Lil Dicky

Submitted by on Sep 18, 2015

MUSICAL CROSSROADS

Author Topic: Basie Count. (Read 161 times)

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Count Basie (Count Basie) – American jazz pianist, organist, composer and band leader. Basie introduced many innovations in jazz, such as the use of two “separated” tenor saxophones, highlighting rhythm section riffs with big band, using arrangers expanded sound, and others.

Many notable musicians came to prominence under his supervision, including tenor saxophonist Lester Young (Lester Young) and Herschel Evans (Herschel Evans), guitarist Freddie Green (Freddie Green), trumpeters Buck Clayton (Buck Clayton) and Harry “Sweets”Edison (Harry”Sweets”Edison), singers Jimmy Rushing (Jimmy Rushing) and Joe Williams (Joe Williams). The themes of the songs became Basie”One O & # 039; Clock Jump,”It designed in 1935 by his group and”April In Paris”.

William James Basie (William James Basie) was born August 21, 1904 in the family of Harvey Lee Basie and Lillian in Red Bank, New Jersey. His father worked as a caretaker at the coachman and a rich judge. When automobiles replaced horses, my father became a gardener and handyman to have a few wealthy families of staff. His mother was a pianist who gave Basie his first piano lessons. She earns washing and to-dos, and making cakes for sale. She paid 25 cents per book for piano lessons.

Going to school, Basie dreamed of traveler’s life, inspired by the carnival comes to town. After graduation Count most of his time in the city theater of the palace, where vypolnyanl occasional errands and do all the work, which gave him free entrance to the performances. He learned to control projectors for the vaudeville show. Once, when the pianist could not attend the show, Basie took his place. Playing by ear, he quickly learned to improvise the music for shows and silent movies.

With natural gifts to play the piano, Basie still preferred the drums. However, discouraged by the obvious talent of Sonny Greer (Sonny Greer), who also lived in Red Bank, and became the drummer Duke Ellington (Duke Ellington) in 1919, Basie at age 15 finally switched to piano. Greer and Basie played together while Greer is not moved for a professional career. By the time Basie played with bands at dances, resorts, amateur shows, including “Kings of Syncopation” Harry Richardson (Harry Richardson).

About 1924 Basie went to Harlem, jazz center, where he lived in the quarter of the Alhambra Theatre. Immediately after his arrival, he bumped into Sonny Greer, who was then the drummer for Washingtonians, an early Duke Ellington band. Soon the Count met many of the musicians of Harlem, which “making the scene”, including Willie “Lyon”Smith (Willie”the Lion” Smith) and James P. Johnson (James P. Johnson).

Basie toured in several acts between 1925 and 1927 years, including Katie Krippen and Her Kiddies in the show Hippity Hop; Columbia Burlesque, as well as a soloist and accompanist to blues singers Katie Crippen (Katie Krippen) and Gonzelli White (Gonzelle White). His performances were held in Kansas City, St. Louis, New Orleans and Chicago. Throughout the tour, Basie met many great jazz musicians, including Louis Armstrong (Louis Armstrong).

Back in Harlem in 1925, Basie got his first permanent job in Leroy, in a place known for its pianist. Here obsluzhivadi local celebrities, and usually band played “on the fly”each room without music (using”arrangements of head”). Here Count Basie met Fats Waller (Fats Waller), who played the organ at the Lincoln Theater silent film accompanist and Waller Basie learned to play this instrument. (Basie later played the organ in the theater Eblon in Kansas City). Willie “Leon” Smith helped Basie in hard times, arranging concerts and introducing him to other leading musicians, and teaching him piano technique.

In 1928, Count Basie was in Tulsa and heard Walter Page’s (Walter Page) and his Famous Blue Devils, one of the first big band, which featured Jimmy Rushing (Jimmy Rushing) on ​​vocals. A few months later Basie was invited to this group, which played mainly in Texas and Oklahoma. It was during this time that he became known as “Count” (“Count”) Basie.

