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Count Basie

from the 1955 film Rhythm and Blues Revue
Background information
Birth name William James Basie
Born August 21, 1904(1904-08-21)
Red Bank, New Jersey, U.S.
Died April 26, 1984 (aged 79)
Hollywood, Florida, U.S.
Genres Swing, big band, piano blues
Occupations Musician, bandleader, composer
Instruments Piano, organ
Years active 1924–1984

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. Widely regarded as one of the most important jazz bandleaders of his time, Basie led his popular Count Basie Orchestra for almost 50 years. Many notable musicians came to prominence under his direction, including tenor saxophonists Lester Young and Herschel Evans, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams. Basie's theme songs were "One O'Clock Jump" and "April In Paris".

Contents

Biography

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Early life

William James Basie was born to Harvey Lee Basie, and Lillian Ann Childs, who lived on Mechanic Street in Red Bank, New Jersey.[1][2] His father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several families in the area.[3] His mother, a piano player who gave William his first piano lessons, took in laundry and baked cakes for sale and paid 25 cents a lesson for piano instruction for him.[4][5]

Basie was not much of a scholar and instead dreamed of a traveling life, inspired by the carnivals which came to town. He only got as far as junior high school.[6] He would hang out at the Palace Theater in Red Bank and did occasional chores for the management, which got him free admission to the shows. He also learned to operate the spotlights for the vaudeville shows. One day, when the pianist didn't arrive by show time, Basie took his place. Playing by ear, he quickly learned to improvise music appropriate to silent movies.[7]

Though a natural at the piano, Basie preferred drums. However, the obvious talents of another young Red Bank area drummer, Sonny Greer (who was Duke Ellington's drummer from 1919 to 1951), discouraged Basie and he switched to piano exclusively by age 15.[4] They played together in venues until Greer set out on his professional career. By then Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson's "Kings of Syncopation".[8] When not playing a gig, he hung out at the local pool hall with other musicians where he picked up on upcoming play dates and gossip. He got some jobs in Asbury Park, New Jersey, playing at the Hongkong Inn, until a better player took his place.[9]

Early career

Around 1924, he went to Harlem, a hotbed of jazz, living down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was then the drummer for the Washingtonians, Duke Ellington's early band.[10] Soon, Basie met many of the Harlem musicians who were making the scene, including Willie "the Lion" Smith and James P. Johnson.

Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies as part of the Hippity Hop show; on the Keith, the Columbia Burlesque, and the Theater Owners Bookers Association (T.O.B.A.) vaudeville circuits; and as a soloist and accompanist to blues singers Katie Krippen and Gonzelle White[11][12]. His touring took him to Kansas City, St. Louis, New Orleans, and Chicago. Throughout his tours, Basie met many great jazz musicians, including Louis Armstrong.[13]

Back in Harlem in 1925, Basie got his first steady job at Leroy's, a place known for its piano players and its "cutting contests". The place catered to "uptown celebrities", and typically the band winged every number without sheet music (using "head" arrangements).[14] He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument (Basie later played organ at the Eblon Theater in Kansas City).[15] As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times arranging gigs at house-rent parties, introducing him to other top musicians, and teaching him some piano technique.[16]

In 1928 Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals.[17] A few months later, he was invited to join the band, which played mostly in Texas and Oklahoma. It was at this time that he began to be known as "Count" Basie (see Jazz royalty).[18]

Kansas City years

The following year, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's.[19] Where the Blue Devils were "snappier" and more "bluesy", the Moten band was classier and more respected, and played in the "Kansas City stomp" style.[20] In addition to playing piano, Basie was co-arranger with Eddie Durham, who actually did the notating.[21] During a stay in Chicago, Basie recorded with the band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted.[22] The band improved with several personnel changes, including the addition of sax man Ben Webster.

