Count Basie - One O clock Jump and Jumpin' at the woodside
- Created by: Penny Martin
- Created on: 08-06-15 13:53
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- Count Basie
- Use of Head arrangements
- developed without writing it down
- piano head made whilst waiting for broadcast to begin
- developed without writing it down
- One O'clock Jump (1937)
- Originally called 'Blue Balls' - considered too racy to broadcast
- piano head made whilst waiting for broadcast to begin
- Performed regularly for 50 years
- Basie introduces arrangement on solo piano with bass ostinato like boogie-woogie following a 12 bar blues sequence
- Bass shows more than a hint of boogie-woogie with rapid swung quavers and chromatic inflection
- Brisk Tempo
- Piano takes the first two blues choruses - quick-change blues in F with regular crotchets in rhythm section - final bar of music changes key to Db for chorus
- further eight 12 bar choruses which give each member a chance to introduce themselves to the audience- subsidiary accompanying patterns on the complimentary timbres
- piece ends in Db, tutti
- arrangement is very tight as it does a refgular harmonic progression, cued solos that occur over equal periods, regular rhythm pattern and reuse of material that starts as foreground and the serves as background
- Band Line Up
- 3 Trumpets
- 3 trombones
- 4 Reeds
- rhythm section in his band led the music
- Bassist played straight walking bass, drummer set quadruple 4/4 strict time on hi-hat and ride cymbal
- contrasted the heavy playing of other jazz drumming
- Bassist played straight walking bass, drummer set quadruple 4/4 strict time on hi-hat and ride cymbal
- Jumpin' At The Woodside (1938)
- scored for
- 5 reeds
- 4 trumpets
- 4 trombones
- Guitar, piano, bass and drums
- introduces by 8 bar ostinato on solo piano left - quick duple time with hi-hat cymbal entering 3 bars in followed by bass
- melodic motif on saxes is repeated 8 times
- texture comprises kit, bass and melody - elements have been discreetly added in layered manner
- Riff is based on blues scale - first chorus riff played on saxes whilst trumpets (muted) play stabbing chord interjections - basie sound
- AABA 32 bar form - 12 bar scheme
- At the end of sax solo, clarinet overlaps with a brief gesture based on another riff in dialogue with a growling trombone. Riff is heard to continue in the background as sax enters again forming a trio of improv on the 'head'
- Clarinet eventually begins to dominate and music fades slightly to an abrupt close
- scored for
- Use of Head arrangements
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