Count Basie Orchestra

The Count Basie Orchestra

The Count Basie Orchestra, with vocalist Ethel Waters, from the film Stage Door Canteen (1943)
Background information
Origin Kansas City, Missouri
Genres Jazz, Big band, Swing
Years active 1936–1950
1952—
Labels Various (see Discography)
Associated acts Count Basie
Website www.basieband.com
Members
See Category:Count Basie Orchestra members

The Count Basie Orchestra is a 16 to 18 piece big band, one of the most prominent jazz performing groups of the swing era, founded by Count Basie. The band survived the late '40s decline in big band popularity and went on to produce notable collaborations with singers such as Frank Sinatra and Ella Fitzgerald in the '50s and '60s. The group continues to perform and record even after Basie's death in 1984.

Contents

History

Early years

Count Basie arrived in Kansas City, Missouri in 1927, playing on the Theater Owners Bookers Association (TOBA) circuit.[1] After playing with the Blue Devils, he joined rival band leader Bennie Moten's band.[2] Upon Moten's death, Basie left the group to start his own band, taking many of his colleagues from the Moten band with him. This nine-piece group consisted of Joe Keyes and Oran 'Hot Lips' Page on trumpet, Buster Smith and Jack Washington on alto saxophone, Lester Young on tenor saxophone, Dan Minor on trombone, and a rhythm section made up of Jo Jones on drums, Walter Page on bass and Basie himself on piano. With this band, then named 'The Barons of Rhythm', Basie brought the sound of the infamous and highly competitive Kansas City 'jam session' to club audiences, coupling extended improvised solos with riff-based accompaniments from the band. The group's first venue was the Reno Club[3] in Kansas City, later moving to the Grand Terrace in Chicago.

When music critic and record producer John Hammond heard the band on a 1936 radio broadcast, he sought them out and offered Basie the chance to expand the group to the standard 13-piece big band line up. He also presented the opportunity to move the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band he could retain the freedom and spirit inherent in the Kansas City style of his nine-piece.

The band, which now included Buck Clayton on trumpet and famous blues 'shouter' Jimmy Rushing, demonstrate this style in their first recordings with the Decca label in January 1937: in pieces such as 'Roseland Shuffle' we can hear that the soloists are at the foreground with the ensemble effects and riffs playing a strictly functional backing role.[4] This was a fresh big band sound for New York, contrasting the complex jazz writing of Duke Ellington and Sy Oliver and highlighting the difference in styles that had emerged between the east and west coasts.[5]

In New York City

Following the first recording session the band's line up was reshuffled, with some of players being replaced on the request of Hammond as part of a 'strengthening' of the band.[6] Trumpeters Ed Lewis and Bobby Moore replaced Keyes and Smith, and alto saxophonist Coughey Roberts was replaced by Earl Warren. Significantly, March 1937 saw the arrival of guitarist Freddie Green, who replaced Claude Williams to complete one of the most respected rhythm sections in big band history.[7] Billie Holiday also sang with the band during this period, although never recorded with them.

Hits such as "One O'clock Jump" and "Jumpin' at the Woodside" (from 1937 and 1938 respectively) helped to gain the band, now known as the Count Basie Orchestra, national and international fame. These tunes were what was known as 'head-arrangements'; not scored in individual parts but made up of riffs memorised by the band's members. Although some of the band's players, such as trombonist Eddie Durham, did contribute their own written arrangements at this time, it was these 'head-arrangements' that captured the imagination of the audience in New York and communicated the spirit of the band's members.[8]

In 1938, Helen Humes joined the group, replacing Billie Holiday as the female singer. She sang mostly pop ballads, including "My Heart Belongs to Daddy" and "Blame it on my Last Affair", acting as a gentle contrast to the blues style of Jimmy Rushing.

The 1940s

As time went on, the band became increasingly dependent on arrangers to provide its music. These varied from players within the band, such as Eddie Durham and Buck Clayton, to professional arrangers from outside the group, who could bring their own character to band with each new piece. External arranger Andy Gibson brought the band's harmonic style closer to the forward looking music of Duke Ellington, with arrangements from 1940 such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music. Tab Smith also contributed important arrangements at this time such as "Harvard Blues", and others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group's repertoire at this time.

