Composed and Arranged by Jim Martin. Level 4 1/2 (medium/difficult) SUNY Triangle is the big band version of the chart of the same name that was. Big Band Instrumental Charts Big Band arrangements from bands such as Glenn Miller, Tommy Dorsey, Gene Krupa, Woody Herman, Benny Goodman. If you use and like Free-scores.com, thank you to consider.
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. Piano.
Years active 1924–1984 William James ' Count' Basie (August 21, 1904 – April 26, 1984) was an American pianist, organist, bandleader, and composer. His mother taught him to play the piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of.
By age 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. In 1929 he joined 's band in Kansas City, and played with them until Moten's death in 1935. In 1935, Basie formed his own jazz orchestra, the, and in 1936 took them to 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 and, the guitarist, trumpeters and and singers and. Contents. Biography Early life and education William Basie was born to Harvey Lee and Lillian Basie in. 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 wealthy families in the area. Both of his parents had some type of musical background. His father played the, and his mother played the piano; in fact, she gave Basie his first piano lessons.
She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for piano instruction for him. Not much of a student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. He finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the. Though a natural at the piano, Basie preferred drums.
Discouraged by the obvious talents of, who also lived in Red Bank and became 's drummer in 1919, Basie at age 15 switched to piano exclusively. Greer and Basie 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'. 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 at the, and played at the Hong Kong Inn until a better player took his place. Early career Around 1920, Basie went to, a hotbed of jazz, where he lived down the block from the. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, 's early band.
Soon, Basie met many of the Harlem musicians who were 'making the scene,' including and. Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies as part of the Hippity Hop show; on the, the, and the (T.O.B.A.) circuits; and as a soloist and accompanist to singers Katie Krippen and Gonzelle White. His touring took him to, and Chicago. Throughout his tours, Basie met many jazz musicians, including. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. This provided an early training that was to prove significant in his later career. Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its '.'
The place catered to 'uptown celebrities,' and typically the band winged every number without sheet music using 'head arrangements.' He met, 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). As he did with Duke Ellington, Willie 'the Lion' Smith helped Basie out during the lean times by arranging gigs at 'house-rent parties,' introducing him to other leading musicians, and teaching him some piano technique. In 1928, Basie was in and heard and his Famous, one of the first, which featured on vocals. A few months later, he was invited to join the band, which played mostly in Texas and.
It was at this time that he began to be known as 'Count' Basie (see ). Kansas City years The following year, in 1929, Basie became the pianist with the band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or 's. Where the were 'snappier' and more 'bluesy,' the Moten band was more refined and respected, playing in the ' style. In addition to playing piano, Basie was co-arranger with, who notated the music.
Their ', which Basie claimed credit for, was widely acclaimed and was an invaluable contribution to the development of swing music, and at one performance at the in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the 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. 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.
Basie then formed his own nine-piece band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals). The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. During a broadcast the announcer wanted to give Basie’s name some style, so he called him “Count.” Little did Basie know this touch of royalty would give him proper status and position him with the likes of Duke Ellington and Earl Hines.
Basie's new band which included many Moten alumni, with the important addition of tenor player. 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 '.' According to Basie, 'we hit it with the and went into the, 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. John Hammond and first recordings.
Basie and band, with vocalist, from the film (1943) At the end of 1936, Basie and his band, now billed as 'Count Basie and His Barons of Rhythm,' moved from Kansas City to Chicago, where they honed their repertoire at a long engagement at the Grand Terrace Ballroom. 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 Young complained of ' vibrato, Basie placed them on either side of the players, and soon had the tenor players engaged in 'duels'. Many other bands later adapted the split tenor arrangement.
In that city in October 1936, the band had a recording session which the producer later described as 'the only perfect, completely perfect recording session I've ever had anything to do with'. Hammond had heard Basie's band by radio and went to Kansas City to check them out. He invited them to record, in performances which were Lester Young's earliest recordings. Those four sides were released on under the band name of Jones-Smith Incorporated; the sides were 'Shoe Shine Boy', 'Evening', 'Boogie Woogie', and 'Lady Be Good'.
After Vocalion became a subsidiary of in 1938, 'Boogie Woogie' was released in 1941 as part of a four-record compilation album entitled (Columbia album C44). When he made the Vocalion recordings, Basie had already signed with, but did not have his first recording session with them until January 1937. By then, Basie's sound was characterized by a 'jumping' beat and the contrapuntal accents of his own piano. His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), (guitar), (drums), (bass), (alto sax), and (trumpet), and (trombone). Lester Young, known as 'Prez' by the band, came up with nicknames for all the other band members.
