Organizing charts for an 8-piece mini big band - Angela O'Neill and the Outrageous8

Organizing charts for an 8-piece mini big band offers the opportunity to create a big, lush sound with a streamlined setup. Here’s a guide to crafting arrangements that highlight the unique strengths of each section and maximize your ensemble’s impact.

1. Understand Your Lineup

In an 8-piece band, a common setup might include:

  • 4 horns (e.g., trumpet, trombone, alto sax, and tenor sax)

  • 4 rhythm section players (piano, guitar, bass, drums)

This arrangement allows for richer harmonies in the horn section while keeping the rhythm section tight and flexible. With 8 players, you have a wider range to explore full harmonies, counterpoints, and even distinct sectional voices.

2. Build on Four-Part Harmonies

With four horns, arranging close, four-part harmonies becomes easier, allowing the band to replicate the lushness of a full big band section. This setup also provides more flexibility for solos and call-and-response patterns within the horn section. Arrangements can feature three-part harmonies with one horn playing a melody line or counterpoint for added complexity.

3. Use Dynamic Counterpoint

Counterpoint is essential in adding movement and creating fullness without additional players. For example, the saxes can play interlocking lines beneath a brass melody, or a trumpet and tenor sax can handle the melody while the trombone and alto sax create a secondary melodic or rhythmic layer. This interplay enhances the band’s sound and keeps arrangements lively and engaging.

4. Explore Doubling for Texture

If some players are proficient in doubling, use it to expand the tonal palette. Doubling on clarinet, flute, or even muted instruments gives extra layers and can add a unique character to each piece. This technique is especially effective in ballads or Latin-inspired charts, where a variety of timbres can evoke a larger ensemble feel.

5. Emphasize the Rhythm Section’s Role

The rhythm section is crucial in an 8-piece band—they drive the groove and provide harmonic support. Alternating solos between the pianist and guitarist can keep the rhythm section active without overshadowing the horns. The drummer and bassist can also adapt to different styles within each piece, such as switching between swing, Latin, or funk grooves, to add variety and keep each song dynamic.

6. Leverage Dynamic and Textural Contrasts

In an 8-piece setting, dynamic contrasts and textural shifts add excitement and energy to the music. Begin with solos or duet sections, bringing in the full band for crescendos or the main theme, which creates an impactful contrast. Utilizing softer sections with just the rhythm section, or fewer horns, and gradually building to a full band sound provides a dramatic arc that mimics the excitement of a larger ensemble.

7. Pick Repertoire that Maximizes Group Potential

Choose or adapt pieces that allow for both ensemble hits and small group interplay. Arrangements that leave space for individual expression—through solos or trading phrases—will help keep the audience engaged and give each band member a chance to shine. Focus on jazz standards or swing tunes that naturally fit the group’s energy and allow for dynamic variation.

8. Incorporate the Band’s Input

With an 8-piece group, collaboration is key to a tight performance. Allowing room for creative suggestions from each member, especially when arranging solos or adding fills, fosters a stronger bond within the group. Everyone feels invested in the music, which translates to a more cohesive sound and dynamic performance.

With an 8-piece band, you can create a big band experience with a modern, compact twist. By balancing harmony, counterpoint, and dynamic contrast, your ensemble can deliver a powerful sound that captivates the audience.

Hopefully this gives more insight into our 8 piece mini big band. We are grateful to our arrangers Harry Smallenburg and Rock Davis and other guest arrangers from time to time and for special projects.

Angela Mae O’Neill

The Challenges of Being a Band Leader

The Challenges of Being a Band Leader
By Angela O’Neill of Angela O'Neill and the Outrageous8

Running a band might sound glamorous, but let me tell you, it comes with its fair share of challenges. Don’t get me wrong—being at the helm of the Outrageous8 has been one of the most rewarding experiences of my life, but it hasn’t come without its bumps along the way. Leading a band requires more than musical talent; it demands patience, people skills, and a lot of passion.

The Balancing Act

One of the biggest challenges I face is balancing the creative side with the business side. As a bandleader, I wear a lot of hats. On one hand, I’m a musician, an artist. I need to make sure that the music we play feels authentic and exciting, not just for the audience but for us as well. But I also need to be a manager, a promoter, and a logistics coordinator. This is where the real balancing act comes in—creating space for creativity while also making sure we’ve booked the right gigs, confirmed the schedules, and stayed within budget. There’s no handbook for that!

