Basie - Ken Burn's Jazz

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To buy this recording from Amazon.com, click here: Ken Burns JAZZ Collection: Count Basie _____________________________________________________________________

The Definitive Count Basie
Ken Burn’s Jazz Series

Count Basie plays piano on all tracks, accompanied by:

01. TOBY (3:27)
- E. Barefield -

Bennie Moten's Kansas City Orchestra:

Joe Keyes, Hot Lips Page, Dee Stewart, trumpet;
Eddie Durham, valve trombone, guitar;
Dan Minor, trombone;
Eddie Barefield, clarinet, alto saxophone;
Ben Webster, tenor saxophone;
Jack Washington, baritone saxophone, alto saxophone;
Leroy Berry, guitar:
Walter Page, bass;
Willie "Mack"Washington, drums;
Edgar Battle, arranger

Recorded December 13, 1932
Available on CD: Bennie Moten's Kansas City Orchestra: Basie Beginning.
(RCA Bluebird 9768-2-RB)

02. ONE O'CLOCK JUMP (3:01)
- W. Basie -

Count Basie and His Orchestra:

Buck Clayton, Ed Lewis, Bobby Moore, trumpet;
George Hunt, Dan Minor, trombone;
Earl Warren, alto saxophone;
Herschel Evans, tenor saxophone, clarinet;
Lester Young, tenor saxophone;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums;
Eddie Durham, Buster Smith, arrangers

Recorded July 7, 1937
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

03. JOHN'S IDEA (2:55)
- E. Durham - W. Basie -

Count Basie and His Orchestra:

Buck Clayton, Ed Lewis, Bobby Moore, trumpet;
George Hunt, Dan Minor, trombone;
Earl Warren, alto saxophone;
Herschel Evans, tenor saxophone, clarinet;
Lester Young, tenor saxophone;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums;
Eddie Durham, arranger

Recorded July 7, 1937
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

04. TOPSY (3:12)
- E. Durham -

Count Basie and His Orchestra:

Buck Clayton, Ed Lewis, Bobby Moore, trumpet;
Eddie Durham, trombone, guitar, arranger;
George Hunt, Dan Minor, trombone;
Earl Warren, alto saxophone;
Herschel Evans, Lester Young, tenor saxophone;
Jack Washington, baritone saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded August 9,1937
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

05. JUMPIN' AT THE WOODSIDE (3:08)
- W. Basie -

Count Basie and His Orchestra:

Buck Clayton, Harry "Sweets" Edison, Ed Lewis, trumpet;
Dan Minor, Benny Morton, Dicky Wells, trombone;
Earl Warren, alto saxophone;
Herschel Evans, Lester Young, tenor saxophone, clarinet;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded August 22, 1938
Available on CD: The Complete Decca Recordings (GRP GRD-3-6l1)

06. SWINGIN' THE BLUES (2:45)
- E. Durham -

Count Basie and His Orchestra:

Buck Clayton, Harry "Sweets" Edison, Ed Lewis, trumpet;
Dan Minor, Benny Morton, trombone;
Earl Warren, alto saxophone;
Herschel Evans, Lester Young, tenor saxophone, clarinet;
Jack Washington, baritone saxophone, alto saxophone;
Eddie Durham, trombone, arranger
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded February 16, 1938
Available on CD: The Complete Decca Recordings (GRP GRD-3-6l1)

07. BLUE AND SENTIMENTAL (3:11)
- W. Basie - M. David - J. Livingston -

Count Basie and His Orchestra:

Buck Clayton, Harry "Sweets" Edison, Ed Lewis, trumpet;
Eddie Durham, trombone, arranger;
Dan Minor, Benny Morton, trombone;
Earl Warren, alto saxophone;
Herschel Evans, tenor saxophone;
Lester Young, tenor saxophone, clarinet;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded June 6, 1938
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

08. DOGGIN' AROUND (3:03)
- H. Evans -E. Battle -

Count Basie and His Orchestra:

Buck Clayton, Harry "Sweets" Edison, Ed Lewis, trumpet;
Eddie Durham, trombone, guitar;
Dan Minor, Benny Morton, trombone;
Earl Warren, alto saxophone;
Herschel Evans, tenor saxophone, clarinet;
Lester Young, tenor saxophone;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums; Edgar Battle,
Herschel Evans, arrangers

