Cole Porter, music and lyrics · Written for the 1935 Broadway musical Jubilee
Just One of Those Things
Cole Porter wrote this unsentimental farewell to a love affair for the 1935 Broadway musical Jubilee. Its 64-bar chorus is twice the usual length, so improvisers get extra room at up-tempo. Expect to hear it from singers like Sinatra and Ella and at any fast swinging jam session.
The path opens with two vocal versions to fix the melody and the lyric, moves through piano and alto saxophone treatments of growing intensity, and ends with a 1975 large-band remake that shows how far the arrangement can travel.
“Just One Of Those Things”, The Genius of Bud Powell
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Powell plays alone, with no bass or drums to lean on, so every substitution and accent is exposed.
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Play the melody while your left hand shells the root and seventh of each chord. If that is too much at this speed, slow it down and keep the 64-bar form intact.
Paul Desmond's alto saxophone leads this club recording, with Brubeck comping behind him.
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Play the melody in unison with Desmond's alto. If you read by ear and want more, transcribe his first eight solo bars and compare his phrasing with the written melody.
Stan Getz plays tenor saxophone over João Gilberto's guitar and vocal, backed by a studio group with extra percussion.
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Clap or play the melody rhythm along with this recording, then along with the Ella Fitzgerald track, and notice how differently the two treatments sit against the beat.
“Just One of Those Things (From the Musical "Jubilee")”, Plays Cole Porter
Pianist and bandleader Eddy Duchin included the song in Plays Cole Porter, a 1942 Columbia album set. It is among the earliest recordings in this list.
“Just One Of Those Things”, Inspiration: A Tribute to Nat King Cole
George Benson recorded the tune in 2013 for Inspiration, an album explicitly billed as a tribute to Nat King Cole, whose instrumental version also appears on this page.
Just One of Those Things runs 64 bars, twice the length of a typical standard, in an AABA form of four 16-bar sections. The A sections sit in F major but keep leaning on D minor, the relative minor, and the published sheet music is in D minor. The bridge moves up a half step into E-flat major for eight bars, passes through C major, and works back to F for the final A. The three A sections are nearly identical, with only the penultimate phrases changing.