"Well this, ladies and gentlemen, just about winds up our little session. All the gang and myself, we sincerely hope you've enjoyed it as much as we've enjoyed working for you. It's been swell, and you're just wonderful again, so 'til we meet again, thanks a million again, and invite us again back soon, very shortly, I hope, so we meet again. Good evening!" - Count Basie
This is a stiff and plodding version. Benny Goodman's, for the 1955 movie is light and swinging and is, for me, the definitive version. Having Hymie Schertzer leading the saxophone section made all the difference. Count's 1930s rhythm section, with Walter Page, Freddie Green (seen here) and Jo Jones, was the best every in the swing style. The bass player here is too staccato, and I would have called for a rehearsal.
@@jeanhodgson8623 do you mean this one ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-utfwhkDmM1g.html you're not serious. Not that precise by far (total chaos behind the tb solo) and absolutely annoying at about 4 minutes. I also don't know how Goodman got the title King of swing, there were completely different ones before him.
The big band era was awesome and gave birth to many great legendary bands, but the CBO was the best. I'm 52 years old but hadn't played in a band since high school, yet Thursday evening I auditioned for the GC Swing Band, a 17 piece ensemble. I was nervous, but I guess they liked what I did because they invited me back. I'm the new rhythm guitarist for the group. I'm on cloud-9!!!
This was filmed a year before I was born and my folks were always playing Count Basie when I was growing up. My favorite, I can watch this video over and over. Just fantastic
Between him and “Q” Quincy Jones and Billy May, BEST arrangers that ever EXISTED. My Father was a Big band Drummer back in the days, I was raised on these “cats” and from “My lips to gods ears” I did get to meet a “FEW” as a little guy. My father said there were only 1 other Drummer that had the feel for “Sir Count” and that was Sonny Payne. He passed away so so Young.
This is the most PERFECT playing ever. These musicians are tight, in tune, on tempo, in sync and you can hear every instrument. True talent and skill. Practice, gifting and great honor in what they did. So good to be able to hear and see this wonderful music from a very difficult time - from WWII to still swinging now!! Yes, Basie's band continues on.
Actually, Bill was a freemason, that is, involved in satan worship. I saw a 5-hour video by a guy who escaped from it. That is a big problem for me. But his 1930s rhythm section was the best swing one.
He was humble. I had the good fortune of hearing his band play in his hometown of KCMO, and during a break I told him while he was sitting at the piano how much I enjoyed his music. He replied with a simple "Thank you." I will always remember that concert in the early 1980's.
I listen to all types of jazz. I love a very wide range of music (including classical and opera). Somehow though, I always come back to Count Basie. Hard swing and also the only big band to be able to really play the blues.
My Father worked with some of the Best back in day (To many to list) My was Father was Big Band drummer. But my Father always LOVEED Count Basie, Not only for his Music & Arraignment’s but the “Discipline” that he made his Band members keep. The Members never “Wandered” and read each chart to the note.
Бейси Великолепный кланяется как Чичиков -- несколько набок. Excuse me guys, I don't know how to say it in English, it is Russian classics. But this is respect and admiration.
Do you remember how you would feel when Basie's band ended a set with One O'Clock Jump? Here's a sample, extended a bit to fill the remaining T.V. time during a BBC Four Show in London on September 18, 1965. After Basie quiets the band with a slight gesture, he makes his warm farewell, an the band plays a longer-than-usual vamp and out-chorus; Basie conducts Charlie Fowlkes playing Basie's little 'plink-plink-plink' on the bari sax at the end. Count Basie and his Orchestra: Al Aarons, Sonny Cohn, Wallace Davenport, Phil Guilbeau: tp/ Henderson Chambers, Al Grey, Grover Mitchell: tb/ Bill Hughes bass tb/ Bobby Plater as, fl/ Marshall Royal as, cl/ Eric Dixon ts, fl/ Eddie "Lockjaw" Davis ts/ Charlie Fowlkes bari sax/ Count Basie (leader) p/ Freddie Green g/ Norman Keenan b/ Rufus ‘Speedy’ Jones drums.
Cela fait quarante ans que j'ai découvert et aime LE Jazz, ce jazz qui swing sous le talent du Duke, de Lionel Hampton, du Count de Basie, de Louis Arsmtrong ... membre du Hot Club de Limoges entre les années 80 et 2000, j'ai eu la chance de participer aux réunions hebdomadaires organisées par et chez Jean Marie Masse* chaque samedi soir avec une quinzaine d'autres 'fidèles' du pape du jazz limougeaud*, il m'a fait découvrir tous les grands jazzmen noirs américains dont Duke Ellington dont ce disque d'anthologie enregistré en 1957 et en direct un vendredi soir à Carroltown, ce soir là l'orchestre du Duke était tellement décontracté que cela s'entend et se perçoit à l'écoute de l'album. un album mythique, un album d'anthologie, j'oserais même dire l'ALBUM de Duke. __ ALL STAR ROAD BAND VOLUME 1 : _ Duke Ellington - Take The A Train ( Live 1957 ) . . . ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tvrOVCwUzLc.html _ Take The A Train (Ray Nance Vocal) ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-_KJ31bS7hEI.html _ Diminuendo and Crescendo in Blue ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-1GtYfG577MQ.html _ Stardust ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-tQjO6KjxDAo.html _ On The Sunny Side Of The Street ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-AseoBpZPbGI.html _ Jeep's Blues ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-FBd2UZkvjxE.html - Sophisticated Lady ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-qn-x3b0URm4.html - Mood Indigo ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-ricN32SsQj0.html - Perdido ( Live 1957 ) ru-vid.com/video/%D0%B2%D0%B8%D0%B4%D0%B5%D0%BE-h5HN3vfF9SY.html
Few know that Count Basie had an extraordinary piano technique that feared neither the touch of Horowitz nor the agility of Art Tatum. But he was so humble and attentive to the calculation of the notes, to put the quality of the orchestra in the foreground without ever letting the piano prevail. In this, don't get me wrong, he was superior to Duke Ellington, without wanting to take anything away from the latter's great creativity
Basie took a laid-back approach to his piano playing in his middle and later years, but in his younger day he was a helluva stride piano player. That swing style that became his trademark was developed when he was in Kansas City playing piano for the Moten Orchestra. After Moten died, Basie took over the orchestra, changed his name from Bill to Count Basie, and moved the band back east to NYC. Kansas City was the swingingest place on the planet in the 1920s/30s, even more than NYC. KC never implemented the prohibition laws, and promoted all-night vice and partying as its main attraction. So many clubs, so much great jazz and blues, and so many great musicians came out of KC...Basie, Charley Parker, Lester Young, and so on.
Anyone know the history on the ending of this chart? The ending here is not the ending on the original, and is still omitted in some current versions. Just curious.
The story I read was Count Basie had a Saturday night radio show in Kansas City from 10 pm-1 am and one night the show was running fast and there was five more minutes to fill. The announcer asked Basie what he had planned to wind up the show and Basie said they had one more number that wasn’t finished but they’d play it if the audience wanted to hear it. When asked what the number was called, Basie looked at the clock and said “we call this the One O’clock Jump.” It’s such a great story I hope it’s true 😃
