Sheet Music by Sammy Nestico at Kendor Music: Signature Style

Originally recorded by Count Basie and completely revised for the SWR Big Band CD Basie-cally Sammy, this medium-bright original swings hard and features lots of satisfying full-ensemble work. Solos f...

Originally recorded by Count Basie and completely revised for the SWR Big Band CD Basie-cally Sammy, this medium-bright original swings hard and features lots of satisfying full-ensemble work. Solos f...

First recorded by Count Basie, then Quincy Jones, and most recently by the SWR Big Band on their 'Basie-cally Sammy' CD, this popular blues tune was originally written for 'Sweets' Edison and features...

First recorded by Count Basie, then Quincy Jones, and most recently by the SWR Big Band on their 'Basie-cally Sammy' CD, this popular blues tune was originally written for 'Sweets' Edison and features...

First recorded by Count Basie, then Quincy Jones, and most recently by the SWR Big Band on their "Basie-cally Sammy" CD, this popular blues tune was originally written for "Sweets" Edison and features...

Recorded by Count Basie & His Orchestra in the late 1960's, this classic blues for developing ensembles features written or ad lib solos for trombone and drums. Midway through, shortly after the tromb...

Brass and sax unisons, easy figures and a rich harmonic structure will make this a big hit with everyone. The primary solo is reserved for trumpet (optional written solo provided), but piano adds some...

This dynamic blues shuffle offers optional written solos for alto, tenor, trumpet and/or trombonethe piano player has written solos at the beginning and end as well. For this chart to sound its best,...

Duration 3:30

Duration 3:30

Here's a blues as only Sammy Nestico could write. Solid and swinging!

Duration 3:00.

Duration 3:00.

This arrangement calls for a very lazy feel. Keep saxes quietbehind the piano solo (measures 21-25), and work on the split triplets in measures 35-36 since they offer a great opportunity to produce so...

This arrangement calls for a very lazy feel. Keep saxes quiet behind the piano solo (measures 21-25), and work on the split triplets in measures 35-36 since they offer a great opportunity to produce s...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...

The first 12 measures of this chart require good balance and presence from the rhythm section (preferably electric). A nice and full dynamic change at measures 29 and 61 is necessary, and the saxophon...

In this appealing straight-8ths original for developing groups, the written solo for tenor sax takes center stage. Rhythm section parts are notated, and using electric guitar, piano and bass will help...

In this appealing straight-8ths original for developing groups, the written solo for tenor sax takes center stage. Rhythm section parts are notated, and using electric guitar, piano and bass will help...

In this appealing straight-8ths original for developing groups, the written solo for tenor sax takes center stage. Rhythm section parts are notated, and using electric guitar, piano and bass will help...

This arrangement combines two styles -- straight 8ths and a jazz 4/4 feel.

This arrangement combines two styles -- straight 8ths and a jazz 4/4 feel.

This arrangement combines two styles -- straight 8ths and a jazz 4/4 feel.