As the name implies, this latin-fusion piece is written in the mid-tempo 88 BPM and combines intricately interlocking lines with heavy funk riffs. This tune highlights the technical flexibility of the ensemble while maintaining a solid groove. A modal solo section gives the improvising soloists in your ensemble a chance to shine.

Alba, a solemn, yet somewhat uplifting song, begins with a simple melody and floating chords that delay a resolution. The “B” sections serves as a disconnect that resolves back into the beginning melody. The solo section is simple and open to interpretation stylistically. The “B” section disconnects from the solos and this time drives us into an uplifting jam at the end. Alba can be heard on the Dave Longfellow’s self-titled 2009 release.

"Alone Within You" uses quotes from Debussy's Nocturnes to express a developing relationship between a young woman and an old boy. The piece traverses the emotional distance from passion, to resistance and fear, and finally back to passion. In the end, despite many attempts, the relationship never quite comes to a clean ending.

Like the other pieces in the DLE Series, this one requires a developed rhythmic maturity in order for all the parts to interlock. This piece includes a rock/funk solo section.

A funk-infused tune for steel band based loosely in the tonal framework of D major. The back line lays down a solid groove while the melody in the tenors weaves nimbly in and out of the key. A gradually intensifying jam capped off with a final push to the end complete the tune nicely.

“Bananas for Anna” showcases the more aggressive side of the DLE in this up-tempo songo. With the addition of an electric bass, we could really start to “lay in” to our latin repertoire. So, I wrote “Büf” (as the band later aptly referred to it) with a driving bass, complex melody, and montuno break-down in mind. To assure never a dull moment, our drummer, John James, incorporates the left-foot clave technique throughout the montuno sections.

This piece is more rhythmically complicated than harmonically and there are options for multiple solos, including percussion (as heard on The DLE: Vol. 1). Noun or verb, you’ll enjoy playing “bananas.”

This piece is simply constructed from two contrasting sections. The first section is lyrical, harmonically ambiguous, and smoothly textured. The second has a repetitive melodic figure, straight-forward chord progression, and idiomatic strumming patterns. The two sections are connected by a brief but challenging “wind-down” phrase in the melody and drum set parts, and are combined in different proportions in each of the three macroscopic structures of the piece as a whole. The central structure allows plenty of room for exploration by a featured improviser. Bocardo can be heard on the Dave Longfellow Ensemble’s self-titled 2007 recording.

Expiration Dating opens with a series of bell-tones in ascending perfect fourths. This leads to a light introductory groove in an A Major tonality, with horn-style hits in the inner parts. The primary, D Major melody of the piece is accompanied by rolling figures in the inner parts, a montuno-like bass line, and a highly linear drum set figure. After a return to the A Major and D Major sections for an improvised solo, the melody is repeated. The piece ends with an elaboration on the main theme of the melody and open vamp in the context of a B Minor turnaround. The inner parts become more rhythmically active for this final section, and the drum set part emerges as a fusion of those parts occurring in previous sections. Expiration Dating ends with a series of bell-tones in descending perfect fifths resolving to A Major. This provides a symmetric answer to the introductory phrase.

The title of the piece stems from the concept of entering into a relationship with someone when both parties understand at the outset that it will necessarily end at a predetermined time. The piece intentionally leaves the interpretation of personal attitude toward such an experience up to the performers and listeners. Expiration Dating is the opening track on the Dave Longfellow Ensemble’s self-titled 2007 recording.

This piece was influenced by the bélé rhythms found in Martinique. The heavily syncopated 3/4 groove is accented by the accompanying pans and bass throughout the verse. The chorus continues the displacement of the groove accents while transforming into a swung 4-beat pattern. The verse is then repeated with the melody added to the bass part (on top of the original groove—good luck bass players!) and harmonized in the lead part. After a return to the chorus, the song transitions into a “2nd chapter” with a solo section and key-changing bridge. The chorus is once again revisited with a jam-out style syncopation section followed by the ending.

This piece requires a great deal of rhythmic maturity to make all the parts “lock-in” and groove. Until then, it may be “Just Out Of Reach.”

This piece is the first tune from The DLE album Vol. 1. It is written in a progressive style, with a nice Afro-Cuban groove. While alternating time signatures, this piece maintains its melodic feel and sense of flow. After an optional bass solo, the song drifts into a 5/4 section with an optional conga or drum set solo which builds back up into the original theme. The song then builds until the end when it finally fades and resolves.

The full steel band version of Number 2 takes this composition to the next level. Like the original combo piece, it is written in a progressive style, with a nice Afro-Cuban groove. While alternating time signatures, this piece maintains its melodic feel and sense of flow. This arrangement utilizes the full steel band to really provide a driving groove throughout. In lieu of the optional bass solo, as in the combo arrangement, the bass solo if fully orchestrated with variations. After recapping the melody, this arrangement then kicks it into high gear at the end with a nice “call and response” variation between the high pans and a new ending!

This duet composed in a Son Montuno style is well suited for a pair of intermediate to advanced players. The performers simulate traditional cascara and palitos patterns by playing the rim and skirt of the pans while maintaining the melodic and harmonic material above the rhythmic density. An added Latin percussion section complements this piece nicely.

This series was commissioned specifically to provide quality steel band music for beginning steel bands. The six pieces in this collection represent a variety of styles, composers and difficulty and can serve as an entire semester's repertoire.

The first two pieces, Pa Bailar (cha-cha) and Hope (reggae and soca), were composed by composer, performer and educator Jeff Narell. These two tunes are Level 1 difficulty and make great first tunes for middle and early high school steel bands. The groove is really nice, and they could easily be taught by rote

The next two pieces were composed for Engine Room Publishing by Danish composer Sune Borregaard. You Got Me Going is a jazz band styled piece with a great melody and features an easy solo section suitable for beginning players. Catch Me is an exciting medium-tempo calypso. These two pieces are Level 2 difficulty.

The last two pieces were composed by composer and educator Adam Grisé. Working is a medium-tempo soca with nuanced dynamics and features a jam section with rich inner voicing. Finally, Floating Serenade introduces students to classical music on pan. It is written in a major key, with just a few accidentals in rounded binary form. These last pieces are also Level 2 difficulty.

This jazz number was commissioned as part of our Beginning Steel Band series. Voiced like a jazz band chart, this piece is written in minor and features a great melody and a laid back groove. The middle section features a solo section suitable for beginning players. Best of all, this piece is leveled for beginning steel bands!