"publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Soon after, Benny Goodman recorded their signature ""One O'Clock Jump"" with his band. A few months later, Holiday left for Artie Shaw's band. Hammond introduced Helen Humes, whom Basie hired; she stayed with Basie for four years. When Eddie Durham left for Glenn Miller's orchestra, he 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, which Hammond was said to have bought the club in return"
"Count Basie William James ""Count"" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two ""split"" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel"
"of Congress National Recording Registry. The board selects songs in an annual basis that are ""culturally, historically, or aesthetically significant."" Count Basie William James ""Count"" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two ""split"" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden"
"played the sax parts, and went back to his place."" Page is perhaps best known for his work with the Count Basie Orchestra from 1935 to 1942. Page, drummer Jo Jones, guitarist Freddie Green, and pianist Count Basie became known as the ""All-American Rhythm Section"" and set the standard for jazz rhythm sections that is still emulated and considered the gold-standard today. Together, the four musicians ""created the bedrock for the band to pile on a superstructure of exciting riffs"" writes Shipton. Page's playing was a great influence on Jo Jones, who ""says that it was Page who really taught"
"him some piano technique. 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. 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). The following year, in 1929, 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"
"1942, an integral part of what came to be called the ""All-American Rhythm Section. Together with drummer Jo Jones, guitarist Freddie Green, and pianist Basie, the rhythm section pioneered the ""Basie Sound"", a style in which Page, as bass player, clearly established the beat, allowing his band mates to compliment more freely. Until this point, the rhythm of a jazz band was traditionally felt in the pianist's left hand and the kick of the bass drum on all four beats. In a sense, the classic Basie rhythm section were liberators. After his first departure from the Count Basie Orchestra, Page"
"the opening bars of the song. The song is heard in the 1993 film ""Swing Kids"" and in broadway musicals such as 1999's ""Swing!"" and 2010's ""Come Fly Away"". Jumpin' at the Woodside ""Jumpin' at the Woodside"" is a song first recorded in 1938 by the Count Basie Orchestra, and considered one of the band's signature tunes. When first released it reached number 11 on the Billboard charts and remained on them for four weeks. Since then it has become a frequently recorded jazz standard. The song was recorded on August 22, 1938 for Decca and was released on December"
"by Count Basie without his big band, see Count Basie discography. Count Basie Orchestra 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 in 1935 and recording regularly from 1936. Despite a brief disbandment at the beginning of the 1950s, the band survived long past the Big Band era itself and the death of Basie in 1984. It continues as a 'ghost band'. Originally including such musicians as Buck Clayton and Lester Young in the line-up, the band in the 1950s"
"Count Basie Orchestra 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 in 1935 and recording regularly from 1936. Despite a brief disbandment at the beginning of the 1950s, the band survived long past the Big Band era itself and the death of Basie in 1984. It continues as a 'ghost band'. Originally including such musicians as Buck Clayton and Lester Young in the line-up, the band in the 1950s and 1960s made use of the work of such arrangers as"
"Moten Swing ""Moten Swing"" (originally ""Moten's Swing"") is a 1932 jazz standard by Bennie Moten and his Kansas City Orchestra. It was an important jazz standard in the move towards a freer form of orchestral jazz and the development of Swing music. Moten and his Orchestra, which included Count Basie on piano, achieved much success with it, although the song is most associated with Basie's Count Basie Orchestra, who recorded it in 1940. The song, already an anthem of Kansas City, had its origins in an earlier composition, when Buster Moten and trombonist Thamon Hayes composed ""Moten Stomp"" in 1927,"
"Kern and Oscar Hammerstein II's ""All the Things You Are"" (1939). These songs still rank among the most recorded standards. Johnny Green's ""Body and Soul"" was introduced in Broadway and became a hit after Coleman Hawkins's 1939 recording. It is the most recorded jazz standard of all time. 1930s in jazz In the 1930s in jazz, swing jazz emerged as a dominant form in American music, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the ""big"" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington,"