However, this influx of new arrangements led to a gradual change in the band's sound, distancing the group musically from its West Coast roots. Rather than structuring the music around the soloists with memorised 'head arrangements' and riffs, the group's sound at this time became more focused on ensemble playing; closer to the traditional East Coast big band sound. This can be attributed to the increasing reliance on arrangers to assert their own character on to the band with their music; an indicator perhaps that Basie's ideal of a big band sized group with the flexibility and spirit of his original Kansas City 8-piece was not to last.[9]

The World War II years saw some of the key members of the band leave: drummer Jo Jones and tenor saxophone player Lester Young were both conscripted in 1944, leading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists including Illinois Jacquet, Paul Gonzalves and Lucky Thompson. Some, such as musicologist Gunther Schuller, have claimed that when Jo Jones left he took some of the smooth and relaxed style of the band with him, due to his replacements, such as Sonny Payne, drumming a lot louder and therefore raising the whole dynamic of the band to a 'harder, more clamorous brass sound'.[10] The ban on instrumental recordings of 1942 to 44 had a financial impact on the Count Basie Orchestra, as it did on all big bands in America, and despite taking on new soloists such as Wardell Gray, Basie was forced to temporarily disband the group for a short period in 1948, before dispersing again for two years in 1950. For these two years Basie led a reduced band of between 6 and 9 people, featuring players such as Buddy Rich, Serge Chaloff and Buddy DeFranco.

The 'Second Testament'

Basie reformed the jazz orchestra in 1952 for a series of tours, not only in America but also in Europe in 1954 and Japan in 1963. The band also released new recordings; some featuring guest singers such as Joe Williams, Frank Sinatra, Ella Fitzgerald and Billy Eckstine (Michael G. Nastos said: "When the Count Basie Orchestra consented to team up with vocalist Billy Eckstine, choruses of angels must have shouted hallelujah. The combination of Basie's sweet jazz and Eckstine's low-down blues sensibilities meshed well on this one-shot deal, a program mostly of downtrodden songs perfectly suited for the band and the man.); and all reliant on music provided by arrangers, some of whom are now synonymous with the Basie band: Neal Hefti, Quincy Jones and Sammy Nestico to name a few. This new band became known as 'The Second Testament'.,[11] and achieved a new surge of popularity with albums such as 1958's The Atomic Mr. Basie. With this album and others of the late fifties, such as April in Paris and Basie Plays Hefti, we can hear the epitome of the new Count Basie Orchestra sound, thanks largely to the work of the aforementioned arrangers. The sound of the band was now that of a tight ensemble: heavier and full bodied, and a contrast to the riff based band of the late thirties and early forties. Whereas previously the emphasis had been on providing space for exemplary soloists such as Lester Young and Buck Clayton, now the focus had shifted to the arrangements themselves, despite the presence of notable soloists such as trumpeter Thad Jones and saxophonist Frank Foster. This orchestral style was to remain the typical sound of the band, even up to the present day; a fact that has attracted criticism from some musicologists, notably Gunther Schuller who, in his book 'The Swing Era', described the group as 'perfected neo-classicism...a most glorious dead end'.[12]

The continuing band

After Basie's death in 1984, the band has continued to play under the direction of some of the players he had hired, including Eric Dixon, Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and now drummer and arranger Dennis Mackrel. It continues to release new recordings, for example Basie is Back from 2006 which features new recordings of classic tunes from the Basie Orchestra's back catalogue, including "April in Paris" and even the band's early hit "One O'clock Jump". The group also continues to produce notable collaborations, such as with singer Ray Charles in Ray Sings, Basie Swings of 2006, and with arranger Allyn Ferguson on the 1999 album Swing Shift.

Awards

Discography

For recordings by Count Basie without his big band, see Count Basie discography.

