Teddy the Toad

The trombone section of the Count Basie Orchestra of the 1950s - Henry Coker, Al Grey, and Benny Powell - was one of the most dynamic sections in the history of big band jazz. Although the arrangement doesn't feature any improvisation, Teddy the Toad served as a wonderful vehicle for the trio's unique musical personality. The entire arrangement is fit around the framework of a concert Eb blues. Following an uproarious introduction from the whole band, Basie takes a partial chorus piano solo to mellow out the mood before the trombones enter with the somewhat lumbering melody at measure 13. This melody is repeated twice, with a simple cup-muted trumpet counter line coming in on the second time. A pedal point and descending figure in the trumpets and brass set the stage for an extended trombone soli that begins at measure 30. A few measures later, the second main melody figure enters and is repeated by the trombone trio twice. The main backgrounds during this section come from some sharp plunger-muted trumpets that start off relatively sparse but become more busy and prodding as time goes on. The saxes add in a slightly corkscrewing counter line at measure 51 to add to the developing complexity. The original melody returns at measure 63, with the final few measures being tagged a couple of times before a dragged-out rubato trombone section cadenza wraps things up over a surprisingly minor-key finish. This publication was based on the original set of parts used during the recording session - this is not a transcription.