I'm just spitballing here: maybe I could include the trumpet just on measure 12? I certainly can't include the octave jump, and having it played on both m.8&12 wouldn't have the same energy as the original.
I'll toss in my two cents and say I don't think I'd mind doing the trumpet bit in the same octave for both. Sure, it's not exactly correct, but what can you do? Right now it's sparse enough that I think it might do some good.
I do not hear a C there.
While I don't hear a super clear C, the bass part does have the kick of a power chord. Again, for my opinion, I think you could go either way with this. Add a C for a bit more punch if you like. Me? I probably would, but it's not necessary I don't think.
Honestly my biggest "it's too bad..." area is in the impossibility of getting that percussive feel in this. The percussion
makes so much of this song- to the point where I'd almost dream of adding higher notes to the bass to get that moving groove but that's maybe getting too creative. Potentially controversial. So in light of that, I'm going to say it's certainly not bad as is; at the very least it's not brutally difficult like so many sheets are and it's always nice to have some more beginner-friendly ones when possible. Arranging hard is easier than arranging easy in my experience.
On a different note (pun intended), I'm wondering about the beaming in measures 17-18 RH. In measure 17 I'd be inclined to beam between groups of two only; groups of four beaming despite a clear three pairs of notes gives me pause. In measure 18 I'd recommend even stronger to break this beam. It comes out this way because Finale wants to beam in four but as it sits right now it's just plain wrong. I can't even recommend my almost-patented beam-over-rests thing that everyone hates because even that would look bizarre. I'd strongly suggest just breaking this beam. Also the corresponding spot in measures 33-34.