Managing Personalities

With eight talented musicians in the Outrageous8, there’s no shortage of passion. And as you can imagine, every individual has their own unique way of approaching music and performance. One of the trickiest parts of leading a band is managing those different personalities and ensuring we’re all on the same page, both musically and personally. Whether it’s dealing with scheduling conflicts or creative differences, being the glue that holds everyone together can sometimes feel like walking a tightrope.

The Pressure to Stay Relevant

The music industry is constantly evolving, and there’s always pressure to stay fresh and relevant. While we’re known for our big-band style and Sinatra-inspired sound, it’s important to make sure we’re not stuck in the past. We have to find ways to appeal to modern audiences while staying true to the roots of our music. That’s not always easy! It requires us to constantly evolve without losing what makes us, well, us.

Getting the Gigs

Booking shows is another hurdle. There’s so much competition out there, especially in Los Angeles, where the music scene is bustling. Every gig is an opportunity, but it’s not as simple as sending a few emails and waiting for the offers to roll in. A lot of behind-the-scenes work goes into securing the right venues that suit our sound, audience, and vision. And then, of course, there’s marketing—making sure people know about the show and get excited enough to come out and see us.

The Emotional Toll

Being a bandleader can also be emotionally taxing. There’s a certain weight of responsibility when you’re leading a group of musicians who have put their trust in you. If a gig doesn’t go well, or if there’s a last-minute crisis, it’s easy to feel like the world is resting on your shoulders. But at the end of the day, the love for the music and the joy we bring to our audience makes it all worthwhile.

Why I Keep Going

Despite all these challenges, I wouldn’t trade being a bandleader for anything. The camaraderie, the magic that happens on stage when everything clicks, and the connection we make with our audience—it’s all worth it. Every obstacle is just another step in the journey, and the rewards far outweigh the struggles.

At the end of the day, leading the Outrageous8 has taught me resilience, teamwork, and the importance of staying true to my passion. The challenges may be real, but so is the joy that comes from sharing our music with the world.

— Angela O’Neill
outrageous8.com

Happy holiday message from Angela and the Outrageous8

Holiday Greetings to all of our OUTRAGEOUS friends. 

I cannot  believe ..another year has passed and our Annual JOY filled Holiday show was a rousing success this last Saturday...YAYAYAY.  This year has been financially challenging for sooo many, so we made a POINT of having a FREEEE HOLIDAY SHOW THIS YEAR!    We were SOOOO thrilled that so many people made the trek out to Monrovia to celebrate this Holiday Season with music. 

Looking back at 2023 it has been a  hard year in many ways, but we are lucky to have each other.

My gratitude list this year includes seeing the smiling faces in the audience who came out to our shows all over Southern California this yea.  THE BAND and I had so much fun putting together our Peggy Lee Show and Our JUDY AND NAT tribute.

We did a LOT of shows this year and that is ONLY possible because of you, the people who enjoy Music and in particular, our brand of jazzy big band with our OUTRAGEOUS HORNS!   We often remark how thankful we are for the support and encouragement from the folks who come down to our shows and also buy our merch - it really helps.  We could NOT do it without YOU! 

It is 9 years this year that the Outrageous8 have been around and it was our 9th year of a truly delicious and joyous Holiday show to CELEBRATE this amazing year behind us.   And look forward to the fun that lies ahead.

HAPPY HOLIDAYS to you and your families. Sending you MUSICAL LOVE from Angela O'Neill and the Outrageous8. 

Fall Sunset Block Party in Monrovia

It’s become a custom of ours to throw a fall block party, as a way to say thanks to our ‘fans’, friends of the band, supporters and music community. With the holidays so close and Thanksgiving, iit’s our way of giving back,

This fall was a last with special guests and the usual suspects Al Timms and Jackie Gibson. As always, our thanks to all our helpers behind the scene and to you for keeping live music going. No AI was used in producing this show! ;)

Next up is our Holiday show at The Pourhouse. we hope to see you there.

In the meantime, check out some snaps from the lock party.

REVIEW - Paul Litteral 'Legacy' Album Release at the Write-off Room, Los Angeles

What a surprise to attend the Write Off Room for last night’s cd release party of trumpeter Paul Literal’s “LEGACY” cd (produced by Angela O’Neill and Outrageous 8 Records and Bill Bodine) which, unlike others really was a party and a spectacular show, including numbers from the cd and others as well, all of which got the crowd moving and head bobbing.

