Count Basie - One O clock Jump and Jumpin' at the woodside

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  • Count Basie
    • Use of Head arrangements
      • developed without writing it down
        • piano head made whilst waiting for broadcast to begin
    • 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
    • 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

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