When the band voted Moten out, Basie took over for several months as Count Basie and his Cherry Blossoms until the band folded, when he returned to Moten's newly re-organized band.[23] When Moten died in 1935 after a surgical procedure, the band unsuccessfully attempted to stay together. Then Basie formed a new band, which included many Moten alumni, with the important addition of tenor saxophone player Lester Young. They played at the Reno Club and sometimes were broadcast on local radio. Late one night with time to fill, the band started improvising. Basie liked the results and named the piece "One O'Clock Jump".[24] According to Basie, "we hit it with the rhythm section and went into the riffs, and the riffs just stuck. We set the thing up front in D-flat, and then we just went on playing in F". It became his signature tune.[25]

Hammond and first recordings

Basie and band, with vocalist Ethel Waters, from the film Stage Door Canteen (1943)

At the end of 1936, Basie and his band, now billed as Count Basie and His Barons of Rhythm, moved from Kansas City and honed their repertoire at a long engagement at the Grand Terrace Ballroom in Chicago.[26] Right from the start, Basie's band was noted for its rhythm section. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Lester Young complained of Herschel Evans' vibrato, the two were split apart and placed one on each side of the alto players, and soon Basie had the tenor players engaged in "duels". Many other bands later adapted the split tenor arrangement.[27]

In that city in October 1936, members of the band participated in a recording session which producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with".[28] Hammond, according to Basie, had heard Basie's band over short-wave radio, then he went to Kansas City to check them out.[29] It was Lester Young's earliest recordings. Those four sides were released under the name Jones-Smith Incorporated because Basie had already signed with Decca Records but had not started recording for them (his first Decca session was January 1937). The sides included: "Shoe Shine Boy", "Evening", "Boogie Woogie", and "Oh, Lady Be Good".[30]

By now, Basie's sound was characterized by his trademark "jumping" beat and the contrapuntal accents of his own piano. His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone).[31] Lester Young, known as "Prez" by the band, came up with nicknames for all the other band members. Basie became known as "Holy Man", "Holy Main", and just plain "Holy".[32]

Basie favored blues, and he showcased some of the most notable blues singers of the era: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. He also hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy.

New York City and the Swing years

When they arrived in New York, they made the Woodside Hotel their base (where they often rehearsed in the basement). Soon, they were booked at the famed Roseland Ballroom for the Christmas show. Basie recalled a review, which in his words was something like, "We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing".[33] Compared to the reigning band of Fletcher Henderson, Basie's band lacked polish and presentation.[34] Hammond advised and encouraged them, and they soon came up with some adjustments, including softer playing, more solos, more standards, and saving their hottest numbers for later in the show to give the audience a chance to warm up.[35] His first official recordings for Decca followed, under contract to agent MCA, including Pennies from Heaven and Honeysuckle Rose.[36]

Hammond introduced Basie to Billie Holiday and soon she sang with the band. (Holiday didn't record with Basie, however, as she had her own record contract and preferred working with small combos).[37] The band's first appearance at the Apollo Theater followed, with vocalists Holiday and Rushing getting the most attention.[38] Eddie Durham came back to help with arranging and composing, but for the most part their numbers were worked out in rehearsal, with Basie, guiding the proceedings, and the results written out little if at all. Once they found what they liked, they usually were able to repeat it using their collective memory.[39]

Next, Basie played at the Savoy, which was noted more for jitterbugging, while the Roseland was more of a place for fox-trots and congas.[40] In early 1938, the Savoy was the meeting ground for a "battle of the bands" with Chick Webb's group. Basie had Holiday and Webb countered with Ella Fitzgerald. As Metronome magazine proclaimed, "Basie's Brilliant Band Conquers Chick's", then it went on in detail,

"Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically. Undismayed by Chick's forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick's brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance. He constantly parried Chick's thundering haymakers with tantalizing runs and arpeggios which teased more and more force from his adversary".[41]

The publicity over the battle, before and after, gave the Basie band a big boost and they gained wider recognition, as evidenced by Benny Goodman's recording of One O'Clock Jump shortly thereafter.[42]

A few months later, Holiday left for Artie Shaw's band, and was replaced by Helen Humes; she was also ushered in by John Hammond, and stayed with Basie for four years.[43] Co-arranger and trombone player Eddie Durham left for Glenn Miller's orchestra and was replaced by Dicky Wells. Basie's 14-man band began playing at the Famous Door, a mid-town nightspot, with a CBS network feed and air conditioning. Their fame took a huge leap.[44] Adding to their play book, Basie received arrangements from Jimmy Mundy (who had also worked with Benny Goodman and Earl Hines) particularly for "Cherokee", "Easy Does It", and "Super Chief".[45] In 1939, Basie and his band made a major cross-country tour, including their first West Coast dates. A few months later, Basie quit MCA and signed with the William Morris Agency, who got them better fees.[46]