For those not familiar with Paul, he was a founding member of Uptown Horns who played with a plethora of music icons such as The Rolling Stones, James Brown, Ray Charles and many others.

Opening with the first tune on the cd which featured the entire Paul Literal band which filled the stage almost to capacity (Paul on trumpet, Craig Kupka on trombone, Colin Kupka, on alto sax, Sam Morgan on tenor sax, Ken Rosser on guitar, Bill Bodine on Bass, Tony Pia and Rocky Davis on piano), it proceeded with vocalist Lenny Goldsmith singing knockout versions of Accentuate the Positive with and Black Cow (Anna Orbison, Lauri Reimer and Rocky Davis singing backup), which really got the crowd jumping and jiving. 

The show proceeded with a fabulous array of instrumentals and more wonderful vocals by Angela O’Neill, Anna Orbison and hubby, James Orbison. Especially notable (in my humble opinion) a killer rendition of Don Henley’s NEW YORK MINUTE by Angela with the Band (Paul up front), Shiver Me Timbers by Anna (Paul up front), and the Brecker Brothers’ NEW YORK DREAMS by Anna and James.

This was all capped off by Paul’s encore gorgeous trumpet solo of GREEN CHEESE.

What a great evening. 

Here’s a youtube link of the show for your enjoyment.

Written by Judy Barrat

Latin Night at Catalina's - from Angela O'Neill and the Outrageous8

LATIN NIGHT WAS A SUCCESS at Catalina Jazz Club in Hollywood, from the Outragous8!

It was truly a celebration of LATIN MUSIC last night with Jackie Gibson premiering a brand new chart of Aquellos Ojos Verdes in Spanish, that Rocky just finished up!

The band was on fire doing an amazing job! Everybody soloed on SAMBA FOR SAMMY, one of the Outrageous8's fav charts and an original composition written by Harry Smallenburg about his granddaughter Samantha. Phil Romo on Bass kept us very steady on that one and Tony “BOOM BOOM" Pia was really feeling it!

All in all, the band and the crowd at Catalina Jazz Club had a wonderful time. These days, when it's really quite a "thing" to get out to a live Club for music, more than ever, we are so grateful for the people who do come out to hear our music and support musicians and the clubs!

Amazing to see the smiling faces of Herb Gore, Larry Davis and Steve Rupert, Nora Paradiso (number 1 fan of the 8!!), Beverley Church Hogan, MaryAnn Biddle and her husband John, who brought a big party of fun with them! Cece and Forrest Linder drove down from VENTURA to see the Outrageous8. Thank you guys sooo much for making the drive, it was amazing to see you!! Bruce Carter made it out with his friend January, and Ben Lewis brought his friends down for dinner and a Latin show! Grace Kono-Wells made it out a little later and we had fun catching up.:) Jackie's friend Gina made it out to the show and we were soo happy to see her. Stephanie Frey and her son Aiden, a trumpet player in high school himself, made it out and we were soo happy to have them come down. Thanks to all who made it out!

It's been a HOT couple of weeks and it was nice to be inside in the AC,.having a magical music experience. It made me giggle last night when I said to the crowd “now let's slow it down...for just a second” and we did a beautiful arrangement by Rocky of STARDUST, which turned out to be a crowd favorite!!! In addition, we had some amazing response to 'S WONDERFUL, a Harry Smallenburg Latin take on that classic tune, with quite an amazing Flute solo by Richard Walker. Speaking of which, we are so thrilled that Sam Morgan is on tour right now and we were lucky enough to have Dennis Mitcheltree on Tenor and he just killed it! Jay Stolmack was sitting in for Ron Cyger and he did a killer solo on Alto on BLACK ORPHEUS, another classic Latin tune!

Jackie and Al did an elegant duet of BESAME MUCHO, which is so smooth and romantic. It tugs the heart strings. Another crowd fav was Al Timss’ version of AUTUMN LEAVES.. Larry Lippold was outstanding on trumpet. By the way, we recorded that tune remotely, during COVID. and Michael Rosen and I produced a super fun Video that all can see on our youtube channel, starring THE DUKE OF SMOOTH, Al Timss.

Here's a huge shoutout to those folks who secretly bought tickets to support the band, even though they didn't come down. You know who you are and we are indebted to you for your support...