1937–39, Brunswick

1939–50, Columbia and RCA

The 1950s

The 1960s-pre Pablo

The Pablo Years

Post Count Basie albums

Notes and references

  1. ^ Basie, William "Bill" "Count", Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 1 June 2009. accessed 8 June 2011.
  2. ^ Moten, Benjamin "Bennie", Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 31 January 2009. accessed 8 June 2011.
  3. ^ Club Reno (aka the Reno Club), Club Kaycee, University of Missouri-Kansas City, 1996. archived from the original, 13 February 2009. accessed 8 June 2011.
  4. ^ Williams, Martin. "Jazz: What Happened in Kansas City?", American Music, Vol. 3, No. 2. Illinois: University of Illinois Press, Summer 1985. p.176
  5. ^ Schuller, Gunther (1989). The Swing Era. Oxford: Oxford University Press, p.225
  6. ^ The Swing Era, p.237
  7. ^ The Swing Era, p.226
  8. ^ Jackson, Arthur. The World of Big Bands: The Sweet and Swinging Years, Vancouver: David & Charles, 1977. p.42
  9. ^ The Swing Era, p.258
  10. ^ The Swing Era, p.261
  11. ^ Cuscuna, Michael. Sleeve notes from the CD The Complete Atomic Basie, 1994.
  12. ^ The Swing Era, p.262
  13. ^ About Us: Count Basie Orchestra website. accessed 21 November 2007.

External links

Count Basie Orchestra
Members

Sammy Nestico (Tenor Sax) · Joe Williams (Vocals) · Earle Warren (Alto Sax/Occasional Singer) · Preston Love (Alto Sax) · Reunald Jones (Trumpet) · Neal Hefti, (Trumpet) · Harry "Sweets" Edison (Trumpet) · Joe Newman (Trumpet) · Lester Young (Tenor Sax) · Herschel Evans (Tenor Sax) · Jo Jones (Drums) · Walter Page (Bass) · Freddie Green (Guitar) · Billie Holiday (Vocals) · Buck Clayton (Trumpet) · Jimmy Rushing (Vocals) · Marshall Royal (Alto Sax) · Eddie "Lockjaw" Davis (Tenor Sax) · Thad Jones (Trumpet) · Al Grey (Trombone) · John Clayton (Bass) · Cleveland Eaton (Bass) · Greg Fields (drums)  · Dennis Rowland (Vocals) · Chris Murrell (vocals) Dave Gibson (Drums) Rich Thompson (Drums) · Jack Washington (Baritone Sax) · Butch Miles (Drums) · Sonny Payne (Drums) · Frank Foster (Tenor Sax) · George Caldwell (Piano) • Charlton Johnson (Guitar) • Tony Suggs (Piano) • Scotty Barnhart (Trumpet) • James Leary (Bass) • Brian Gryce (Drums) • Will Matthews (guitar)
1951–1960

Dance Session (1952–54, Clef) · Count Basie Swings, Joe Williams Sings (with Joe Williams|) (1955, Clef) · April in Paris (1955–56, Verve) · The Greatest!! Count Basie Plays, Joe Williams Sings Standards (with Joe Williams) (1956, Verve) · Basie in London (live) (1956, Verve) · One O'Clock Jump (with Joe Williams and Ella Fitzgerald) (1957, Verve) · Count Basie at Newport (live) (1957, Verve) · E = MC² (1958, Roulette) · Basie Plays Hefti (1958, Roulette) · No Count Sarah (with Sarah Vaughan) (1958, EmArcy) · Chairman of the Board (1958, Roulette) · Welcome to the Club (Nat King Cole) (1959, Capitol) · Basie and Eckstine, Inc. (with Billy Eckstine) (1959, Roulette) · Strike Up the Band (with Tony Bennett) (1959, Roulette) · In Person! (with Tony Bennett) (1959, Columbia) · Everyday I Have the Blues (with Joe Williams) (1959, Roulette) · The Count Basie Story (1960, Roulette)
1961–1970