In 1942, Basie moved to Queens with Catherine Morgan, after being married to her for a few years. On the West Coast, the band did a spot in Reveille With Beverly, a musical starring Ann Miller, and also a "Command Performance" for Armed Forces Radio with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and singer Dinah Shore.[47] Other minor movie spots followed including Choo Choo Swing, Crazy House, Top Man, and Hit Parade of 1943.[48] They also started to record with RCA.[49] The war years caused a lot of turn over, and the band worked many play dates with lower pay. Dance hall bookings were down sharply as swing began to fade, the bebop revolution began, and the era of the pop singer was about to take hold.

Post-war and later years

The big band era appeared to be over after the war (c. 1946), and Basie disbanded the group. For awhile, he performed in combos, sometimes stretched to an orchestra. In 1950, he headlined the Universal-International short film 'Sugar Chile' Robinson, Billie Holiday, Count Basie and His Sextet. He reformed his group as a 16-piece orchestra in 1952. Basie credits Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band and Norman Granz for getting him into the Birdland club and promoting the new band through recordings on the Mercury, Clef, and Verve labels.[50] The jukebox era had begun, and Basie shared the exposure along with early rock'n'roll and rhythm and blues artists. Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements.

Count Basie Theatre in Red Bank, New Jersey

Basie added touches of bebop "so long as it made sense", and he required that "it all had to have feeling". Basie's band was sharing Birdland with bebop greats Charlie Parker, Dizzy Gillespie, and Miles Davis. Behind the occasional bebop solos, though, he always kept his strict rhythmic pulse, "so it doesn't matter what they do up front; the audience gets the beat".[51] Basie also added flute to some numbers, a novelty at the time that became widely copied.[52] Soon, they were touring and recording again. The new band included: Paul Campbell, Tommy Turrentine, Johnny Letman, and Idris Sulieman, Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd Johnson (tenor sax); Marshall Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax).[53] Down Beat said, Basie "has managed to assemble an ensemble that can thrill both the listener who remembers 1938 and the youngster who has never before heard a big band like this".[54]

In 1954, the band made its first European tour. Jazz was especially strong in France, The Netherlands, and Germany in the 1950's; These countries were the stomping grounds for many expatriate jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Neal Hefti began to provide arrangements, notably "Lil Darlin'". By the mid-1950s, Basie's band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time. They also toured with the "Birdland Stars of 1955", whose lineup included Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz.[55]

In 1957, Basie released the live album At Newport. "April in Paris" (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album.[56] The Basie band made two tours in the British Isles and on the second, they put on a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza.[57] In 1959, Basie's band recorded a "greatest hits" double album The Count Basie Story (Frank Foster, arranger) and "Basie and Eckstine, Inc.": album featuring Billy Eckstine, Quincy Jones (as arranger) and the Count Basie Orchestra. It was released by Roulette Records, then later reissued by Capital Records.

Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to "Sweet Georgia Brown", followed in January 1960 by Basie performing at one of the five John F. Kennedy Inaugural Balls.[58] That summer, Basie and Duke Ellington combined forces for the recording First Time! The Count Meets the Duke, each providing four numbers from their play books.[59]

Count Basie (left) in concert (Cologne 1975)

During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. Some time around 1964, Basie adopted his trademark yachting cap.[60] Through steady changes in personnel, Basie led the band into the 1970s. Basie made a few more movie appearances, such as the Jerry Lewis film Cinderfella (1960) and the Mel Brooks movie Blazing Saddles (1974), playing his arrangement of "April in Paris".

Basie died of pancreatic cancer in Hollywood, Florida on April 26, 1984 at the age of 79.[15]

Count Basie and His Orchestra

The musicians associated with Count Basie over the years included the following:

The Singers

Basie hitched his star to some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Jimmy Rushing sang with Basie in the late 1930s. Joe Williams toured with the band and was featured on the 1957 album One O'Clock Jump, and 1956's Count Basie Swings, Joe Williams Sings, with "Every Day (I Have the Blues)" becoming a huge hit. With Billy Eckstine on the album Basie-Eckstine Inc., in 1959. Ella Fitzgerald made some memorable recordings with Basie, including the 1963 album Ella and Basie!. With the 'New Testament' Basie band in full swing, and arrangements written by a youthful Quincy Jones, this album proved a swinging respite from her Songbook recordings and constant touring she did during this period. She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. In addition to Quincy Jones, Basie was using arrangers such as Benny Carter (Kansas City Suite), Neal Hefti (The Atomic Mr Basie), and Sammy Nestico (Basie-Straight Ahead).

