodside

Count Basie
Count Basie’s “Jumpin’ at the Woodside” is pure, unfiltered swing. First recorded in 1938, the tune was named after the Woodside Hotel in Harlem, one of the few places in segregated New York that welcomed Black performers at the time. The song quickly became a Basie band signature and a dance hall favorite, thanks to its relentless energy, tight riffs, and contagious sense of joy.

This is big band swing at its best—groove-driven, hard-hitting, and full of opportunities for solos and shout choruses. The piece showcases the strengths of the rhythm section, especially the piano and drums, and the kind of call-and-response interplay between sections that Basie’s band perfected. “Jumpin’ at the Woodside” is a time machine to the height of the swing era, when the music made people move and every note swung with purpose. It’s the perfect closer: high-energy, full of life, and impossible not to love.

*Denotes a senior

Jazz I

Alto Sax - Matthew Wieler, Alan Xie*

Tenor Sax - Lacey Greicar*, Nina Massie*

Bari Sax - Gabriel Salko*

Trumpet - Nolan Bumgardner, Ethan Masmela*, Grayson Slaminski, Will Riley

Trombone - Colin Garvey*, Will Brouillette*, Charlotte Barnett, Liesel Schilling

Guitar - Francesco Grasso, James Aldrian*

Piano - Audrey Kleckner

Bass - Khris Hackbarth*

Drums - Aaron Wise*, David Fandler*

Jazz II - Directors: Lacey Greicar* & Nolan Bumgardner

Alto Sax - Nina Massie*, Shane McAllister*, Hannah Feutz*, Angelique Rana

Tenor Sax - Gabriela Detoro, Maya Fredricksen

Trumpet - Aryanna Minor*, Aaron Wise*

Trombone - Jakob Nestler, Lincoln Greicar

Bass - Kellan Eberman

Drums - Max Mazzari, Alex Bergmann

SPECIAL THANKS

GSD School Board, Administration, & Staff

Jessie Banton, GHS Custodian

Family & Friends for their support

GSD MUSIC STAFF

Brittany Ward - WES / Adam Zolinski - KES

Brett Dimmer - Band 5-7 / Joseph Brown - Band 8-12

Summer Kleppek - Choir 6-12