The following year, in 1929, became the Count Basie band with pianist Benny Moutena (Bennie Moten) in Kansas City, inspired by the ambition to enhance its Moten band to the level of Duke Ellington and Fletcher Henderson (Fletcher Henderson). Where was the Blue Devils “instant”and a”blues”, Moten band was awesome and more respected. In addition to playing the piano, Basie was a co-arranger Eddie Durham (Eddie Durham). During his stay in Chicago Basie recorded with the band. He sometimes played four hands on the piano or on two pianos with Moutenom. Soon, the group took a few personnel changes, including tenor saxophonist came to Ben Webster (Ben Webster).

When the group voted in favor of leaving Moutena, Basie took the lead for a few months, a group called Count Basie and his Cherry Blossoms. When he formed his own band, he returned to her Moutena. When Moten died in 1935 after surgery, the group unsuccessfully tried to stick together, but could not grow.

Count Basie formed a new band Barons Of Rhythm in this year, it included many members of the group Moutena, with an important acquisition – tenor saxophonist Lestor Young (Lester Young). They played in the Reno Club, and sometimes broadcast on local radio. Late at night, the band started to improvise. Basie liked the result, and he called the play “One O & # 039; Clock Jump”. She became his trademark tune.

At the end of 1936, Basie and his band, called Count Basie and His Barons of Rhythm, moved from Kansas City to Chicago, where they honed their repertoire in the Grand Ballroom Terrace. From the beginning, the group was awarded his Basie rhythm section. Another innovation was the use of two Basie tenor saxophone, while in most of the groups had only one. When Lester Young began to complain of vibrato Herschel Evans (Herschel Evans), Basie placed them on both sides of the alto saxophone, tenor, and soon the two are engaged in “duels”. Many other groups, later adapted tenors separate location.

In this city, in October 1936, the band had a recording session, which producer John Hammond later wrote as a “single perfect, perfect full session recording, with whom I had nothing in common”. Hammond heard the Count Basie band on korotkovolnovm radio and went to Kansas City to check them out. He invited them to record, which became the earliest Lester Young. These four songs were released under the band name Jones-Smith Incorporated. They were called “Shoe Shine Boy”, “Evening”, “Boogie Woogie”and”Oh, Lady Be Good”. Basie had already signed a contract with Decca Records, but not record them until January 1937.

In 1936, the Count Basie orchestra played first-class soloists – Buck Clayton, Harry Edison, Hot Lips Page, Lester Young, Herschel Evans, Earl Warren, Buddy Tate, Benny Morton, Dicky Wells and others. The rhythm section was recognized the best in jazz.

By the time the sound was distinctive Basie “hopping”bit and contrapuntal accents of his piano. The group of the sample in 1937 included: Lester Young and Herschel Evans (tenor saxophone), Freddie Green (Freddie Green, guitar), Joe Jones (Jo Jones, drums), Walter Page (Walter Page, bass), Earl Warren (Earle Warren, alto saxophone), Buck Clayton and Harry Edison (Buck Clayton, Harry Edison, trumpet), Benny Morton and Dicky Wells (Benny Morton, Dickie Wells, trombone). Lester Young, known as””, Preez came up with nicknames for all the other members of the group. He nicknamed Basie”Holy Man”, “Main St”, and a “St”.

Basie played the blues, and he showed some of the most famous blues singers of the era after went to New York. Among them: Billie Holiday (Billie Holiday), Jimmy Rushing, Big Joe Turner (Big Joe Turner), Hyums Helen (Helen Humes) and Joe Williams (Joe Williams). He also hired arranger Eddie Durham (Eddie Durham) and Jimmy Mundy (Jimmy Mundy), who knew how to increase the ability of the group.

Producer John Hammond continued to advise and encourage the group and vsktalo Ore have occurred with some changes, including the game became softer, longer solos and more standards. Then followed the first recordings for Decca, and then, under a contract with MCA, including “Pennies from Heaven”and”Honeysuckle Rose”.