Frank Sinatra recorded for the first time with Basie on 1962's Sinatra-Basie and for a second studio album on 1964's It Might as Well Be Swing, which was arranged by Quincy Jones. Jones also arranged and conducted 1966's live Sinatra at the Sands. In May 1970, Sinatra performed in London's Royal Festival Hall with the Basie orchestra, in a charity benefit for the National Society for the Prevention of Cruelty to Children. Sinatra later said of this concert "I have a funny feeling that those two nights could have been my finest hour, really. It went so well; it was so thrilling and exciting".[61]

Basie also recorded with Tony Bennett in the early 1960s — their albums together included the live recording at Las Vegas and Strike Up the Band, a studio album. Basie also toured with Bennett, including a date at Carnegie Hall. Other notable recordings were with Sammy Davis, Jr., Bing Crosby, and Sarah Vaughan. One of Basie's biggest regrets was never recording with Louis Armstrong, though they shared the same bill several times.[62]

Legacy

Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music.[63] As he summed up the key to his understated style, in his autobiography, "I think the band can really swing when it swings easy, when it can just play along like you are cutting butter".[64]

Other cultural connections include Jerry Lewis using "Blues in Hoss' Flat" from Basie's Chairman of the Board album, as the basis for his own "Chairman of the Board" routine in the movie The Errand Boy, in which Lewis pantomimed the movements of a corporate executive holding a board meeting. (In the early 1980s, Lewis revived the routine during the live broadcast of one of his Muscular Dystrophy Association telethons). Blues in Hoss' Flat, composed by Basie band member Frank Foster, was also the longtime theme song of San Francisco and New York radio DJ Al "Jazzbeaux" Collins. In addition, Basie is one of the producers of the "world's greatest music" that Brenda Fricker's "Pigeon Lady" character claims to have heard in Carnegie Hall in 1992's Home Alone 2: Lost in New York. Drummer Neil Peart of the Canadian rock band Rush recorded a version of "One O'Clock Jump" with the Buddy Rich Big Band, and has used it at the end of his drum solos on the 2002 Vapor Trails Tour and Rush's 30th Anniversary Tour.

The Count Basie Theatre and Count Basie Field in his hometown of Red Bank, New Jersey were named in his honor. The street on which he lived, Mechanic Street has the honorary title of Count Basie Way.

On September 26, 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson Home, a National Historic Landmark building where Count Basie and Paul Robeson lived.

Discography

  • The Complete Decca Recordings (1937–39) (Verve, 1992)
  • America's #1 Band: The Columbia Years (1938–1964) (Sony, 2003)
  • Sixteen Men Swinging (1953–1954) (Verve, 1977 LP compilation)
  • April in Paris (1955–1956) (Verve)
  • Compact Jazz: Count Basie Plays the Blues (1954–1965) (Verve, 1987)
  • Verve Jazz Masters (1952–1962) (Verve, 1994)
  • The Complete Atomic Basie (1957) (Blue Note, 1994)
  • The Best of the Roulette Years (1957–1962) (Blue Note, 1991)
  • Best of Basie Big Band (Pablo, 1990) 1970s, 1980s big band, the last band

Filmography

Awards

Grammy Awards

Count Basie Grammy Award History[65]
Year Category Title Genre Results
1982 Best Jazz Instrumental Performance, Big Band Warm Breeze Jazz Winner
1984 Best Jazz Instrumental Performance, Big Band 88 Basie Street Jazz Winner
1980 Best Jazz Instrumental Performance, Big Band On The Road Jazz Winner
1977 Best Jazz Performance By A Big Band Prime Time Jazz Winner
1976 Best Jazz Performance By A Soloist (Instrumental) Basie And Zoot Jazz Winner
1963 Best Performance By An Orchestra – For Dancing This Time By Basie! Hits Of The 50's And 60's Pop Winner
1960 Best Performance By A Band For Dancing Dance With Basie Pop Winner
1958 Best Performance By A Dance Band Basie Pop Winner
1958 Best Jazz Performance, Group Basie Jazz Winner

Grammy Hall of Fame

Recordings of Count Basie was inducted into the Grammy Hall of Fame, which is a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance."

