That's All

Pete Anson's "That's All" should not be confused with the Alan Brandt-Bob Haymes standard of the same name. Unlike that lovely ballad, this arrangement is a high-energy swinger from start to finish, taken at a brisk pace and not letting up on the excitement at any point throughout its performance. It was initially recorded by the Dizzy Gillespie Big Band for their 1957 album Dizzy in Greece. The introduction sets the pace right off the bat, with the band feeling like it has been shot out of a cannon with its roaring brass and corkscrewing saxophones interplaying with a driving rhythm section. The pleasant melody commences at measure 11 and is handled by the saxophones with some occasional jabs from the brass to spur things along. An unusual 7-bar interlude sets up a key change at measure 44 for a single chorus of trumpet solo, handled not by Gillespie, but by an 18 year old Lee Morgan. Morgan's brash statement is followed by a bit of call-and-response between the ensemble and Billy Mitchell's tenor saxophone at measure 70, with Mitchell managing to squeeze in the last word before an ensemble shout chorus commences at measure 102. This shout chorus continues with the call-and-response format, with the full ensemble starting things off and the sax section by themselves following in retort. The band gets out of the way for a half a chorus of Wynton Kelly's piano before another raucous interlude sets up the return to the original key and a brief melody recap at measure 142. To bring things to a close, the saxes play a short descending-then-ascending a capella line with the brass joining back in for the final ensemble blast. This publication was based on the original set of parts (in Pete Anson's hand) used during the 1957 recording session - this is not a transcription.