Recorded by the Count Basie Orchestra
Arranged by Neal Hefti, Prepared for Publication by Rob DuBoff, Jeffrey Sultanof, and Dylan Canterbury
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Cat #: JLP-8483


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Edition: Jazz Big Band Arrangement

Description: Ballad - Easy

Publisher: Jazz Lines Publications

There are few collaborations in the world of big band jazz that have produced more classic outcomes than those of bandleader Count Basie and arranger Neal Hefti. At the start of their association in 1951, Basie was looking to revive his big band after a period where economics had forced him to downsize his unit to an octet. Hefti, a youthful veteran who had already written for Woody Herman, Buddy Rich, and Charlie Parker, was looking to expand his name in the public eye. When the two brought their highly sympathetic musical personalities together, the result was a completely re-defined sound of the Basie organization, and big band jazz in general, by combining the easy-swinging riff-based style of Basie’s 1930s groups with Hefti’s more contemporary, orchestrated sensibility. Their relationship reached its apex with three albums comprised entirely of Hefti’s arrangements: 1957’s The Atomic Mr. Basie, 1958’s Basie Plays Hefti, and 1962’s On My Way & Shoutin’ Again. These universally-acclaimed classics left the sound of big band jazz permanently altered for the better, revived Basie’s fortunes as a bandleader, and paved the way for Hefti’s transition to the world of scoring for television and film.

Although After Supper is taken at an extremely slow pace and does not feature any major tricks or taxing technical passages, the challenge lies in keeping the tempo, dynamics, and overall after-hours mood intact throughout. Basie's piano sets up said mood with a 4 measure solo before the sultry blues melody enters at measure 5, played by saxes and trombones. Said melody is augmented by some tasty muted trumpet fills courtesy of Joe Newman.

Following the melody are two solo blues choruses. The first comes from tenorman Eddie 'Lockjaw' Davis, with some simple, gently prodding brass backgrounds underneath. The second is from Basie's minimalist piano, with no backgrounds. These solos are followed up by a re-statement of the melody in the saxes and trombones, this time with no trumpet fills. Things finish up on an unexpectedly sour note, with the full band holding a gentle, but surprisingly dissonant chord.

This publication was based on the original Neal Hefti score - this is not a transcription.

Full Score
2 Alto Saxophones
2 Tenor Saxophones
Baritone Saxophone
4 Trumpets
3 Trombones
Trumpet 1: F5
Trombone 1: Cb4