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Count Basie

Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman. His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz.

Both of Basie's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. Basie also learned from Harlem stride pianists, particularly Fats Waller. His first professional work came accompanying vaudeville performers, and he was part of a troupe that broke up in Kansas City in 1927, leaving him stranded there. He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page's Blue Devils in July 1928. The band's vocalist was Jimmy Rushing. Basie left in early 1929 to play with other bands, eventually settling into one led by Bennie Moten. Upon Moten's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm. Many former members of the Moten band joined this nine-piece outfit, among them Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), and Lester Young (tenor saxophone). Jimmy Rushing became the singer. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie.

Basie got his big break when one of his broadcasts was heard by journalist and record producer John Hammond, who touted him to agents and record companies. As a result, the band was able to leave Kansas City in the fall of 1936 and take up an engagement at the Grand Terrace in Chicago, followed by a date in Buffalo, NY, before coming into Roseland in New York City in December. It made its recording debut on Decca Records in January 1937. Undergoing expansion and personnel changes, it returned to Chicago, then to the Ritz Carlton Hotel in Boston. Meanwhile, its recording of "One O'Clock Jump" became its first chart entry in September 1937. The tune became the band's theme song and it was later inducted into the Grammy Hall of Fame.

Basie returned to New York for an extended engagement at the small club the Famous Door in 1938 that really established the band as a success. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. He spent the early '40s touring extensively, but after the U.S. entry into World War II in December 1941 and the onset of the recording ban in August 1942, his travel was restricted. While on the West Coast, he and the band appeared in five films, all released within a matter of months in 1943: Hit Parade of 1943, Reveille with Beverly, Stage Door Canteen, Top Man, and Crazy House. He also scored a series of Top Ten hits on the pop and R&B charts, including "I Didn't Know About You" (pop, winter 1945); "Red Bank Blues" (R&B, winter 1945); "Rusty Dusty Blues" (R&B, spring 1945); "Jimmy's Blues" (pop and R&B, summer/fall 1945); and "Blue Skies" (pop, summer 1946). Switching to RCA Victor Records, he topped the charts in February 1947 with "Open the Door, Richard!," followed by three more Top Ten pop hits in 1947: "Free Eats," "One O'Clock Boogie," and "I Ain't Mad at You (You Ain't Mad at Me)."

The big bands' decline in popularity in the late '40s hit Basie as it did his peers, and he broke up his orchestra at the end of the decade, opting to lead smaller units for the next couple of years. But he was able to reform the big band in 1952, responding to increased opportunities for touring. For example, he went overseas for the first time to play in Scandinavia in 1954, and thereafter international touring played a large part in his schedule. An important addition to the band in late 1954 was vocalist Joe Williams. The orchestra was re-established commercially by the 1955 album Count Basie Swings - Joe Williams Sings (released on Clef Records), particularly by the single "Every Day (I Have the Blues)," which reached the Top Five of the R&B charts and was later inducted into the Grammy Hall of Fame. Another key recording of this period was an instrumental reading of "April in Paris" that made the pop Top 40 and the R&B Top Ten in early 1956; it also was enshrined in the Grammy Hall of Fame. These hits made what Albert Murray (co-author of Basie's autobiography, Good Morning Blues) called the "new testament" edition of the Basie band a major success. Williams remained with Basie until 1960, and even after his departure, the band continued to prosper.

At the first Grammy Awards ceremony, Basie won the 1958 awards for Best Performance by a Dance Band and Best Jazz Performance, Group, for his Roulette Records LP Basie. Breakfast Dance and Barbecue was nominated in the dance band category for 1959, and Basie won in the category in 1960 for Dance with Basie, earning nominations the same year for Best Performance by an Orchestra and Best Jazz Performance, Large Group, for The Count Basie Story. There were further nominations for best jazz performance for Basie at Birdland in 1961 and The Legend in 1962. None of these albums attracted much commercial attention, however, and in 1962, Basie switched to Frank Sinatra's Reprise Records in a bid to sell more records. Sinatra-Basie satisfied that desire, reaching the Top Five in early 1963. It was followed by This Time by Basie! Hits of the 50's and 60's, which reached the Top 20 and won the 1963 Grammy Award for Best Performance by an Orchestra for Dancing.

