Label: Verve Records - 3.707 S • Format: Vinyl LP, Album • Country: France & Benelux • Genre: Jazz • Style: Swing
The Count Basie Orchestra is a 16 to 18 piece big bandone of the most prominent jazz performing groups of the swing erafounded by Count Basie in and recording regularly from Despite a brief disbandment at the beginning of the s, the band survived long past the Big Band era itself and the death of Basie in It continues as a ' ghost band '. Originally including such musicians as Buck Clayton and Lester Young in the line-up, the band in the s and s made use of the work of such arrangers as Neal Hefti and featured musicians such as Thad Jones and Eddie "Lockjaw" Davis.
Its recordings of this era included collaborations with singers such as Frank Sinatra and Ella Fitzgerald. Upon Moten's death inBasie left the group to start his own band, taking many of his colleagues from the Moten band with him. With this band, then named The Barons of Rhythm, Basie brought the sound of the famous and highly competitive Kansas City " jam session " to club audiences, coupling extended improvised solos with riff -based accompaniments from the band.
When music critic and record producer John Hammond heard the band on a radio broadcast, he sought them out and offered Basie the chance to expand the group to the standard piece big band line-up.
He also offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band, he Zip! (a) - Keith Mansfield - Future Positive retain the freedom and spirit of the Kansas City style of his nine-piece group.
The band, which now included Buck Clayton on trumpet and the famous blues "shouter" Jimmy Rushingdemonstrated this style in their first recordings with the Decca label in January in pieces such as "Roseland Shuffle", the soloists are at the foreground, with the ensemble effects and riffs playing a strictly functional backing role.
Following the first recording session, the band's line up was reshuffled, with some of players being replaced on the request of Hammond as part of a strengthening of the band.
In March the guitarist Freddie Green arrived, replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history. Hits such as " One O'Clock Jump " and "Jumpin' at the Woodside" from andrespectively helped to gain the band, now known as the Count Basie Orchestra, national and international fame. These tunes were known as "head-arrangements"; not scored in individual parts but made up of riffs memorized by the band's members.
Although some of the band's players, such as trombonist Eddie Count Basie - More Hits Of The 50s And 60s contributed their own written arrangements at this time, the "head-arrangements" captured the imagination of the audience in New York and communicated the spirit of the band's members.
InHelen Humes joined the group, replacing Billie Holiday as the female singer. The band became increasingly dependent on arrangers to provide its music. These varied from players within the band, such as Eddie Durham and Buck Claytonto professional arrangers from outside the group, who could bring their own character to the band with each new piece.
External arranger Andy Gibson brought the band's harmonic style closer to the forward-looking music of Duke Ellington, with arrangements from such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music. Tab Smith contributed important I Was Born To Be Loved - Righteous Flames* - I Was Born To Be Loved at this time, such as "Harvard Blues", and others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group's repertoire.
But the many new arrangements led to a gradual change in the band's sound, distancing the group musically from its Kansas City roots. Rather than the music being built around the soloists with memorised head arrangements and riffs, the group's sound at this time became more focused on ensemble playing; closer to the traditional East Coast big band sound.
This can be attributed to the increasing reliance on arrangers to influence the band with their music. It suggested that Basie's ideal of a big band-sized group with the flexibility and spirit of his Theme From TV Series Ironside - The Dave Shaw Ten* - Themes Kansas City 8-piece was not to last.
During the World War II years, some of the key members of the band left: the drummer Jo Jones and tenor saxophone player Lester Young were both conscripted inleading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists, including Illinois JacquetPaul Gonsalves and Lucky Thompson. The musicologist Gunther Schuller has said that when Jo Jones left, he took some of the smooth, relaxed style of the band with him. Replacements such as Sonny Paynedrummed much louder and raised the dynamic of the band to a "harder, more clamorous brass sound.
Despite taking on soloists from the next generation such as Wardell GrayBasie was forced to temporarily disband the group for a short period inbefore dispersing again for two years in For these two years, Basie led a reduced band of between 6 and 9 people, featuring more new players such as Buddy RichSerge Count Basie - More Hits Of The 50s And 60s and Buddy DeFranco. Basie reformed the jazz orchestra in for a series of tours, not only in the United States, but also in Europe in and Japan in All relied on contributions from arrangers, some of whom are now synonymous with the Basie band: Neal HeftiQuincy Jones and Sammy Nestico.
Michael G. Nastos wrote of the recording with Eckstine:. 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. 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 s and odel bass - Various - 5 Years Ov Spheredelic.
Part 1 s. Whereas previously the emphasis had been on providing space for exemplary soloists such as Lester Young and Buck Claytonnow the Count Basie - More Hits Of The 50s And 60s had shifted to the arrangements, despite the presence of soloists such as trumpeter Thad Jones and saxophonist Frank Foster.
This orchestral style continues as the typical sound of the band up to the present day, which has been criticized Count Basie - More Hits Of The 50s And 60s some musicologists. In his book Jazz HeritageWilliams wrote the following about a recording: ". And that fact adds an irony to a distinguished career, for it was not always such.
The Count Basie Orchestra continued releasing recordings and albums So Lazy - Lazy Poker Blues Band - Still Lazy Basie's death in For example, Basie is Back features new recordings of classic tunes from the Basie Orchestra's catalog, including the band's early hit " One O'clock Jump, " and "April in Paris.
The band is currently under the direction of trumpeter Scotty Barnhart. Count Basie . Thad Jones . Frank Foster . Grover Mitchell . Bill Hughes Sept. Dennis Mackrel . Scotty Barnhart present .
For recordings by Count Basie without his big band, see Count Basie discography. From Wikipedia, the free encyclopedia. This article needs additional citations for verification. Please help improve this article by adding citations to reliable sources. Unsourced material may be challenged and removed. Illinois: University of Illinois Press, Summer The Swing Era. Oxford: Oxford University Press, p. Retrieved Count Basie Orchestra. Count Basie.
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