He called Basie 'Holy Man', 'Holy Main', and just plain 'Holy'. Basie favored, and he would showcase some of the most notable blues singers of the era after he went to New York:, and. He also hired arrangers who knew how to maximize the band's abilities, such as and.
New York City and the swing years When Basie took his orchestra to New York in 1937, they made the Woodside Hotel in Harlem their base (they often rehearsed in its basement). Soon, they were booked at the for the Christmas show. Basie recalled a review, which said 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'. Compared to the reigning band of, Basie's band lacked polish and presentation. The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards. They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up.
His first official recordings for followed, under contract to agent MCA, including ' and '. Hammond introduced Basie to, whom he invited to sing with the band. (Holiday did not record with Basie, as she had her own record contract and preferred working with small combos). The band's first appearance at the Apollo Theater followed, with the vocalists Holiday and getting the most attention.
Durham returned to help with arranging and composing, but for the most part, the orchestra worked out its numbers in rehearsal, with Basie guiding the proceedings. There were often no musical notations made.
Once the musicians found what they liked, they usually were able to repeat it using their 'head arrangements' and collective memory. Next, Basie played at the, which was noted more for, while the Roseland was a place for and. In early 1938, the was the meeting ground for a 'battle of the bands' with 's group. Basie had Holiday, and Webb countered with the singer. As magazine proclaimed, 'Basie's Brilliant Band Conquers Chick's'; the article described the evening: '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'. The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Soon after, recorded their signature ' with his band. A few months later, Holiday left for 's band. Hammond introduced, whom Basie hired; she stayed with Basie for four years.
When left for 's orchestra, he was replaced. Basie's 14-man band began playing at the Famous Door, a mid-town nightspot with a network feed and, which Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of 1938. Their fame took a huge leap. Adding to their play book, Basie received arrangements from (who had also worked with Benny Goodman and ), particularly for 'Cherokee', 'Easy Does It', and 'Super Chief'. In 1939, Basie and his band made a major cross-country tour, including their first dates. A few months later, Basie quit MCA and signed with the Agency, who got them better fees.
On 19 February 1940, Count Basie and his Orchestra opened a four-week engagement at in Boston, and they broadcast over the radio on 20 February. On the West Coast, in 1942 the band did a spot in Reveille With Beverly, a musical film starring, and a 'Command Performance' for, with Hollywood stars, and the singer.
Other minor movie spots followed, including Choo Choo Swing, Crazy House, Top Man, Stage Door Canteen, and Hit Parade of 1943. They also continued to record for OKeh Records and Columbia Records.
The war years caused a lot of members turn over, and the band worked many play dates with lower pay. Dance hall bookings were down sharply as began to fade, the effects of the and 1948 began to be felt, and the public's taste grew for. Basie occasionally lost some key soloists.
However, throughout the 1940s, he maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists. Post-war and later years The big band era appeared to have ended after the war, and Basie disbanded the group. For a while, he performed in combos, sometimes stretched to an orchestra. In 1950, he headlined the short film.
He reformed his group as a 16-piece orchestra in 1952. Basie credits, a top male vocalist of the time, for prompting his return to Big Band. He said that got them into the club and promoted the new band through recordings on the, and labels. The era had begun, and Basie shared the exposure along with early and 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. Basie added touches of 'so long as it made sense', and he required that 'it all had to have feeling'. Basie's band was sharing Birdland with such bebop greats as, and.
Behind the occasional bebop solos, he always kept his strict rhythmic pulse, 'so it doesn't matter what they do up front; the audience gets the beat'. Basie also added to some numbers, a novelty at the time that became widely copied.
Soon, his band was touring and recording again. The new band included: Paul Campbell, and (trumpet); Jimmy Wilkins, (trombone); and (tenor sax); and (alto sax); and (baritone sax).
Magazine reported, '(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.' In 1957, Basie sued the jazz venue in Miami over outstanding fees, causing the closure of the venue. In 1958, the band made its first European tour. Jazz was especially appreciated in France, The Netherlands, and Germany in the 1950s; these countries were the stomping grounds for many American jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Began to provide arrangements, notably '. 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, and.
In 1957, Basie released the live album. ' (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album. The Basie band made two tours in the British Isles and on the second, they put on a command performance for, along with, and. He was a guest on 's, a venue also opened to several other black entertainers. In 1959, Basie's band recorded a 'greatest hits' double album The Count Basie Story (, arranger) and 'Basie and Eckstine, Inc.' : album featuring Billy Eckstine, (as arranger) and the Count Basie Orchestra.