"the listener."" The song begins with Count Basie soloing over the form in his famous ""minimalistic"" style of playing very little notes but giving them a lot of meaning. The band has a gigantic interjectory hit in the second chorus leading into the swinging Basie ""laid back"" feel with the melody. He adds that a ""sudden key change introduces Hot Lips Page who solos in a coolish un-Armstrong manner."" This leads into the shout which is somewhat standard for a swinging Count Basie chart filled with loud brass hits, shakes, and calls. ""Moten Swing"" became more popular in 1938 when"
"has since become most associated with Count Basie. It has been recorded by the likes of pianist Oscar Peterson, vibraphonist Cal Tjader, trumpeters/bandleaders Harry James and Shorty Rogers, saxophonist Ernie Watts, the Barrett Deems Big Band, guitarist Kenny Burrell, violinist Claude Williams, and many others. Moten Swing ""Moten Swing"" (originally ""Moten's Swing"") is a 1932 jazz standard by Bennie Moten and his Kansas City Orchestra. It was an important jazz standard in the move towards a freer form of orchestral jazz and the development of Swing music. Moten and his Orchestra, which included Count Basie on piano, achieved much success"
"other artists, including: Good Bait ""Good Bait"" is a jazz composition written by American jazz piano player and composer Tadd Dameron and by band leader Count Basie. It was introduced in 1944 and was popular in the 1940s and 1950s. Good Bait uses the changes to ""I've Got Rhythm"" (Rhythm changes) transposed up by a fourth as its bridge. The chord changes to Good Bait are similar to those of La Mer (""The Sea""), which was released at about the same time, and the title ""Good Bait"" may be an allusion to the sea. The song has been performed by"
"1930s in jazz In the 1930s in jazz, swing jazz emerged as a dominant form in American music, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the ""big"" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher Henderson, Earl Hines, Glenn Miller, and Artie Shaw. Duke Ellington and his band members composed numerous swing era hits that have become standards: ""It Don't Mean a Thing (If It Ain't Got That Swing)"" (1932), ""Sophisticated Lady"" (1933) and ""Caravan"" (1936), among others. Other influential"
"1950. He had apparently drowned, but unsubstantiated rumours circulated that he had been murdered. With Count Basie Joe Keyes Joe Keyes (c. 1907 – November 1950) was an American jazz trumpeter who played in several leading bands in the 1930s and 1940s, including those of Bennie Moten, Count Basie, and Oran ""Hot Lips"" Page. He was born in Houston, Texas, and was playing in local bands such as Johnson's Joymakers by 1928. He then played in bands led by Gene Coy, Jap Allen, and Blanche Calloway, before joining Bennie Moten's band in 1932. Following Moten's death in 1935, and together"
"Count Basie orchestra. Some rank Artie Matthews with Scott Joplin, Joseph Lamb, and James Scott as one of the finest and most sophisticated ragtime composers. His most famous rags are the ""Pastime Rags"", numbered 1 to 5. His 1912 "" Baby Seals Blues"" was one of the first published Blues. His ""Weary Blues"" remains a standard by Dixieland and New Orleans jazz bands. Artie Matthews Artie Matthews (November 15, 1888 – October 25, 1958) was an American songwriter, pianist, and ragtime composer. Artie Matthews was born in Braidwood, Illinois; his family moved to Springfield, Illinois in his youth. He learned"
"Buck Clayton (trumpet), Lester Young (tenor sax), and Herschel Evans (clarinet). The song is considered one of the Basie bands ""signature"" tunes, a ""favorite"", and even ""a definition of swing."" While many liner notes credit the tune only to Basie, historians and others also credit band member Eddie Durham. Like many Basie numbers of that era, it was a ""head arrangement"" collaboratively created by the band. Sullivan indicates Durham wrote the tune in 1937 and then Basie refined it. The tune was based on earlier songs such as ""Jammin' for the Jackpot"" and ""John's Idea"". Durham had left the band"
"in 1929, after he recruited Count Basie, Walter Page, and Oran 'Hot Lips' Page. Walter Page's walking bass lines gave the music an entirely new feel compared to the 2/4 tuba of his predecessor Vernon Page, colored by Basie's understated, syncopated piano fills. Another boon to the band was adding Jimmy Rushing as their primary vocalist. Their final session showed the early stages of what became known as the ""Basie sound,"" four years before Basie recorded under his own name. (They made 10 recordings at Victor's Camden, New Jersey, studios on December 13, 1932, during a time when the band"