Count Basie Grammy Hall of Fame Awards[66]
Year Recorded Title genre Label Year Inducted
1939 Lester Leaps In Jazz (Single) Vocalion 2005
1955 Everyday (I Have the Blues) Jazz (Single) Clef 1992
1955 April in Paris Jazz (Single) Clef 1985
1937 One O'Clock Jump Jazz (Single) Decca 1979

Honors and Inductions

On May 23, 1985, William "Count" Basie was presented, posthumously, with the Presidential Medal of Freedom by President Ronald Reagan. The award was received by his son, Aaron Woodward.

On September 11, 1996 the U.S. Post Office issued a Count Basie 32 cents postage stamp. Basie is a part of the Big Band Leaders issue, which, is in turn, part of the Legends of American Music series.

Count Basie Award History
Year Category Result Notes
2007 Long Island Music Hall of Fame Inducted
2005 Nesuhi Ertegun Jazz Hall of Fame Inducted
2002 Grammy Lifetime Achievement Award Winner
1983 NEA Jazz Masters Winner
1981 Grammy Trustees Award Winner
1981 Kennedy Center Honors Honoree
late 1970s Hollywood Walk of Fame Honoree at 6508 Hollywood Blvd.
1958 Down Beat Jazz Hall of Fame Inducted

National Recording Registry

In 2005, Count Basie's song "One O'Clock Jump" (1937) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry.[67] The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

References

  1. ^ Basie Centennial Ball
  2. ^ Basie, Count (1985). Good Morning Blues: The Autobiography of Count Basie. Paladin Grafton Books. p. 25. ISBN 0586086382. 
  3. ^ Count Basie, 1985, p. 26
  4. ^ a b Count Basie, 1985, p. 33
  5. ^ Count Basie and his Friends, myspace.com
  6. ^ Count Basie, 1985, p. 29
  7. ^ Count Basie, 1985, p. 32
  8. ^ Count Basie, 1985, p. 33–34, plate 3
  9. ^ Count Basie, 1985, p. 41
  10. ^ Count Basie, 1985, p. 51
  11. ^ Count Basie, 1985, p. 55
  12. ^ Robinson, J. Bradford. Count Basie. in Kernfeld, Barry. ed. The New Grove Dictionary of Jazz, 2nd Edition, Vol. 1. London: MacMillan, 2002. p. 155.
  13. ^ Count Basie, 1985, p. 96
  14. ^ Count Basie, 1985, p. 68
  15. ^ a b The New York Times. On This Day. April 27, 1984. John S. Wilson. Obit: Count Basie, 79, Band Leader And Master of Swing, Dead
  16. ^ Count Basie, 1985, p. 77
  17. ^ Count Basie, 1985, p. 6
  18. ^ Count Basie, 1985, p. 20
  19. ^ Count Basie, 1985, p. 116
  20. ^ Count Basie, 1985, p. 120
  21. ^ Count Basie, 1985, plate 10
  22. ^ Count Basie, 1985, p. 122
  23. ^ Count Basie, 1985, p. 146
  24. ^ Dance, 1980, p. 67
  25. ^ Count Basie, 1985, p. 162
  26. ^ Count Basie, 1985, p. 171
  27. ^ Stanley Dance, The World of Count Basie, Da Capo, New York, 1980, ISBN 0-306-80245-7, p. 68
  28. ^ 1981 interview cited in "The Lester Young Story" (Properbox 16) p14–15
  29. ^ Count Basie, 1985, p. 165
  30. ^ Count Basie, 1985, p. 181
  31. ^ Leonard Feather, The Encyclopedia of Jazz, Bonanza Books, 1960, p.112
  32. ^ Dance, 1980, p. 104
  33. ^ Count Basie, 1985, p. 184
  34. ^ Dance, 1980, p. 107
  35. ^ Count Basie, 1985, p. 188
  36. ^ Count Basie, 1985, p. 186
  37. ^ Count Basie, 1985, p. 200
  38. ^ Count Basie, 1985, p. 190
  39. ^ Count Basie, 1985, p. 199
  40. ^ Count Basie, 1985, p. 202
  41. ^ Count Basie, 1985, p. 208
  42. ^ Count Basie, 1985, p. 207
  43. ^ Count Basie, 1985, p. 211
  44. ^ Count Basie, 1985, p. 217–218
  45. ^ Count Basie, 1985, p. 229
  46. ^ Count Basie, 1985, p. 247
  47. ^ Count Basie, 1985, p. 260
  48. ^ Count Basie, 1985, p. 262
  49. ^ Count Basie, 1985, p. 274
  50. ^ Count Basie, 1985, p. 289–290
  51. ^ Dance, 1980, p. 5
  52. ^ Count Basie, 1985, p. 281, 304
  53. ^ Count Basie, 1985, p. 293
  54. ^ Count Basie, 1985, p. 299
  55. ^ Count Basie, 1985, p. 315
  56. ^ Count Basie, 1985, p. 318
  57. ^ Count Basie, 1985, p. 323
  58. ^ Count Basie, 1985, p. 335, 337
  59. ^ Count Basie, 1985, p. 339
  60. ^ Count Basie, 1985, p. 353
  61. ^ Pignon, Charles (2004). The Sinatra Treasures, Virgin Books, ISBN 1852271841
  62. ^ Count Basie, 1985, p. 362
  63. ^ Dance, 1980, pp. 7–8
  64. ^ Count Basie, 1985, p. 370
  65. ^ Grammy Award search engine
  66. ^ Grammy Hall of Fame Database
  67. ^ 2005 National Recording Registry choices

