Jazz arranging · Cool Jazz & West Coast

JohnnyCarisi

1922–1992 arranger · composer · orchestrator

Carisi's arranging style was harmonically adventurous, incorporating classical modernist techniques into jazz contexts.

expansive registeriridescent colorbalanced space
Portrait not yet available
Predominant era
Cool Jazz & West Coast
Lifespan
1922–1992
Signature
expansive register
00

John E. "Johnny" Carisi was born in New York and played trumpet with various bands before focusing on composing and arranging.

01

Sound DNA

Five shared dimensions make the arranger’s musical priorities visible at a glance.

Johnny Carisi sound DNA Comparative profile of color, space, register, density, and motion.
The same scale is used throughout the collection.
Color85

Iridescent

Instrumental color leads the design.

Space69

Balanced

Space and activity stay in balance.

Register94

Expansive

Wide spans define the orchestral frame.

Density64

Layered

Several musical planes coexist.

Motion53

Suspended

Motion unfolds with patience.

02

At the
arranging desk

“Small Hours,” orchestrated in the style of Johnny Carisi. Hear the parts, follow the score, and examine the decisions inside each chord.

Orchestrated in the style ofOriginal teaching study
Johnny CarisiFourth-based cells between winds

Original miniature

Small Hours

8 bars · C major · 4/4 Straight eighths

Open fourth-based sonorities and independent wind cells give the phrase a chamber-modernist character. This eight-bar setting uses a broken bass line with room between attacks beneath trumpet.

Bar 1 · beat 10:00 / 0:18

Choose Play to hear the recorded ensemble.

The passage

Read what you hear

All parts at sounding pitch · middle C = C4 · eighth notes follow the selected feel. Select a bar to inspect or replay it.

Inside the ensemble

Listen by part

8 parts

Combine Solo buttons to hear a voicing or a doubling. Mute removes a part from the mix.

Downloads include every part at concert pitch. MIDI includes the selected tempo and swing feel.

Bar 01 · I · tonic

Cmaj9

Beat 1

Solo horn and bassoon to hear the lower spacing, then restore the upper winds.

Voicing & register

The first entries in each line are: Flute B4 (maj7); Clarinet E4 (3); French horn A3 (13); Bassoon D3 (9). Bass path: C2–G2.

Timbral combination

Alternate chairs enter half a beat apart, then each changes pitch two beats later. Solo adjacent lines to hear the interlocking movement. Tenor sax · answer rests here, leaving the lead color exposed.

Voice leading & harmony

The opening E is the third. G–A–G makes the sixth a brief neighbor before the melody lands on D, the ninth.

Sounding pitches

High to low · muted parts are dimmed · note releases can leave a rest between attacks.

PartPitchChord role
From the arranging bookshelf Sebesky · Nestico

This original Johnny Carisi study applies the books’ approach of examining voicings, registers and instrumental combinations. It illustrates one facet of the artist’s work in a reduced ensemble; it is not a transcription or a reproduction of a book example. The melody and eight-bar progression remain the same throughout the artist collection.

  • Don Sebesky, The Contemporary Arranger: “Combining the Woodwinds,” printed pp. 69–70 (PDF pp. 78–79), compares balance at different registers. “Voicing the Strings,” beginning on printed p. 124 (PDF p. 133), discusses distributing string voices. “Combining Strings with Winds,” printed p. 155 (PDF p. 164), demonstrates how a flute changes the color and balance of a string line.
  • Sammy Nestico, The Complete Arranger: “Close [Block] Voicing” and “Semi-Open Voicing,” printed p. 24 (PDF p. 26), contrast a compact moving saxophone block with a voice dropped an octave. The part scores and pitch inspector let you examine the spacing used in this artist’s study.

Each artist’s arrangement uses separately recorded parts, so Solo and Mute reveal the same performance heard in the full ensemble. Winds, piano and supported orchestral instruments use MuseSounds; upright bass uses Karoryfer recordings. Other colors retain the credited libraries below. Tempo changes preserve concert pitch.

Performances rendered with free MuseSounds and the libraries below. Recording credits and instrument coverage.

Recordings: VSCO 2 CE (CC0), MTG Solo Saxophones (CC BY 4.0), and Karoryfer Meatbass (CC0). Additional sounds: FluidR3 GM (CC BY 3.0). Full credits and sample changes.

03

Scores & orchestras

Switch recordings to compare how this arranger’s musical priorities shape each orchestral profile.

Birth of the Cool

Israel

Carisi's composition and arrangement "Israel" stands as one of the Birth of the Cool sessions' most complex pieces.

Listen forNotice how register shapes the orchestral profile.

Find listening example on YouTube
Comparative orchestral profile
Color 75
Register 83
Density 60
Motion 50
expansive registeriridescent colorbalanced space

Profile derived from the arranger’s documented style and recording notes; exact instrumentation is not asserted.

04

Three essential albums

One line each—enough context to choose the next listen.

  1. 01 — Birth of the CoolMiles Davis Carisi's composition and arrangement "Israel" stands as one of the Birth of the Cool sessions' most complex pieces.
  2. 02 — Johnny Carisi and His JazztetJohnny Carisi Late recordings of Carisi's arrangements reveal his continued evolution.
  3. 03 — New Concepts of Artistry in RhythmVarious Artists Carisi's arrangements for various projects demonstrate his range.