At the beginning of 1938 at the Savoy took Buttle “Battle Of The Bands”With a group of Chick Webb (Chick Webb). At Count Basie sang Billie Holiday, and Webb said the singer Ella Fitzgerald (Ella Fitzgerald). As wrote after this contest magazine Metronome”brilliant artist Basie won the Chick”.

Advertising of Battle, before and after, gave the group Basie momentum and widespread acceptance. Shortly thereafter, Benny Goodman (Benny Goodman) recorded their song “One O & # 039; Clock Jump” with his group.

A few months later I went with a group of Holiday Artie Shaw (Artie Shaw). Hammond introduced Elena Hyums Basie and hired her. She stayed with Basie Band for four years. When arranger Eddie Durham went to the Glenn Miller Orchestra (Glenn Miller), he was replaced by Dickie Wells. 14 Basie Orchestra musicians began playing Famous Door. Their fame grew. In addition, an agreement was Basie with Jimmy Mundy (Jimmy Mundy, who has also worked with Benny Goodman and Earl Hines (Earl Hines)), especially for “Cherokee”, “Easy Does It”and”Super Chief”. In 1939, Basie and his band made several tours. A few months later Basie left MCA and signed with the William Morris Agency and fees increased them.

In 1939 Basie Orchestra organizes within the ensemble of soloists – septet Kansas City Seven, and in the same year for the first time appears at Carnegie Hall.

In the 40s in the orchestra come saxophonist Don Bayes, Lucky Thompson, Illinois Dzhekket, trumpeter Joe Newman, Vic Dickenson trombonists JJ Johnson.

On the West Coast in 1942, the band starred in Reveille With Beverly, a musical film with Anne Miller, and “Command Performance” on the Armed Forces Radio, with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna and singer Dinah Shore. This was followed by other minor films, including Choo Choo Swing, Crazy House, Top Man and the Hit Parade of 1943. They also started recording on RCA. During the war, the earnings fell sharply, orders became less ballrooms, swing began to fade, the taste of the audience grew up on the singers.

The era of big bands seemed to have ended after the war, and Basie disbanded the group. For a time he acted in a combo, sometimes increasing it to the orchestra. Over the next two years led convoys of six and nine musicians, the participants were outstanding instrumentalists Clark Terry (Clark Terry), Buddy De Franco (Buddy DeFranco), Serge Chaloff (Serge Chaloff) and Buddy Rich (Buddy Rich).

In 1950, he released a short film “Sugar Chile”Robinson with Billie Holiday, Count Basie and his sextet. Count reformed his band into an orchestra of 16 people in 1952. Basie persuaded Billy Eckstine (Billy Eckstine), the top singer of the time, back in the Big Band. He said that Norman Granz (Norman Granz) took their club Birdland and contributed to record a new group on the labels Mercury, Clef and Verve. Epoch jukeboxes already started and recording Basie scrolled along with early rock and rhythm and blues performers. The new group was Basie ensemble, with fewer solo, to a lesser extent relied on the”head” and more on written arrangements.

Basie added touches of bebop music. His group shared Birdland with such great musicians of bebop, Charlie Parker (Charlie Parker), Dizzy Gillespie (Dizzy Gillespie) and Miles Davis (Miles Davis). For occasional solos of bebop, Count always kept a strict rhythmic pulse. Basie also added flute in some rooms, a novelty at the time. it became widely imitated. Soon after the new touring and recording. The composition of the new group was: Paul Campbell (Paul Campbell), Tommy Tёrrentayn (Tommy Turrentine), Johnny LITMO (Johnny Letman), Idris Suleiman (Idrees Sulieman) and Joe Newman (Joe Newman) (pipe), Jimmy Wilkins (Jimmy Wilkins) Benny Powell (Benny Powell), Matthew Gee (Matthew Gee) (trombones), & lt; Kuinichett Paul (Paul Quinichette) and Floyd “Candy”Johnson (Floyd”Candy” Johnson) (tenor saxophone), Marshall Royal (Marshall Royal) and Ernie Wilkins (Ernie Wilkins) (alto saxophone), Charlie Foulkis (Charlie Fowlkes) (baritone saxophone).

