Category: Classic Rock

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  1. The saxophones change their riff to a melody usually recognized as the theme of "One O'clock Jump." The other riffs remain the same. Chorus Ten. The saxophones change again, to a simple, unharmonized riff. The drummer reinforces the trombone chord .
  2. One O’Clock Jump is an exceptional painting. It was first accepted into The Arizona Artists’ Guild Fall Show at the United Bank Building in Phoenix, Arizona from October 17 – 28, , by Rip Woods, receiving the Merit Award. At the time, it was named Scheherazade.
  3. On "One O'clock Jump," Basie has some of the sassiest sax and popping trumpets in a wild arrangement that blows the shingles off the roof. "Jamboree" is a short swaggering piece with Basie's piano tinkling distinctively near the end of the arrangement/5.
  4. Jan 08,  · Directed by Terry Kinane. With Nicholas Lyndhurst, Michelle Holmes, Dervla Kirwan, Victor McGuire. Unbeknowst to Yvonne, Gary applies for a job on her behalf. After bumping into Reg's present-day doppelganger yet again, Gary is surprised to find he claims to have no children/10(28).
  5. Aug 21,  · The band's theme song was "One O'Clock Jump," which Basie played in thousands of performances over most of his career. By the time Count Basie .
  6. Jul 06,  · In addition to the title track and a short version of One O'clock Jump the EP boasted two enjoyable duets with Joe Williams & Ella Fitzgerald (Every Day I Have the Blues, Party Blues) and a spirited vocal by Ella (April in Paris) Any Basie fan knows that the term One O'Clock Jump can cover a multitude of CD and LP titles in addition to the famous signature tune so I was delighted to make the /5(20).
  7. One O'Clock Jump Count Basie, Ella Fitzgerald & Joe Williams Jazz · Preview SONG TIME Too Close for Comfort. Ella Fitzgerald. 1. PREVIEW Smack .
  8. On "One O'clock Jump," Basie has some of the sassiest sax and popping trumpets in a wild arrangement that blows the shingles off the roof. "Jamboree" is a short swaggering piece with Basie's piano tinkling distinctively near the end of the arrangement/5.

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