This initiated a period largely deplored by jazz fans that ran through the rest of the 1960s, when Basie teamed with various vocalists for a series of chart albums including Ella Fitzgerald (Ella and Basie!, 1963); Sinatra again (the Top 20 album It Might as Well Be Swing, 1964); Sammy Davis, Jr. (Our Shining Hour, 1965); the Mills Brothers (The Board of Directors, 1968); and Jackie Wilson (Manufacturers of Soul, 1968). He also reached the charts with an album of show tunes, Broadway Basie's ... Way (1966).

By the end of the 1960s, Basie had returned to more of a jazz format. His album Standing Ovation earned a 1969 Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group (Eight or More), and in 1970, with Oliver Nelson as arranger/conductor, he recorded Afrique, an experimental, avant-garde album that earned a 1971 Grammy nomination for Best Jazz Performance by a Big Band. By this time, the band performed largely on the jazz festival circuit and on cruise ships. In the early 1970s, after a series of short-term affiliations, Basie signed to Pablo Records, with which he recorded for the rest of his life. Pablo recorded Basie prolifically in a variety of settings, resulting in a series of well-received albums: Basie Jam earned a 1975 Grammy nomination for Best Jazz Performance by a Group; Basie and Zoot was nominated in the same category in 1976 and won the Grammy for Best Jazz Performance by a Soloist; Prime Time won the 1977 Grammy for Best Jazz Performance by a Big Band; and The Gifted Ones by Basie and Dizzy Gillespie was nominated for a 1979 Grammy for Best Jazz Instrumental Performance by a Group. Thereafter, Basie competed in the category of Best Jazz Instrumental Performance by a Big Band, winning the Grammy in 1980 for On the Road and in 1982 for Warm Breeze, earning a nomination for Farmer's Market Barbecue in 1983, and winning a final time, for his ninth career Grammy, in 1984 for 88 Basie Street.

Basie's health gradually deteriorated during the last eight years of his life. He suffered a heart attack in 1976 that put him out of commission for several months. He was back in the hospital in 1981, and when he returned to action, he was driving an electric wheel chair onto the stage. He died of cancer at 79.

Count Basie was admired as much by musicians as by listeners, and he displayed a remarkable consistency in a bandleading career that lasted long after swing became an archival style of music. After his death, his was one of the livelier ghost bands, led in turn by Thad Jones, Frank Foster, and Grover Mitchell. His lengthy career resulted in a large discography spread across all of the major labels and quite a few minor ones as well. ~ William Ruhlmann
full bio