It was released by Roulette Records, then later reissued by Capitol Records. Later that year, Basie appeared on a television special with, featuring a dance solo to ', followed in January 1961 by Basie performing at one of the five Inaugural Balls.
That summer, Basie and combined forces for the recording First Time! The Count Meets the Duke, each providing four numbers from their play books. Count Basie (left) in concert (Cologne 1975) During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, shows, and travel abroad, including cruises. Some time around 1964, Basie adopted his trademark yachting cap. Through steady changes in personnel, Basie led the band into the 1980s.
Basie made a few more movie appearances, such as the film (1960) and the movie (1974), playing a revised arrangement of 'April in Paris'. During its heyday, (1976–80) used Basie's ' during some episodes, while an NBC stagehand named Eugene Patton would dance on stage; Patten became known as 'Gene Gene, the Dancing Machine'. Marriage and family Basie was a member of Fraternity. On, Basie married Vivian Lee Winn, in Kansas City, Missouri.
They were divorced sometime before 1935. Some time in or before 1935, the now single Basie returned to New York City, renting a house at, Manhattan, as evidenced by the 1940 census. He married Catherine Morgan on 13 July 1940 in the King County courthouse in Seattle, Washington. In 1942, they moved to Queens. The Basies bought a whites-only home in the new neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St.
On April 11, 1983, Catherine Basie died of a heart attack at the couple's home in Freeport, Grand Bahama Island. She was 67 years old. Basie died of in on April 26, 1984 at the age of 79.
Count Basie Albums
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, and 1956's, with ' becoming a huge hit. With Billy Eckstine on the album, in 1959. Made some memorable recordings with Basie, including the 1963 album.
With the 'New Testament' Basie band in full swing, and arrangements written by a youthful, 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, and, the last two also recorded live at Montreux.
In addition to, Basie was using arrangers such as (Kansas City Suite), , and (Basie-Straight Ahead). Recorded for the first time with Basie on 1962's and for a second studio album on 1964's, which was arranged. Jones also arranged and conducted 1966's live which featured Sinatra with Count Basie and his orchestra at the Sands Hotel in Las Vegas. In May 1970, Sinatra performed in London's with the Basie orchestra, in a charity benefit for the. 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'. Basie also recorded with 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. Other notable recordings were with, and.
One of Basie's biggest regrets was never recording with, though they shared the same bill several times. In 1968 Basie and his Band recorded an album with titled 'Manufacturers of Soul'. Legacy and honors.
Count Basie Theatre in Red Bank, New Jersey 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. In his autobiography, he wrote, 'I think the band can really swing when it swings easy, when it can just play along like you are cutting butter.' .
In Red Bank, New Jersey, the, a property on Monmouth Street redeveloped for live performances, and Count Basie Field were named in his honor. Received an Honorary Doctorate from Berklee College of Music in 1974. Mechanic Street, where he grew up with his family, has the honorary title of Count Basie Way. In 2009, Edgecombe Avenue and 160th Street in, were renamed as Paul Robeson Boulevard and Count Basie Place.
The corner is the location of 555 Edgecombe Avenue, also known as the, a where Count Basie had also lived. In 2010, Basie was inducted into the.
In October 2013, version 3.7 of was code-named Count Basie. Representation in other media. used 'Blues in Hoss' Flat' from Basie's album, as the basis for his own 'Chairman of the Board' routine in the movie. 'Blues in Hoss' Flat,' composed by Basie band member Frank Foster, was used by the radio DJ Al 'Jazzbeaux' Collins as his theme song in San Francisco and New York. In (1992), 's 'Pigeon Lady' character claims to have heard Basie in. Drummer of the Canadian rock band recorded a version of 'One O'Clock Jump' with the, and has used it at the end of his drum solos on the 2002 and Rush's. Since 1963 'The Kid From the Red Bank' has been the theme and for the most popular radio show, Reiseradioen, aired at every day during the summer.
Discography The majority of Basie's recordings were made with his big band, see. ^ Wilson, John S. (April 27, 1984). Retrieved 2011-10-22. Basie Centennial Ball. Basie, Count (2000).
Good Morning Blues: The Autobiography of Count Basie. Paladin Grafton Books. Count Basie (1985), Good Morning Blues, p. 26.
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Ella Fitzgerald: A Biography of the First Lady of Jazz, Updated Edition. London: Routledge. Toward the end of 1937, Ella moved again, this time to the Woodside Hotel at 2424 Seventh Avenue at 142nd Street, to be close to Jo Jones, the drummer from the Count Basie band. The band had recently hit town and was playing the Roseland Ballroom, and most of its members were staying at the Woodside.
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