Recorded June 6, 1938
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

09. DARK RAPTURE (2:39)
- B. Goodman - E. Kurtz - E. Sampson -

Count Basie and His Orchestra:

Buck Clayton, Harry "Sweets" Edison, Ed Lewis, trumpet;
Dan Minor, Benny Morton, Dicky Wells, trombone;
Earl Warren, alto saxophone;
Herschel Evans, Lester Young, tenor saxophone;
Jack Washington, baritone saxophone, alto saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums;
Helen Humes, vocal;
Jimmy Mundy or Don Redman, arranger

Recorded November 16, 1938
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

10. CHEROKEE (PARTS 1 AND 2) (6:16)
- R. Noble -

Count Basie and His Orchestra:

Buck Clayton, Shad Collins, Harry "Sweets" Edison, Ed Lewis, trumpet;
Dan Minor, Benny Morton, Dicky Wells, trombone;
Earl Warren, alto saxophone;
Chu Berry, Lester Young, tenor saxophone;
Jack Washington, baritone saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums;
Jimmy Mundy, arranger

Recorded February 3, 1939
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

11. GOIN' TO CHICAGO (3:21)
- W. Basie - J. Rushing -

Count Basie and His Orchestra:

Buck Clayton, trumpet, arranger; Harry "Sweets" Edison, AI Killian, Ed Lewis, trumpet; Ed Cuffee, Dan Minor, Dicky Wells, trombone; Earl Warren, alto saxophone; Tab Smith, alto saxophone, soprano saxophone; Don Byas, Buddy Tate, tenor saxophone; Jack Washington, baritone saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded April 10, 1941

12. JIVE AT FIVE (2:50)
- H. Edison -

Count Basie and His Orchestra:

Buck Clayton, Shad Collins, trumpet;
Harry "Sweets" Edison, trumpet, arranger;
Dicky Wells, trombone;
Lester Young, tenor saxophone;
Jack Washington, baritone saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums

Recorded February 4, 1939
Available on CD: The Complete Decca Recordings (GRP GRD-3-611)

13. 9:20 SPECIAL (3:11)
- E. Warren -

Count Basie and His Orchestra:

Harry "Sweets" Edison, AI Killian, Ed Lewis, trumpet;
Ed Cuffee, Dan Minor, Dicky Wells, trombone;
Earl Warren, alto saxophone;
Tab Smith, alto saxophone, soprano saxophone;
Don Byas, Coleman Hawkins, Buddy Tate, tenor saxophone;
Jack Washington, baritone saxophone;
Freddie Green, guitar;
Walter Page, bass;
Jo Jones, drums;
Jimmy Rushing, vocal;
Buster Harding, arranger

Recorded April 10, 1941
Available on CD: The Essential Count Basie, Vol. 3 (Columbia/Legacy CK 44150)

14. SOFTLY, WITH FEELING (3:05)
- N. Hefti -

Count Basie and His Orchestra:

Wendell Culley, Reunald Jones, Joe Newman, trumpet;
Joe Wilder, flugelhorn, trumpet;
Henderson Chambers,
Henry Coker, Benny Powell, trombone;
Marshal Royal, Ernie Wilkins, alto saxophone;
Frank Foster, Frank Wess, tenor saxophone;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar;
Eddie Jones, bass;
Gus Johnson, drums;
Neal Hefti, arranger;
Add Basie, organ

Recorded December 12, 1953
Available on CD: Jazz 'Round Midnight (Verve 314 527 031-2)

15. CORNER POCKET (5:15)
- F. Green -

Count Basie and His Orchestra:

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman, trumpet;
Henry Coker, Bill Hughes, Benny Powell, trombone;
Bill Graham, Marshal Royal, alto saxophone;
Frank Foster, Frank Wess, tenor saxophone;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar, arranger;
Eddie Jones, bass;
Sonny Payne, drums

Recorded July 26,1955
Available on CD: April in Paris (Verve 314 521 402-2)

16. APRIL IN PARIS (3:48)
- V. Duke - E.Y. Harburg -

Count Basie and His Orchestra:

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman, trumpet;
Henry Coker, Bill Hughes, Benny Powell, trombone;
Bill Graham, Marshal Royal, alto saxophone;
Frank Foster, Frank Wess, tenor saxophone;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar;
Wild Bill Davis, arranger;
Eddie Jones, bass;
Sonny Payne, drums
Basie, spoken interjections

Recorded July 26,1955
Available on CD: April in Paris (Verve 314 521 402-2)

17. EVERY DAY I HAVE THE BLUES (5:27)
- P. Chatman -

Count Basie and His Orchestra:

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman, trumpet;
Henry Coker, Bill Hughes, Benny Powell, trombone;
Bill Graham, Marshal Royal, alto saxophone;
Frank Foster, Frank Wess, tenor saxophone;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar;
Eddie Jones, bass;
Sonny Payne, drums;
Joe Williams, vocal;
Ernie Wilkins, arranger

Recorded May 17, 1955
Available on CD: Count Basie Swings, Joe Williams Sings (Verve 314 519 852-2)

18. SHINY STOCKINGS (5:14)
- F. Foster -

Count Basie and His Orchestra:

Wendell Culley, Reunald Jones, Thad Jones, Joe Newman, trumpet;
Henry Coker, Bill Hughes, Benny Powell, trombone;
Bill Graham, Marshal Royal, alto saxophone;
Frank Wess, tenor saxophone;
Frank Foster, tenor saxophone, arranger;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar;
Eddie Jones, bass;
Sonny Payne, drums

Recorded January 4, 1956
Available on CD: April in Paris (Verve 314 521 402-2)

19. LI'L DARLlN' (4:48)
- N. Hefti -

Count Basie and His Orchestra:

Wendell Culley, Thad Jones, Joe Newman, Snooky Young, trumpet;
Henry Coker, AI Grey, Benny Powell, trombone;
Marshal Royal, alto saxophone;
Frank Wess, flute, alto saxophone;
Eddie "Lockjaw" Davis, Frank Foster, tenor saxophone;
Charlie Fowlkes, baritone saxophone;
Freddie Green, guitar;
Eddie Jones, bass;
Sonny Payne, drums

Recorded October 21, 1957
Available on CD: The Complete Atomic Basie (Blue Note CDP 7 28635)

Some of these tracks were transferred from disc sources. Surface noise is audible.
_____________________________________________________________________

William Basie (Bill, to his friends) was a key figure in the development of the jazz big band. Perhaps of secondary importance was his work as a keyboard player - even Basie was sufficiently modest about this area of activity that he once described himself as a "non-pianist.” But his bands were also a crucial formative experience for many musicians, who would have received less encouragement and less exposure if Basie had promoted his own playing more.

His early career was in fact closely wedded to the piano. Born in Red Bank, New Jersey on August 21,1904, he was taught music by his mother but, living so near to New York City, he soon found an outlet for his interest in jazz. As a teenager, Basie initially wanted to be a drummer but, after being regularly outplayed by Sonny Greer (a fellow New Jerseyite, several years older, who was well on the way to becoming Duke Ellington's percussionist), he decided to concentrate on his first instrument An acquaintance with Fats Waller (only three months his senior) led to informal lessons with him in the art of New York ragtime, known as stride piano.

Just when Bill Basie became "The Count" is a matter of some dispute. But by 1927, after he had played on the road with vaudeville shows and been left high and dry in Kansas City, his business cards told fellow musicians: "Beware, The Count Is Here:'

He too had to beware, for the so-called territory bands based in Kansas City were setting new standards of jazz ensemble playing. The most admired among many competitors were the Blue Devils, led by bassist Walter Page (who was destined to become Basie's right-hand man a decade later), and the band led by Bennie Moten. Basie first joined the Blue Devils and then, despite the inconvenient fact that Moten was a fellow pianist, the Count made himself indispensable by helping out with Moten's band arrangements. As a result, he was soon invited to join as second pianist and deputy musical director.

With Basie's input, the Moten outfit became the leading local band. Its records, featuring such future stars as trumpeter Hot Lips Page and saxophonist Ben Webster, sold far and wide. As "Toby” included in this compilation, makes clear, the Count was highly adept in his sideman role as the featured stride pianist. But when Moten died unexpectedly during a tonsillectomy in 1935, Basie soon found himself at Kansas City's Reno Club as co-leader of a band containing several other ex-Moten musicians.