"Good Bait ""Good Bait"" is a jazz composition written by American jazz piano player and composer Tadd Dameron and by band leader Count Basie. It was introduced in 1944 and was popular in the 1940s and 1950s. Good Bait uses the changes to ""I've Got Rhythm"" (Rhythm changes) transposed up by a fourth as its bridge. The chord changes to Good Bait are similar to those of La Mer (""The Sea""), which was released at about the same time, and the title ""Good Bait"" may be an allusion to the sea. The song has been performed by a number of"
"This Time by Basie! This Time by Basie (subtitled Hits of the 50's & 60's) is an album released by pianist, composer and bandleader Count Basie featuring jazz versions of contemporary hits recorded in 1963 and originally released on the Reprise label. The album won the Best Performance by a Band for Dancing at the 6th Annual Grammy Awards. AllMusic awarded the album 4 stars noting """"This Time by Basie"" swings, smooth and easy but taut, or hot and heavy... Quincy Jones arranged and conducted ""This Time by Basie"", and the record was successful, returning the Count to the pop"
"was noticed by the legendary talent scout John H. Hammond, who realized the potential of Green and introduced him to Basie. In 1937, Basie and his ensemble went to one of Green's gigs on the advice of an associate. Basie was an immediate fan, and approached Green with a job offer, which he accepted. Except for a brief interruption, Freddie Green would remain a pivotal fixture of the Count Basie Band for the next fifty years. He rapidly changed chords, often with every beat, rather than every measure. His chord fingering often involved him covering four strings with his fingers,"
"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."" This new band became known as ""The Second Testament"". With albums such as ""The Atomic Mr. Basie"" (1958), ""April in Paris"" (1957)and ""Basie Plays Hefti"" (1958), the new Count Basie Orchestra sound became identifiable. The sound of the band was now that of a tight ensemble: heavier and more full bodied, contrasting with the riff-based band of the late"
"charts on the eve of the British Invasion"". This Time by Basie! This Time by Basie (subtitled Hits of the 50's & 60's) is an album released by pianist, composer and bandleader Count Basie featuring jazz versions of contemporary hits recorded in 1963 and originally released on the Reprise label. The album won the Best Performance by a Band for Dancing at the 6th Annual Grammy Awards. AllMusic awarded the album 4 stars noting """"This Time by Basie"" swings, smooth and easy but taut, or hot and heavy... Quincy Jones arranged and conducted ""This Time by Basie"", and the record"
"The Count Basie Story Count Basie Story is a double album by pianist, composer and bandleader Count Basie featuring tracks originally performed by his orchestra in the 1930s and 1940s rerecorded in 1960 as a celebration of its 25th anniversary and first released on the Roulette label. Selections from the 2-LP set were also released as Roulette's ""The Best of Basie"" in 1962 and ""The Best of Basie Vol. 2"" in 1964. The album was rereleased with bonus tracks in 2004 to commemorate Basie's 100th birthday. AllMusic awarded the album 3½ stars and its review by Scott Yanow states, ""These"
"Count Basie, longtime Duke Ellington trumpeter Cootie Williams, former Artie Shaw tenor saxophonist Georgie Auld and later drummer Dave Tough. This all-star band dominated the jazz polls in 1941, including another election to the Metronome All Stars for Christian. Johnny Guarnieri, who replaced Henderson in the first sextet, filled the piano chair in Basie's absence. In 1966, 24 years after his death, Christian was inducted into the ""Down Beat"" Jazz Hall of Fame. In 1989, he was one of the first inductees into the Oklahoma Jazz Hall of Fame. Christian's solos are frequently described as ""horn-like"", and in that sense"
"Johnny Green's ""Body and Soul"", was introduced in Broadway and became a huge hit after Coleman Hawkins's 1939 recording. 1930s saw the rise of swing jazz as a dominant form in American music. Duke Ellington and his band members composed numerous swing era hits that have later become standards: ""It Don't Mean a Thing (If It Ain't Got That Swing)"" (1932), ""Sophisticated Lady"" (1933) and ""Caravan"" (1936), among others. Other influential band leaders of this period were Benny Goodman and Count Basie. The swing era lasted until the mid-1940s, and produced popular tunes such as Duke Ellington's ""Cotton Tail"" (1940)"
"band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted. The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster. When the band voted Moten out, Basie took over for several months, calling the group ""Count Basie and his Cherry Blossoms."" When his own band folded, he rejoined Moten with a newly re-organized band. A year later, Basie joined Bennie Moten's band, and played with them until Moten's death in 1935 from a failed tonsillectomy. When Moten died, the band tried to stay together but couldn't make a go of it."