Selected Discography

x

Track List: Combos Anthology, 1936-1956

Disc 1

1. Shoe Shine Boy

2. Lady Be Good

6. You Can Depend On Me

9. Love Me Or Leave Me

10. Dickie's Dream

11. Lester Leaps In

12. St Louis Blues

13. Royal Garden Blues

15. Bugle Blues

16. After Theatre Jump

19. Swingin' The Blues

Disc 2

1. Rat Race

6. Golden Bullet

7. Song Of The Islands

9. One O'Clock Jump

12. Blues For The Count And Oscar

13. I Want A Little Girl

14. Oh, Lady Be Good

16. She's Funny That Way

19. Blue And Sentimental

21. Ain't It The Truth

22. Midgets

x

Track List: Count Basie 1952-53 Chronological Classics 1387

1. Blues For The Count And Oscar

2. Be My Guest

3. You're Not The Kind

6. Sent For You Yesterday

7. Goin' To Chicago

8. I Want A Little Girl

9. Oh, Lady Be Good!

10. Song Of The Islands

12. She's Funny That Way

14. K.C. Organ Blues

15. Blue And Sentimental

18. Royal Garden Blues

19. Plymouth Rock

20. Blues Go Away

21. Peace Pipe

22. Straight Life

x

Track List: Swinging The Blues: 1930-1939

2. Moten Swing

3. Boogie Woogie

4. Roseland Shuffle

5. One O'Clock Jump

6. John's Idea

7. Good Morning Blues

8. Topsy

9. Out The Window

10. Every Tub

11. Swinging The Blues

12. Blue And Sentimental

13. Doggin' Around

14. Texas Shuffle

15. Jumpin' At The Woodside

18. Jive At Five

19. Rock-A-Bye Basie

20. Don't Worry 'Bout Me

21. Clap Hands, Here Comes Charlie

x

Track List: Ken Burns Jazz - Count Basie

1. Toby

2. One O'Clock Jump

3. John's Idea

4. Topsy

5. Jumpin' At The Woodside

6. Swingin' The Blues

7. Blue And Sentimental

8. Doggin' Around

11. Goin' To Chicago

12. Jive At Five

13. 9:20 Special

14. Softly, With Feeling

15. Corner Pocket

16. April In Paris

17. Every Day I Have The Blues

18. Shiny Stockings

19. Li'l Darlin'

x

Track List: Live At The Sands (Live)