First Time! The Count Meets the Duke (with Duke Ellington) (1961, Columbia) · The Legend (1961, Roulette) · Count Basie/Sarah Vaughan (with Sarah Vaughan) (1961, Roulette) · Basie at Birdland (live) (1961, Roulette) · On My Way and Shoutin' Again! (Verve, 1963) · Sinatra–Basie: An Historic Musical First (with Frank Sinatra) (1962, Reprise) · Li'l Ol' Groovemaker...Basie! (1963, Verve) · This Time by Basie: Hits of the '50s and '60s (1963, Verve) · Ella and Basie! (with Ella Fitzgerald) (1963, Verve) · Basie Land (1964, Verve) · It Might as Well Be Swing (with Frank Sinatra) (1964, Reprise) · Basie Picks the Winners (1965, Verve) · Our Shining Hour (with Sammy Davis, Jr.) (1965, Verve) · Arthur Prysock and Count Basie (with Arthur Prysock) (1965, Verve) · Basie's Beatle Bag (1965, Verve) · Basie Meets Bond (1966, Capitol) · Sinatra at the Sands (live, with Frank Sinatra) (1966, Reprise) · Basie's Beat (1967, Verve) · Half a Sixpence (1967, Dot) · The Board of Directors (with The Mills Brothers) (1968, Dot) · The Board of Directors Annual Report (with The Mills Brothers) (1968, Dot) · Basie Straight Ahead (1969, Dot) · Standing Ovation (1969, Dot) · Afrique (1970, RCA Victor)
1971–1980

Bing 'n' Basie (with Bing Crosby) (Daybreak, 1972) · Jazz at Santa Monica Civic '72 (live) (1972, Pablo) · The Bosses (with Big Joe Turner) (1973, Pablo) · Basie Big Band (1975, Pablo) · Fun Time (1975, Pablo) · I Told You So (1976, Pablo) · Prime Time (1977, Pablo)  · Montreux '77 (live) (1977, Pablo) · Live in Japan '78 (live) (1978, Pablo) · On the Road (1979, Pablo) · Digital III at Montreux (live) (1979, Pablo) · A Classy Pair (with Ella Fitzgerald) (1979, Pablo) · A Perfect Match (live, with Ella Fitzgerald) (1979, Pablo) Kansas City Shout (1980, Pablo) ·
1981–1990

Warm Breeze (1981, Pablo) · Send in the Clowns (Sarah Vaughan) (1981, Pablo) · Farmer's Market Barbecue (1982, Pablo) · 88 Basie Street (1983, Pablo) · Me and You (1983, Pablo) · Fancy Pants (final album with Count Basie) (1983, Pablo) · Long Live the Chief (1987, Denon) · Diane Schuur & the Count Basie Orchestra (live, with Diane Schuur) (1987, GRP) · The Legend, the Legacy (1990, Denon) ·
1991–2000

The George Benson Big Boss Band featuring The Count Basie Orchestra (1991, Warner Bros.) · The Count Basie Orchestra Live at El Morocco (1992, Telarc) · Joe Williams and the Count Basie Orchestra (1993, Telarc) · Live at Manchester Craftsmen's Guild: The Count Basie Orchestra (1997, Blue Jackel) · At Long Last (with Rosemary Clooney) (1998, Concord) Count Plays Duke (1998, MAMA) · Swing Shift (1999, MAMA)
2001–present

Ray Sings, Basie Swings (2006, Concord) · Basie is Back (2007, MAMA) · Midnight in Manhattan (2007, Aspirion) A Swingin' Christmas (Featuring The Count Basie Big Band) (with Tony Bennett) (2008, Columbia)
Small group sessions

Basie Jam (1973, Pablo) · For the First Time (1974, Pablo) · Basie & Zoot (with Zoot Sims) (1975, Pablo) · For the Second Time (1975, Pablo) · Basie Jam 2 (1976, Pablo) · Basie Jam 3 (1976, Pablo) · Kansas City 5 (1977, Pablo) · The Gifted Ones (with Dizzy Gillespie) (1977, Pablo) · Basie Jam: Montreux '77 (live) (1977, Pablo) · Satch and Josh...Again (with Oscar Peterson) (1977, Pablo) · Night Rider (with Oscar Peterson) (1978, Pablo) · Count Basie Meets Oscar Peterson – The Timekeepers (with Oscar Peterson) (1978, Pablo) · Yessir, That's My Baby (with Oscar Peterson) (1978, Pablo) · Kansas City 7 (1980, Pablo) · Kansas City 6 (1981, Pablo) · Mostly Blues...and Some Others (1983, Pablo) ·