We do hope Manny is feeling better. Sending you love Manny and Daniel Gonzales who did a great job mixing us and Luis at the Bar

Next stop, NEWPORT BEACH, CAMPUS JAX, August 14th Get your tix...(Click below)

Our thanks always to Kathryn Hopkins who is our marketing manager for the band and Harry Smallenburg and Rocky Davis for providing us with these outlandishly beautiful charts to sing and play

xoxoxo Angelita

Light at the End of the Tunnel Review by Michael Doherty

Angela O’Neill And The Outrageous 8: “Light At The End Of The Tunnel”

The title of this one is of course appealing for all of us who keep hoping for a glimpse of that light. After two years of a pandemic, and the ongoing troubles caused by the previous administration, we are eager for such a light, which at times seems to be just around the bend. Well, this band is doing its part to will that light into existence with this wonderful album.

The disc opens with “I’ve Grown Accustomed To His Face,” and in the liner notes they joke how during the lockdown people became very accustomed to each other’s faces. That’s followed by a fantastic rendition of “Cry Me A River,” featuring a strong vocal performance and a lot of great stuff from the brass section. It is certainly one of the disc’s highlights.

The band, by the way, is made up of Angela O’Neill on vocals; Sam Morgan on tenor saxophone; Ron Cyger on alto saxophone, soprano saxophone, flute and clarinet; Rich Walker on baritone saxophone and flute; Paul Litteral on trumpet and flugelhorn; Harry Smallenburg on trombone; Rocky Davis on piano; Bill Bodine on electric bass; and Tony Pia on drums. There are also some guests on various tracks. This group delivers a really good version of “Come Rain, Come Shine,” a perfect choice of songs for a time when, figuratively speaking, it’s been mostly rain. The energy is then pumped up for “I’m Gonna Live Till I Die,” featuring guest vocalist Al Timss. Another great choice for these troubled times. That’s followed by “Now And Again,” the album’s only instrumental track. Death has been on my mind lately, and “New York Minute” hits me kind of hard. Check out these lines: “And in these days when darkness falls early/And people rush home to the ones they love/You’d better take a fool’s advice, and take care of your own/Because one day they’re here, the next day they’re gone.” Then Bill A. Jones joins the group on vocals for a spirited rendition of “On A Clear Day You Can See Forever.” Another of this release’s highlights is “Hallelujah I Love Him So,” which features Beth Anderson and Jackie Gibson joining Angela O’Neill on vocals, and includes some good work on harmonica by guest musician Michael Rosen. Jackie Gibson then takes lead vocal duties on “It Might As Well Be Spring.” The group wraps things up with “When The Sun Comes Out.” This album was released on May 21, 2022.

Press Release - Light at the end of the Tunnel, album by Outrageous8 Records

New on Outrageous8 Records: Light at the End of the Tunnel, the third release from Angela O’Neill and the Outrageous8

“For Light at the End of the Tunnel, we wanted to take all that emotion bottled up during the pandemic—the challenges of being shut in with the same people for months, the frustration of not being able to do the things that make us who we are—and get it all on record. We chose tunes that captured those feelings, and created arrangements that put all that joy and pain right up front.” –Angela O’Neill, leader of the Outrageous8 and president of Outrageous8 Records

“…very satisfying and enjoyable release” Scott Yanow, jazz historian/journalist

Light at the End of the Tunnel captures singer Angela O’Neill and her octet, the Outrageous8, in an adventurous, ambitious mood after two years of dealing with the COVID19 pandemic. With freewheeling arrangements from Harry Smallenburg and Rocky Davis, produced and played by an all-star team of Los Angeles session musicians and engineers, Light at the End of the Tunnel presents a very special and jazz experience, with surprises and delights packed into every tune.

All of the musicians in the Outrageous8 are veterans of the Los Angeles jazz and big-band scene. Featuring trumpeter Paul Litteral (Rolling Stones, Keb Mo, Debby Harry), bassist/producer Bill Bodine (Cher, Van Morrison, Joan Armatrading), and drummer Tony Pia (Pepper Adams, Frank Sinatra Jr, Maynard Ferguson, Doobie Brothers). Mixed by Bill Jackson (Emmy winner, Oscar-nominated, HBO’s Entourage, Sheila E, Los Lobos, Oingo Boingo).

