If there was a single number that big band musicians and fans alike considered virtually an anthem for the swing era, it was "One O'Clock Jump" by Count Basie & His Orchestra. The composition, usually done as an instrumental, embodied everything that was striking about the big jazz-based orchestras that called the tune in popular music in the second half of the 1930s: Basie's spare yet deceptively complex introduction on the piano, accompanied by guitar and drums, is a lead-in for the tenor sax (Herschel Evans), trombone (George Hunt), another tenor (Lester Young), and a trumpet (Buck Clayton), which brings in the whole reed section backed by the trombones and their loping punctuation, to a finish that was supposed to have everyone off their feet. Basie's name ended up on the copyright, but alto saxophonist Buster Smith and arranger Eddie Durham likely wrote it (under the title "Blue Balls"). Whatever the origins, "One O'Clock Jump" was recorded by the Basie band for Decca Records on July 7, 1937, and on hearing it later that summer, audiences simply took it as an invitation to dance; and, as this was the era in which dancing was what one did when listening to jazz, "One O'Clock Jump" spread like wildfire. It became Basie's signature tune, which is one reason why it shows up on dozens of radio transcriptions and live Basie recordings from across Basie's career, but seldom appears complete -- usually only the first 30 or 40 seconds of the song are played, to introduce the band, because that was all that was needed. Benny Goodman also gave "One O'Clock Jump" a huge boost by adding it to his repertory, most visibly at the legendary January 16, 1938, Carnegie Hall concert where it was considered a highlight of a performance that was etched in history the moment it was played (Basie himself was standing in the wings that night, and played in the jam session that followed later in the program); and it was no accident that the number was depicted as being a key part of the Goodman repertory when Hollywood filmed The Benny Goodman Story. No less a figure than Glenn Miller, who was at no loss for solid repertory late in 1939, also featured "One O'Clock Jump" in a version with words, at his October 6, 1939, Carnegie Hall performance, and it entered the repertory of Harry James and dozens of other jazz notables. In 1942, it was still fresh enough that Basie felt compelled to re-cut it in a slightly smoother, breezier version, giving more play to the band and less to his piano, with his then-current band in January of 1942 for the OKeh label, with Don Byas and Buddy Tate featured on tenor saxes; a film clip of this version of the Basie band performing "One O'Clock Jump" also exists, and appears virtually complete on the Toby Byron/Matthew Seig documentary Swingin' the Blues: Count Basie (BMG Video). It was in the Basie repertory longer than almost any other number, right into the 1960s and 1970s, transformed somewhat with each change in the Basie band; he re-cut it for every label he ever recorded for except RCA-Victor, and it remains one of the most familiar and enduring of all swing era compositions.