External links


Quotes

Up to date as of January 14, 2010

From Wikiquote

Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.

William "Count" Basie (1904-08-211984-04-26) was an American jazz pianist, organist, bandleader, and composer.

Sourced

  • Contrary to several conflicting stories, I got the name "Count" right in Kansas City in 1936 while at the Reno Club. I was known as Bill Basie at that time. One night, while we were broadcasting, the announcer called me to the microphone for those usual few words of introduction. He commented that Bill Basie was a rather ordinary name, and further that there were a couple of well-known bandleaders named Earl Hines and Duke Ellington. Then he said, "Bill, I think I'll call you Count Basie from now on. Is that all right with you?" I thought he was kidding, shrugged my shoulders and replied, "OK." Well that was the last time I was ever introduced as Bill Basie. From then on, it was Count Basie, and I never did lose that nickname. It's funny the way those things will stick.
    • As quoted in Hear Me Talkin' to Ya : The Story of Jazz as Told by the Men who Made It (1966) by Nat Shapiro and Nat Hentoff, p. 301
  • It's the way you play that makes it. What I say is, for Christ's sake, you don't have to kill yourself to sing. Play like you play. Play like you think, and then you got it, if you're going to get it. And whatever you get, that's you, so that's your story.
    • Good Morning Blues : The Autobiography of Count Basie (1985) by Count Basie and Albert Murray

External links

Wikipedia
Wikipedia has an article about:

Simple English

Count Basie
Birth name William James Basie
Born August 21, 1904(1904-08-21)
Red Bank, New Jersey, U.S.
Died April 26, 1984 (aged 79)
Hollywood, Florida, U.S.
Genres Swing, Big band, Piano blues
Occupations Musician, Bandleader, Composer
Instruments Piano, Organ
Years active 1924–1984

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. He was one of the most important jazz bandleaders of his time. He led his popular Count Basie Orchestra for almost 50 years. Many important musicians came to became popular and successful with his help, like tenor saxophonists Lester Young and Herschel Evans, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams. Basie's famous songs were "One O'Clock Jump" and "April In Paris".

Contents

Early life

William James Basie was born in 1904 in New Jersey. His parents were Harvey Lee Basie and Lillian Ann Childs, who lived on Mechanic Street in Red Bank, New Jersey.[1] His father worked as a coachman and caretaker for a rich judge. After automobiles (cars) became more popular than using horses to get around, his father became a groundskeeper and handyman for some families in the area.[2] His mother was a piano player and she gave Basie his first piano lessons. To earn money, she took in laundry to wash and baked cakes for sale.[3]