"1920s. He recorded with trumpeter Lloyd Hunter's Serenaders in 1931, and later joined pianist Count Basie's band in 1934. Jones, Basie, guitarist Freddie Green and bassist Walter Page were sometimes billed as an ""All-American Rhythm section,"" an ideal team. Jones took a brief break for two years when he was in the military, but he remained with Basie until 1948. He participated in the Jazz at the Philharmonic concert series. He was one of the first drummers to promote the use of brushes on drums and shifting the role of timekeeping from the bass drum to the hi-hat cymbal. Jones"
"Jumpin' at the Woodside ""Jumpin' at the Woodside"" is a song first recorded in 1938 by the Count Basie Orchestra, and considered one of the band's signature tunes. When first released it reached number 11 on the Billboard charts and remained on them for four weeks. Since then it has become a frequently recorded jazz standard. The song was recorded on August 22, 1938 for Decca and was released on December 17 of that year. It charted as high as #11 and was on the charts for four weeks. That original 1938 recording features solos by Earle Warren (alto sax),"
"excerpt of the straight melody of ""Mandy, Make Up Your Mind"" by George W. Meyer and Arthur Johnston (top), compared with Armstrong's solo improvisations (below) (recorded 1924). Armstrong's solos were a significant factor in making jazz a true 20th-century language. After leaving Henderson's group, Armstrong formed his Hot Five band, where he popularized scat singing. The 1930s belonged to popular swing big bands, in which some virtuoso soloists became as famous as the band leaders. Key figures in developing the ""big"" jazz band included bandleaders and arrangers Count Basie, Cab Calloway, Jimmy and Tommy Dorsey, Duke Ellington, Benny Goodman, Fletcher"
"Swing-era jam sessions and ""cutting contests"" in Kansas City became legendary. The Kansas City approach to swing was epitomized by the Count Basie Orchestra, which came to national prominence in 1937. One young admirer of the Basie orchestra in Kansas City was a teenage alto saxophone player named Charlie Parker. He was especially enthralled by their tenor saxophone player Lester Young, who played long flowing melodic lines that wove in and out of the chordal structure of the tune but somehow always made musical sense. Young was equally daring with his rhythm and phrasing as with his approach to harmonic"
"Walter Page Walter Sylvester Page (February 9, 1900 – December 20, 1957) was an American jazz multi-instrumentalist and bandleader, best known for his groundbreaking work as a double bass player with Walter Page's Blue Devils and the Count Basie Orchestra. Page was born in Gallatin, Missouri on February 9, 1900 to parents Edward and Blanche Page. Page showed a love for music even as a child, perhaps due in part to the influence of his aunt Lillie, a music teacher. Page's mother, with whom he moved to Kansas City in 1910, exposed him to folksongs and spirituals, a critical foundation"