In 1954, Basie Orchestra made its first European tour. Jazz was particularly appreciated in France, the Netherlands and Germany in the 1950s. These countries are the basis for the revival of the careers of many American jazz stars. Neal Hefti started providing arrangements, in particular, “Lil Darlin & # 039;”. By the mid-1950s, the band Basie became one of the greatest big bands, accompanied by some of the most famous jazz vocalists of the time. They also toured with “Stars Birdland 1955 “, which included Sarah Vaughan (Sarah Vaughan), Errol Garner (Erroll Garner), Lester Young, George Shearing (George Shearing) and Stan Getz (Stan Getz).

In 1957, Count Basie released a live album Count Basie at Newport. “April in Paris”(arranged by Wild Bill Davis (Wild Bill Davis)) was the best-selling instrumental composition of the hit album. Group Basie made two rounds of the British Isles, including those made for Queen Elizabeth II, along with Judy Garland (Judy Garland), Vera Lynn (Vera Lynn) and Mario Lanza (Mario Lanza). In 1959, the band Basie recorded double album”Greatest Hits» The Count Basie Story (arranger Frank Foster (Frank Foster)) and a Basie and Eckstine, Inc. – An album with Billy Eckstein, Quincy Jones (Quincy Jones) (as an arranger) and the Count Basie Orchestra. He was released on Roulette Records, and then reissued Capital Records.

In the same year Basie appeared on television with Fred Astaire (Fred Astaire), featuring a dance solo “Sweet Georgia Brown”, and then in January 1960 during a speech at one of five inaugural balls of John F. Kennedy. This summer, Count Basie and Duke Ellington have teamed up to their first collaboration! Graf (Count), met with the Duke (Duke), each of which had four songs.

In 1960, the band was busy with tours, recordings, TV appearances, festivals, Las Vegas shows, went abroad, including cruises.

Due to constant changes in personnel, brought Basie band until 1970. Basie made a few appearances for films such as Jerry Lewis Cinderfella (1960) and “Blazing Saddles,”Mel Brooks (1974), playing his arrangement”April in Paris,”(” April in Paris”).

Since the mid-70s a serious illness Count Basie complicates his future work. Since the beginning of the 80s he was already sometimes have to lead the orchestra, sitting in a wheelchair. In recent years, the life of Count Basie all more time to prepare his autobiography.

Count Basie died of pancreatic cancer in Hollywood, Florida, April 26th, 1984 at the age of 79 years.

Count Basie and his Orchestra

Musicians who worked with Count Basie for many years:

c.1937: Joe Keyes, Buck Clayton, Carl Smith, George Hunt, Dan Minor, Caughey Roberts, Herschel Evans, Lester Young, Jack Washington, Claude Williams, Walter Page, Jo Jones.

c.1939: Ed Lewis, Buck Clayton, Shad Collins, Harry Edison, Earle Warren, Buddy Tate, Benny Morton, Dicky Wells, Freddie Green.

1940: Al Killian, Vic Dickenson.

1943: Joe Newman, Snooky Young, Eli Robinson, Robert Scott, Jimmy Powell, Rudy Rutherford, Rodney Richardson.

Discography

In small groups

Count Basie Sextet (1954, Clef)

Count Basie and the Kansas City 7 (1962, Impulse!)