Basie was not very interested in school. He dreamed of a traveling, inspired by the carnivals which came to town. He only got as far as junior high school.[4] He helped out at the Palace theater in Red Bank, to get into the shows for free. He also learned to use the spotlights for the vaudeville shows. One day, when the pianist did not arrive in time for the show, Basie played instead. He soon learned to improvise music for silent movies.[5]

Basie was very good at the piano, but he liked drums better. There was another drummer in Red Bank who was better, called Sonny Greer, so Basie stopped playing drums and just played piano.[3] They played together until Greer started his professional career. Basie played with different groups for dances, resorts, and amateur shows, like Harry Richardson’s "Kings of Syncopation".[6] When he was not playing a gig, he spent time at the local pool hall with other musicians. He got some jobs in Asbury Park, playing at the Hongkong Inn, until a better player took his place.[7]

Early career

Around 1924, Basie went to Harlem, New York City. A lot of jazz was being played there. He liced down the block from the Alhambra Theater. Soon after he went to Harlem, he met Sonny Greer again, who was now the drummer for the Washingtonians, Duke Ellington's early band.[8] Soon, Basie met many Harlem musicians, like Willie "the Lion" Smith and James P. Johnson.

Basie toured in some acts between 1925 and 1927, as a soloist and accompanist to blues singers Katie Krippen and Gonzelle White.[9][10] He went to Kansas City, St. Louis, New Orleans, and Chicago. He met many great jazz musicians, like Louis Armstrong.[11]

Back in Harlem in 1925, Basie got his first regular job at Leroy’s, a place known for its piano players, where lots of celebrities went. The band usually played without sheet music.[12] He met Fats Waller, who was playing organ at the Lincoln Theater, accompanying silent movies, and Waller taught him how to play the organ.[13] Willie "the Lion" Smith helped Basie out when there was not much work, arranging gigs at house-rent parties, where he met other important musicians.[14]

In 1928 Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which had Jimmy Rushing singing.[15] A few months later, Basie was asked to join the band, which played mostly in Texas and Oklahoma. He began to be known as "Count" Basie.[16]

Kansas City years

In 1929, Basie started playing with the Bennie Moten band, Kansas City.[17] The Moten band was classier and more respected than the Blue Devils. They played in a style called the Kansas City stomp.[18] As well as playing piano, Basie also arranged music with Eddie Durham.[19] When they were staying in Chicago, Basie recorded with the band. He sometimes played four-hand piano and dual pianos with Moten.[20] The band got better when they added a saxophone player called Ben Webster.

The band voted Moten out and Basie became the leader. The band was now called "Count Basie and his Cherry Blossoms". Later he went to join Moten's new band.[21] Moten died in 1935 and the band did not stay together. Basie made a new band, which included many of the musicians from Moten's band. Lester Young, a saxophone player, also joined. They played at the Reno Club and sometimes on local radio. One night the band started [[improvisation|improvising a piece which Basie called "One O'Clock Jump".[22] It became his signature tune.[23]

References

  1. Basie, Count (1985). Good Morning Blues: The Autobiography of Count Basie. Paladin Grafton Books. p. 25. ISBN 0586086382. 
  2. Count Basie, 1985, p. 26
  3. 3.0 3.1 Count Basie, 1985, p. 33
  4. Count Basie, 1985, p. 29
  5. Count Basie, 1985, p. 32
  6. Count Basie, 1985, p. 33-34, plate 3
  7. Count Basie, 1985, p. 41
  8. Count Basie, 1985, p. 51
  9. Count Basie, 1985, p. 55
  10. Robinson, J. Bradford. Count Basie. in Kernfeld, Barry. ed. The New Grove Dictionary of Jazz, 2nd Edition, Vol. 1. London: MacMillan, 2002. p. 155.
  11. Count Basie, 1985, p. 96
  12. Count Basie, 1985, p. 68
  13. The New York Times. On This Day. April 27, 1984. John S. Wilson. Obit: Count Basie, 79, Band Leader And Master of Swing, Dead
  14. Count Basie, 1985, p. 77
  15. Count Basie, 1985, p. 6
  16. Count Basie, 1985, p. 20
  17. Count Basie, 1985, p. 116
  18. Count Basie, 1985, p. 120
  19. Count Basie, 1985, plate 10
  20. Count Basie, 1985, p. 122
  21. Count Basie, 1985, p. 146
  22. Dance, 1980, p. 67
  23. Count Basie, 1985, p. 162


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