Track listing

1. I’ve Grown Accustomed to His Face 2:35

2. Cry Me a River 4:10

3. Come Rain or Come Shine 4:09

4. I’m Gonna Live Till I Die 1:52

5. Now and Again 4:22

6. New York Minute 6:42

7. On a Clear Day 2:32

8. Hallelujah I Love Him So 3:30

9. It Might As Well Be Spring 4:02

10. When the Sun Comes Out 4:48

Credits:

Angela O’Neill: bandleader, vocals Sam Morgan: tenor sax, music director Ron Cyger: alto sax, soprano sax, flute, clarinet Rich Walker: baritone sax, flute Paul Litteral: trumpet Harry Smallenburg: trombone, arranger Rocky Davis: piano, arranger Bill Bodine: electric bass Tony Pia: drums Michael Rosen: harmonica (8) Al Timss: vocals (4) Bill A. Jones: vocals (7) Jackie Gibson: vocals (9), backing vox (8) William BChill Bodine: backing vox (8) Beth Anderson: backing vox (8)

Produced by Bill Bodine, Angela O’Neill, Harry Smallenburg and Bill Jackson Recorded by Michael Rosen Mixed by Bill Jackson at Jacksonland and William BChill Bodine at the Funhouse Album design by Nathan Carlson, text design by Kevin Egeland Photos by Montgomery Pollack and Dean Handler Contact Angela O’Neill, (+1) 818-606-2420, smltngrl@aol.com

Featured Artist - Ron Cyger

Artist Profile: Ron Cyger – Alto and Soprano Sax, Flute, Clarinet

 

Ron started off playing accordion in the 3rd grade (ugly little secret comes out!), but quickly switched to clarinet the next year. After all, it’s much easier carrying a clarinet case then an accordion case to school.

 

He grew up near Pasadena, CA, the oldest of three siblings. While still in grammar school, Ron had a conflict; both the Boy Scouts and music conservatory met at the same time. Ron chose music and never looked back.

 

In high school, Ron played clarinet with the marching and symphonic band, wind ensemble, and orchestra. But he really loved playing in the pit of the annual musical.  His senior year, a new band director started a jazz band and Ron picked up the sax.

 

After high school Ron attended Pasadena City College where he got to study with Gary Foster and Dirk Fisher (Clare Fisher’s brother).  He eventually received his bachelor’s degree in Philosopy and Music from California State University, Los Angeles. While at PCC, he began studying Jazz with Don Ferrera, a former student of Lennie Tristano. 

 

In the early ‘80s, Ron went on the road with a Bette Midler tribute band and spent a year playing throughout the western United States and Canada.  The band eventually worked its way back to the Los Angeles area for the holidays, and Ron thought it was a good time to move on.

 

While building back up his musical contacts, He started training and racing in triathlons.  But, one morning while getting dressed, Ron broke out in a sweat that soaked through his clothes, and that’s about all he remembers. He was told that when he went to the doctor that morning, he needed a wheel chair to enter the office, and was misdiagnosed with motion sickness.   Ron didn’t improve that day and was rushed to the hospital.

 

He had suffered a stroke caused by an arteriovenous malformation. A weak spot in a vein had ballooned and burst impacting his left side, speech, and both gross and fine motor skills. He spent a month in the hospital and a year in rehab. Both sax playing and training for triathlons had strengthened Ron’s cardio system and the doctor’s said this is what saved his life.  A year after the stroke, Ron gained enough fitness back to race a triathlon, but his music career was over, or so he thought.

 

Ron no longer had the coordination or ability to play a musical instrument, so he changed his life direction and entered into public service. He earned a Masters degree in Public Administration and had a 30-year career with the Los Angeles Superior Court.

 

Near the end of his career, and 30 years after the stroke a friend picked up the saxophone for the first time in his 50s. This inspired Ron and he started to play sax in jazz combos and relearn the clarinet and flute. A few years later he was one of the founding members of Angela O’Neill’s Outrageous8 (many of whom are still with the band years later).

 

Besides recording many albums with the Angela O’Neill and the Outrageous8, you can hear Ron with the Green Street Jazz Quartet, Live at the Myrtle Tree released in 2019; and with Brent Butterworth, Take2, released in 2021 and produced by Outrageous8 Records. All recordings can be purchased at AngelaMaeONeill.com or streamed on Spotify and Apple Music.