1. Introduction (Live)

2. Splanky (Live)

3. I Can't Stop Loving You (Live)

4. I Needs To Be Bee'd With (Live)

5. Flight Of The Foo Birds (Live)

6. Satin Doll (Live)

7. Makin' Whoopee! (Live)

8. Corner Pocket (Live)

9. One O'Clock Jump (Live)

10. Hello Little Girl (Live)

11. Whirly Bird (Live)

13. This Could Be The Start Of Something Big (Live)

14. Jumpin' At The Woodside (Live)

x

Track List: Count Basie's Greatest Hits

2. One O'Clock Boogie

4. Bye Bye, Baby

6. Seventh Avenue Express

9. Just A Minute

10. Shine On, Harvest Moon

11. Hey, Pretty Baby

13. Sugar

15. Swingin' The Blues

x

Track List: The Best Of Early Basie

1. Honeysuckle Rose

2. Roseland Shuffle

3. Boogie Woogie (I May Be Wrong)

4. One O'clock Jump

5. John's Idea

6. Good Morning Blues

7. Topsy

8. Out The Window

9. Don't You Miss Your Baby?

10. Blues In The Dark

11. Sent For You Yesterday

12. Every Tub

13. Swingin' The Blues

14. Blue And Sentimental

15. Doggin' Around

16. Texas Shuffle

17. Jumpin' At The Woodside

18. Shorty George

19. Panassie Stomp

20. Jive At Five

21. Oh, Lady Be Good

x

Track List: The Complete Atomic Basie

1. The Kid From Red Bank

2. Duet

3. After Supper

4. Flight Of The Foo Birds

5. Double-O

6. Teddy The Toad

7. Whirly-Bird

8. Midnite Blue

9. Splanky

10. Fantail

11. Li'l Darlin'

12. Silks And Satins

13. Sleepwalker's Serenade (Alternate Take)

14. Sleepwalker's Serenade

15. The Late Late Show

16. The Late Late Show (Vocal Version)

x

Track List: The Best Of Count Basie - The Roulette Years

1. The Kid From Red Bank

2. The Late Late Show

3. Flight Of The Foo Birds

4. Jive At Five

5. Blue And Sentimental

9. Topsy

10. Jumpin' At The Woodside

11. Broadway

12. Tickle Toe

15. Whirly Bird

16. Down For Double

19. Taps Miller

x

Track List: The Essential Count Basie Vol. 1

1. Oh, Lady Be Good

2. Goin' To Chicago Blues

3. Live and Love Tonight

4. Love Me Or Leave Me

5. Rock-a-Bye Basie

6. Baby, Don't Tell On Me

7. If I Could Be With You One Hour Tonight

8. Taxi War Dance

9. Jump For Me

10. Twelfth Street Rag

11. Miss Thing (Part 1)

12. Miss Thing (Part 2)

13. Lonesome Miss Pretty

14. Nobody Knows

15. Pound Cake

16. How Long Blues

x

Track List: Montreux '77

1. The Heat's On (live)

2. Freckle Face (live)

3. Splanky (live)

4. The More I See You (live)

5. Night In Tunisia

6. Hittin' 12

7. Bag Of Dreams

8. Things Ain't What They Used To Be

9. I Needs To Be Bee'd With

10. Li'l Darlin' (1977)

11. Jumpin' At The Woodside

12. One O'Clock Jump (live)

x

Track List: Fun Time: Count Basie Big Band at Montreux '75

x

Track List: Straight Ahead

1. Basie - Straight Ahead

2. It's Oh, So Nice

3. Lonely Street

4. Fun Time

5. Magic Flea

6. Switch In Time

7. Hay Burner

8. That Warm Feeling

9. The Queen Bee

x

Track List: Li'l Ol' Groovemaker .... Basie!