Fate stepped in again the following year when record producer and general man-behind-the-scenes John Hammond (who had recently boosted the career of clarinetist Benny Goodman) heard this Kansas City group on the radio and quickly supervised Basie's first records and helped him sign up with a powerful entertainment agency. Since Basie's co-leader elected to stay at home, the Count was solely in charge as the band began touring - first nationally and later internationally.

If this process of rising to the top looks somewhat casual, that certainly fits Basie's seemingly laid-back personality. But the musical intelligence evident in his arranging ideas for Moten made all the difference to the way his own band sounded. His hands-off approach allowed for many pieces of music to be created informally on the bandstand and, though "head arrangements" such as "One O'Clock Jump" often seemed no more than a string of solos, the collective enthusiasm of the band members meant that they were constantly thinking of new backings for the soloists. And what soloists they were – the very different tenor saxophonists Lester Young (almost avant garde for the period) and Herschel Evans, and trumpeters Buck Clayton and Harry Edison, who had equally contrasting styles. In that order of appearance, all four are heard on "Swingin' the Blues.”

Even when he had to commission outside arrangers to ensure a flow of new material, the Count showed his aristocratic manner by quietly but firmly editing the scores that were submitted, so that there would be nothing too complex or difficult to play and the band could maintain the relaxed style for which it was noted. Part of this came from the unique rhythm section, with the light but driving sound of drummer Jo Jones permitting the flowing propulsion of guitarist Freddie Green and bassist Walter Page to come through, despite the lack in those days of any amplification whatsoever. Similarly, the leader's formerly busy piano playing had been pared back to the absolute minimum necessary for assisting the band's momentum and its excellent control of volume. Hear, for instance, "Topsy" or the famous "Goin' To Chicago” featuring another one-time member of both the Blue Devils and the Moten band, singer Jimmy Rushing.

Obviously, Basie could not hope to retain these collaborative talents forever (although Jones, Rushing, and Edison remained for the best part of fifteen years and Green stayed with the band beyond the Count's death in 1984). There was also a stylistic hiatus in 1950-51 when economic realities forced Basie to cut his payroll to a mere seven sidemen, but after he reconstituted the big band in 1952, he enjoyed renewed success. "Corner Pocket" (written by Freddie Green), "Shiny Stockings" (by new saxophonist Frank Foster), and "Li'l Darlin'" (by Neal Hefti) soon became standards, while Basie's version of "April in Paris” with its famous false endings, was an instant hit. So too was Basie's treatment of a rhythm & blues number, "Every Day I Have the Blues,” featuring his new singer, Joe Williams, which even appealed to the younger generation. When the band's performances on Alan Freed's teen-oriented TV programs led to criticisms that it was too "old-fashioned" to dance to, the Count commented, "I think people were dancing before rock & roll.”

In addition to enjoying continued popularity, Basie successfully demonstrated that a big band could be flexible as well as powerful, and that it could be a breeding ground for strong soloists such as Buck Clayton and Lester Young. In a word, he epitomized all that was best about the big-band style, and his minimal piano work proved that the band as a whole was always more important than his personal reputation.

Brian Priestley
MAY 2000

Brian Priestley, a pianist and arranger, has written books about Charlie Parker, John Coltrane and Charles Mingus. He is a co-author of Jazz: The Rough Guid (Penguin 2000).
_____________________________________________________________________

Compilation Produced by Ben Young and Richard Seidel
A&R: Steve Berkowitz, Sarah Botstein, Michael Brooks, Ken Burns, Michael Cuscuna, Peter Miller, Seth Rothstein, Lynn Novick, Richard Seidel, and Ben Young
Mastered by Kevin "Caracol 421" Reeves at Universal Mastering-East
Discographical information: Didier Deutsch, Carlos Kase, and Ben Young
Liner notes edited by Peter Keepnews

Photo credits: Archive Photos: outside tray card, p.7; Frank Driggs Collection: front and back covers of booklet, inside tray card, p.9

Courtesy credits: "Toby" courtesy of BMG Entertainment; "Goin' to Chicago," "9:20 Special" courtesy of Sony Music Entertainment Inc,; "Li'l Darlin'" courtesy of Blue Note Records