Take the "A" Train arrangement
The piece begins with an introduction, in which the piano plays downward flourishes (E-G#) with syncopated chromatic chords (D7b5-C).
The reeds play the melody. For the first AA brass accompany with stab chords (rhythm) and fills at the ends of phrases. In the B section the brass accompaniment takes on a counter melody feel. When A returns they play stab chords with a new rhythm.
The whole of the next head is a trumpet solo, which becomes more virtuosic until it is based simply on a smaller motif.
There is then a transition, which takes on a 3/4 feel and modulates in a harmonic sequence from C to Eb.
The music goes immediately back to C. Reeds with an exotic riff, ending in a descending triplet chromatic scale, trade 4s with a solo trumpet. This repeats and the trumpet continues, and then they layer up a G7b9 chord (like a train stopping).
In the final head the reeds play the melody with a new stab chord rhythm. There is a decrescendo and we hear glimpses of the opening piano downward flourish.
A Night In Tunisia arrangement
In the introduction the instruments layer up creating a latin/salsa feel. First the bass riff, then syncopated piano chords, then the drums, then the reeds riff, then the trumpet to begin the A (structure AABAC).
The trumpet plays AABA, along with the reed riff. In the C section the vibes and saxes play in unison, joined by trumpet on the G7#11 chord.
There is then a transition of ascending triplets.
The final head has structure AABA. There is a sax solo for AA, a vibe solo on B and the trumpet plays the final A as at the beginning.
Frankie Trumbauer and his orchestra (Bix Beiderbecke on cornet) 1927, F major, structure ABCBCB (Bs have solos and Cs have sim imp) - large ensemble: two cornets/clarinet/saxes/piano/drums
Hark back and look forward
A - polyphonic texture but not sim imp because cornets are prominent and their line has a melodic feel
Chord prog from C of Buddy's Habit - I I I I7 IV iv I I7 IV iv I I7 II7 V7 I
B- these are solo sections piano (blurs harmony with 6ths 9ths and 11ths) and then trombone
F A7 D7 D7 G7 C7 F
C - minor sim imp Dm Gm C7 (closest to original dixieland sound)
B - sax and cornet in thirds then each takes solo
C - as before
B - clarinet solo then sim imp (quotes LSB)
Louis Armstrong and his hot 7s 1927, Ab laid back, swing 4 beat feel
Intro - write it out, imitated figure (cornet, trombone, tuba) (arpeggiated, starts with slide from flat 3)
Long 32 bar cornet solo (Armstrong)
A slides, emphasises b5 (Eb), vibrato
A expanding range
B stop time feel (crotchet rest rest crotchet crotchet rest rest c.f. Buddy's Habit)
A swung and straight, stretching out the bars
C - minor unison section (cornets), melodic
A - trombone
B - clarinet (loads of vib)
A - all of the instruments in sim imp (typical end of piece)
West End Blues
Louis Armstrong and his hot 5s 1928
Uses 12 bar again (Eb) with the typical IV iv
I I I I7
IV iv I I7
V7 V7 I V7 (chrom turnaround)
Experimental in timbre! Solo at start, milk bottle and ****
1) Starts with trumpet solo (totally alone) virtuosic, arpeggiated, totally free with time
2) (from now on the accompaniment is piano block chords) trombone solo, lazy and swung, sildes b3-3, milk bottle accompaniment
3) clarinet and **** voice Q and A (because Armstrong's music fell off the stand..)
4) piano solo - scalic and flourishes
5) clarinet arpeggios, piano flourish then chords