1. Li'l Ol' Groovemaker....Basie!

2. Pleasingly Plump

3. Boody Rumble

4. Belly Roll

5. Count 'Em

6. Nasty Magnus

7. Dum Dum

8. Lullaby For Jolie

9. Kansas City Wrinkles

x

Track List: This Time By Basie

1. This Could Be the Start of Something Big

2. I Left My Heart in San Francisco

3. One Mint Julep

4. The Swingin' Shepherd Blues

5. I Can't Stop Loving You

6. Moon River

7. Fly Me To the Moon

8. What Kind of Fool Am I?

9. Walk, Don't Run

10. Nice 'n' Easy

11. Theme from "The Apartment"

12. The Hucklebuck

13. Oh. Pretty Woman

14. Oh Soul Mio [sic]

15. Shangri-La

16. At Long Last Love

x

Track List: Count Basie And The Kansas City 7

1. Oh, Lady Be Good

2. Secrets

3. I Want A Little Girl

4. Shoe Shine Boy

5. Count's Place

6. Senator Whitehead

7. Tally-Ho, Mr. Basie!

8. What'cha Talkin'?

9. Trey Of Hearts

x

Track List: Basie In London

1. Jumpin' At The Woodside

2. Shiny Stockings

3. How High The Moon

4. Nails

5. Flute Juice

6. One O'Clock Jump

7. Alright, Okay You Win

8. Roll 'Em Pete

9. The Comeback

10. Blues Backstage

11. Corner Pocket

12. Blee Blop Blues

13. Yesterdays

14. Untitled

15. Sixteen Men Swinging

16. Plymouth Rock

x

Track List: April In Paris

1. April In Paris

2. Corner Pocket

3. Didn't You?

4. Sweetie Cakes

5. Magic

6. Shiny Stockings

7. What Am I Here For?

8. Midgets

9. Mambo Inn

10. Dinner With Friends

11. April In Paris

12. Corner Pocket

13. Didn't You?

14. Magic, Pt.1

15. Magic, Pt.2

16. What Am I Here For?

17. Midgets

Comments

Report as inappropriate
The Basie band is alive and well. If you get a chance to hear them in concert do it.
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tntkurtz
His bio mentions many cities and states but not where he was born and lived until 20 years old.....just like many other great artists and talented people...he was from NEW JERSEY....RE D BANK to be exact.
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Thank you for having such a thorough bio :D
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Cup
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Count that!
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There is enormous hostility to Kansas City in this biography. Leaving him stranded there? Was able to leave Kansas City? KC was one of the major cities of this era of jazz which also produced Bennie Moton (mentioned in the bio) and Charlie Parker.
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great dancing at the cotton club and the savoy
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Count on it
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Don't make me dance
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It counts
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Count this
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Mmmmm...good !
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Also no features of this track for Segue in C (Live) (varied tempo around 133; 4 stars; td for 163)
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Why no "features of this track" for "Lover Come Back to Me" (tempo 174, 3 stars, tu for 163)?
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Magic Flea = 240 bpm , what a gas !!!
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DAMN!!!!!!!! !
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Favorite jazz artist then Glenn Miller at #2
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April in Paris
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Lol pump........ b a s i e . . . . . . . w o w
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I wish I had been born in the thirties. I listen to jazz like it's a religion, I wear either a trilby or a fedora, and I find modern society revolting.
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So many years of great music and so many people who will waist it. The Count and Ella or Frank....the greatest.
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Love it
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Incredible! These guys had class! Wish I had gotten the chance to see them.
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You notice a theme here? Count Basie, Duke Ellington, Nat King Cole. :)
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Sounds better with out the chairman
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Do any of the tribute bands for the greats like basie and ellington carry on today?
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Count Basie turned me onto blues in jazz . He is my Kansas City brother man , yeah , yeah !
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thomas.griff y 0 9
I love this stuff...I just forgot how much!
Report as inappropriate
The Kid from Red Bank! One of the greatest of all time and he had Freddie Green (!!!) on guitar too!
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One of the greatest musicians ever.
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I like the comment in the Bi0 that states Basie was not the composer and pianist the Duke was. How true, however, is the fact that his instrument was his band. There was no mistaking it was the Basie band you were hearing. While Ellington was indeed Mr. Elegant. Bill Basie was Mr. COOL........ . T h o s e cats could swing!
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bluesdance
joe williams with count basie is heaven on earth
Report as inappropriate
SOUNDS SWELL!
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MAN THESE CATS , RIGHT HERE WITH ME AND I IS 2
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OH MY GOODNESS, SOUNDS LIKE MY LIFE IS BEING PLAYED FOR ME BY ANGLES...... . . . . . . . . . . . . . . .
Report as inappropriate
I AM WITH THE COUNT BASIE TONIGHT, I GONNA MISS SOMETHIN, CAUSE THIS IS THE BEST THANG IN MY LIFE !!!!
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CHECK THIS OUT, MY HANDS ANIT NEVER TIED, GOT MY STRIDE, AND I SEE YOU ANIT CATCHIN' UP WITH ME !!!

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IF YOU ANIT GOT NO FAITH, LISTEN TO JAZZ !!!
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marti153
No corrections are made because there are no people at Pandora. It's just a big computer called HAL
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scott-clemen t s 3
Quincy Jones' bio is under the title Count Basie. OOPS.
Report as inappropriate
akexwchase
Shout and Feel It may be the most difficult piece of music in the world to obtain. Ive been trying for over a year to get my hands on it, and it isn't happening.
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wolfbskr
why is the bio for Count Basie actually a bio for Quincy Jones?
Report as inappropriate
marti153
And why when an error is pointed out do you do NOTHING!!!!? ? ?
Report as inappropriate
peter.danfor t h
It must be a weird jazz virus. I'll have some Jones with my Mingus/Evans (pianist/sax o p h o n e . . . w h o knows) with a dash of Peterson.
Report as inappropriate
I thought this was about Basie
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Why, Pandora, why do you constantly screw up the bios of African-Amer i c a n Jazz musicians (and others too but mostly these). Don't you ever proof-read your posts?
Report as inappropriate
Why is Quincy Jones' bio attached to Basie's entry??????? ? ?
Report as inappropriate
megjonan3
I Saw Basie at the Maisonette Room of the ST. Regis in NYC he was magnificent . You could hear a pin drop when he took his solos..
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marti153
This bio is supposed to be about Basie, but it's about Jones. This kind of screwup happens too often on pandora
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count quincy
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