Basie Swingin & # 039; Voices Singin & # 039; (1966, EMI)

Loose Walk (with Roy Eldridge) (1972, Pablo)

Basie Jam (1973, Pablo)

The Bosses (with Big Joe Turner) (1973)

For the First Time (1974, Pablo)

Satch and Josh (with Oscar Peterson)

Basie & amp; 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 & # 039; 77 (live) (1977, Pablo)

Satch and Josh. Again (with Oscar Peterson) (1977, Pablo)

Mostly Blues. and Some Others (1983, Pablo)

Atomic Swing (1958, Roulette Jazz)

With the orchestra

1937-1939, Brunswick

The Complete Decca Recordings (1937-1939, Decca Records)

1939-1950, Columbia and RCA

Super Chief (1936-1942, Columbia Records)

Count Basie and His Great Vocalists (1939-1945, Columbia)

America & # 039; s No. 1 Band: The Columbia Years (1936-1964, Columbia)

Complete Original American Victor Recordings (1941-1950, RCA Records sessions, reissued on Definitive)

The Count (1952, Clef)

Basie Rides Again! (1952, Clef)

Dance Session (1952-1954, Clef)

King of Swing (1953-1954, Clef)

The Band of Distinction (1954, Clef)

Count Basie Swings, Joe Williams Sings (with Joe Williams) (1955, Clef)

April in Paris (1955-1956, Verve)

Holl of Fame (1956, Verve)

The Greatest. Count Basie Plays, Joe Williams Sings Standards (with Joe Williams) (1956, Verve)

Basie in London (Live, 1956, Verve)

One O & # 039; Clock Jump (with Joe Williams and Ella Fitzgerald) (1957, Verve)

Count Basie at Newport (Live, 1957, Verve)

The Atomic Mr. Basie (1958, Roulette)

Basie Plays Hefti (1958, Roulette)

No Count Sarah (with Sarah Vaughan) (1958, EmArcy)

Chairman of the Board (1958, Roulette)

Sing Along with Basie (with Joe Williams and Lambert, Hendricks & amp; Ross) (1958, Roulette)

Breakfast Dance and Barbeque (1958, Roulette)

Welcome to the Club (with Nat King Cole) (1959, Capitol)

One More Time (1959, Roulette)

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)

Dance Along with Basie (1959, Roulette)

The 1960s-pre Pablo

I Gotta Right to Swing (with Sammy Davis, Jr.) (1960, Decca Records)

Just the Blues (with Joe Williams) (1960, Roulette)

The Count Basie Story (1960, Roulette)

Not Now, I & # 039; ll Tell You When (1960, Roulette)

First Time! The Count Meets the Duke (with Duke Ellington) (1961, Columbia)

The Legend (1961, Roulette)

Kansas City Suite – The Music of Benny Carter (1961, Roulette)

Basie at Birdland (live) (1961, Roulette)

Count Basie / Sarah Vaughan (with Sarah Vaughan) (1961, Roulette)

Back with Basie (1962, Roulette)

Easi & # 039; n it (1962, Roulette)

Basie in Sweden (1962, Roulette)

Sinatra-Basie: An Historic Musical First (with Frank Sinatra) (1962, Reprise)

On My Way and Shoutin & # 039; Again! (1963, Verve)

More Hits of 1950s and 1960s (1963, Verve)

Li & # 039; l Ol & # 039; Groovemaker. Basie! (1963, Verve)

This Time by Basie: Hits of the 1950s and 1960s (1963, Verve)

Ella and Basie! (with Ella Fitzgerald) (1963, Verve)

Basie Land (1964, Verve)

Pop Goes the Basie (1964, Reprise)

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 & # 039; 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)

Broadway Basie’s. Way (1967, Command)

Hollywood. Basie’s Way (1967, Command)

Basie’s in the Bag (1967, Brunswick)

The Happiest Millionaire (1967, )

Half a Sixpence (1967, Dot)

Manufacturers of Soul (with Jackie Wilson) (1968, Brunswick)

The Board of Directors (with The Mills Brothers) (1968, Dot)

The Board of Directors Annual Report (with The Mills Brothers) (1968, Dot)

Evergreens (1969, Groove Merchant)

Basic Basie (1969, MPS)

Basie Straight Ahead (1969, Dot)

Standing Ovation (1969, Dot)

High Voltage (1970, MPS)

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