You’ve Got To Hear This: The 9-minute “One O’Clock Jump” (1957)


At the Newport Jazz Festival in 1957, Count Basie arranged for Lester Young, Jo Jones, Roy Eldgridge, & Illinoise Jacquet (of the famous “Flying Home” sax solo) to all be on stage for the final number, “One O’Clock Jump.” The result is something truly incredible. (Click on the link below to listen. Purchasing info here)

“One O’Clock Jump”

5 Reasons Why You’ve Got to Hear This:

1. The More-Uptempo 1950s Basie Rhythm Section

As modern-era Lindy Hoppers, most of our understanding of post-war Basie is of slower numbers like “Shiny Stockings” or “Corner Pocket.” This track shows how the 1950s Basie Rhythm section swung it with a driving tune (This “One O’Clock Jump” is around 177bpm). In this era of swing, the cymbals were given even more attention by the drummers, and Jo Jones was by many accounts unbeatable in this era of swing drumming. There’s even an old legend that the swing drummers like Gene Krupa and Buddy Rich used to set up their kits in Central Park and just jam with each other, taking turns. The legend goes one day Jo Jones showed up with just a high-hat, and trumped them all. (This, being a jazz anecdote, is probably more about getting a point across than historical accuracy.)

2.- 4. Lester Young, Roy Eldridge, and Illinoise Jacquet.

Two of the greatest tenor sax players and one of the greatest trumpeters walk into a bar…

When the saxophone was first introduced into jazz music, it was more as a novelty, at the time when a lot of jazz was focusing on getting as many unique sounds as possible into its music. Over the 30s and 40s, however, the saxophone became one of the most major aspects of big band swing composition and performance, as well as soloing. It was important not only for a soloist to have incredible technique, timing, and swing, but also an individual voice. Lester Young and Illinoise Jacquet were two of the greatest of the swing era. Lester was known for his relaxed, economical style and mellow, breathy tone. Illinois Jacquet became famous for his melodic solo on Flying Home, and was known for his “honking” style and use of rhythmic reiteration. Roy Eldrige (trumpet) was quite simply one of the most influential trumpeters in Jazz, the link between Armstrong and the bebop era. He was known for his power, drive, virtuosity, and incredibly sophisticated use of harmony.

5. The last two minutes

Which of course all stem from the first seven minutes. And the 40 years before that.

8 responses to “You’ve Got To Hear This: The 9-minute “One O’Clock Jump” (1957)”

  1. Oh my god, this is one of my favorite swing songs of all time. I think it is now considered uncool by most lindy hoppers to like this song, but I lose my mind every time I hear it. It’s a fucking masterpiece of style, balls, and virtuosity. Thanks for giving it some love and validation.

  2. I’ve heard it. Kyle Smith recommended the album to me at All Bal this year. All the cuts are great. Listening to it made me wonder what it must have felt like to listen to it in person. All the cuts are great.

  3. Do you have an idea of where and when that Count pic was taken? And who’s the drummer? I’d love to know as those drums where not available in the 50’s, it’s a Gretsch finish from the 60’s… Thanks.

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