Buck Clayton, Harry "Sweets" Edison, Ed Lewis (tp) Dan Minor, Benny Morton, Dicky Wells (tb) Earl Warren (as) Herschel Evans, Lester Young (ts) Jack Washington (as,bs) Count Basie (p) Freddie Green (g) Walter Page (b) Jo Jones (ds) Helen Humes (vcl-1) Jimmy Rushing (vcl-2) band vcl-3
1938-07-03 (mostly here as MP3)
Famous Door(?) New York, NY (USA)
One O'Clock Jump (Count Basie)
Every Tub (Count Basie-Eddie Durham)
Song of the Wanderer (N. Moret)
Flat Foot Floogie (Slim Gaillard-Slam Stewart-Bud Green)
Lady Be Good (George Gershwin-Ira Gershwin)
Boogie Woogie Blues (Clarence Smith)
One O'Clock Jump (Count Basie)
I Let a Song Go Out of My Heart (Duke Ellington)
One O'clock jump (Count Basie)
Notes:
The contribution is missing the final two titles, "I Let a Song..." and "One O'Clock Jump".
The other half of the contribution is here (1937).
I might post this as FLAC later.
1937
Buck Clayton, Joe Keyes, Carl Smith (tp), George Hunt, Dan Minor (tb), Caughey Roberts (as,cl), Herschel Evans, Lester Young (ts), Jack Washington (as/bs), Count Basie (p), Claude Williams (g,vln), Walter Page (b), Jo Jones (ds), Jimmy Rushing (vcl)
1937-02-08
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE Radio Broadcast (Mutual Broadcasting System)
Leslie Williams (mc), around 11 pm for dancers
1. Oh! Lady Be Good (George Gershwin-Ira Gershwin) 4:44
Basie, p (intro); Basie, p; Evans, ts; Williams, vln; Smith, tp
2. St. Louis Blues (W.C. Handy, arr. Fletcher Henderson) 5:29
Basie, p (intro); Keyes, tp; Hunt, tb; Rushing, voc; Rushing, voc w/Evans, ts obbligato; Young, ts; Smith, tp; Clayton, tp; Basie, p; Williams, vln; Roberts, as
3. Moten Swing (theme) (inc) (Bennie Moten, head arr.) 0:09
Basie, p (intro); Young, ts
4. Shoe Shine Swing [Roseland Shuffle] (Count Basie, arr. Fletcher Henderson) 2:11
Basie, p; Young, ts; Basie, p; Basie, p/Young, ts (4/4)
5. Moten Swing (theme) (Bennie Moten, head arr.) 1:36
Basie, p (intro); Young, ts; Basie, p w/band
1937-02-10
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE-Mutual Broadcast, around 11 pm for dancers
1. Moten Swing (theme) (Bennie Moten, head arr.) 1:00
Basie, p (intro); Young (ts)
2. King Porter Stomp (Jelly Roll Morton, arr. Fletcher Henderson) 2:54
Clayton, tp; Evans, ts; Clayton, tp; Hunt, tb
3. I'll Always Be In Love With You (Herman Ruby-Bud Green-Sam Stept) 252
Basie, p (intro); Basie, p; Smith, tp; Young, ts; Jones, d
4. You Do the Darndest Things, Baby (L. Pollack-S.D. Mitchell) 3:17
Basie, p; Rushing, voc; Clayton, tp; Evans, ts; Clayton, tp; Basie, p
5. Swinging at the Daisy Chain (Count Basie) 4:09
Basie, p (intro); Young, ts; Clayton, tp; Evans, ts; Basie, p; Page, b break; Jones, d; Basie, p; Page, b; Jones, d; Clayton, tp
6. Riffin' [Rug Cutter's Swing] (Fletcher or Horace Henderson, arr. Fletcher Henderson) 3:25
Smith, tp; Young, ts; Smith, tp break; Young, ts break; Hunt, tb break; Jones, d break
7. Yeah! Man (inc) (Robinson-Noble Sissle, arr. Horace Henderson) 2:24
Washington, bs; Clayton, tp; Young, ts
1937-02-12
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE-Mutual Broadcast, around 11 pm for dancers
1. Oh! Lady Be Good (George Gershwin-Ira Gershwin, head arr.) 3:18
Basie, p (intro); Evans, ts; Smith, tp
2. Tattersfield Stomp (arr. Fletcher Hederson) 2:35
Young, ts; Basie, p; Young, ts; Smith, tp; Minor, tb; Basie, p; Basie p break; Young, ts break, Washington, bs
missing: Magnolias in the Moonlight (inc)
Buck Clayton, Ed Lewis, Bobby Moore (tp), Eddie Durham, Dan Minor, Benny Morton (tb), Earl Warren (as), Herschel Evans (ts), Lester Young (ts,cl), Jack Washington (as,bs), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (ds), Jimmy Rushing (vcl-1), Billie Holiday (vcl-2)
1937-11-03 (mostly here as MP3)
Meadowbrook Ballroom, Cedar Grove, NJ (USA)
Moten Swing (Bennie Moten, arr. Buck Clayton)
One O'Clock Jump (Count Basie, head arr.)
I Can't Get Started (Vernon Duke-Ira Gershwin, arr. Clayton)
A Study in Brown (Larry Clinton, arr. Fletcher Henderson)
I Got Rhythm in My Nursery Rhymes (-1)
John's Idea (Count Basie, arr. Bobby Durham)
Good Morning Blues (-1) (Count Basie-Eddie Durham-Jimmy Rushing, arr. Durham)
Dinah (-1) (Henry Akst-Sam Lewis-Joe Young)
Notes:
The contribution is missing: I Can't Get Started (-2)
The other part of the contribution is here (1938).
I might post this as FLAC eventually as well!
1937-02-08
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE Radio Broadcast (Mutual Broadcasting System)
Leslie Williams (mc), around 11 pm for dancers
1. Oh! Lady Be Good (George Gershwin-Ira Gershwin) 4:44
Basie, p (intro); Basie, p; Evans, ts; Williams, vln; Smith, tp
2. St. Louis Blues (W.C. Handy, arr. Fletcher Henderson) 5:29
Basie, p (intro); Keyes, tp; Hunt, tb; Rushing, voc; Rushing, voc w/Evans, ts obbligato; Young, ts; Smith, tp; Clayton, tp; Basie, p; Williams, vln; Roberts, as
3. Moten Swing (theme) (inc) (Bennie Moten, head arr.) 0:09
Basie, p (intro); Young, ts
4. Shoe Shine Swing [Roseland Shuffle] (Count Basie, arr. Fletcher Henderson) 2:11
Basie, p; Young, ts; Basie, p; Basie, p/Young, ts (4/4)
5. Moten Swing (theme) (Bennie Moten, head arr.) 1:36
Basie, p (intro); Young, ts; Basie, p w/band
1937-02-10
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE-Mutual Broadcast, around 11 pm for dancers
1. Moten Swing (theme) (Bennie Moten, head arr.) 1:00
Basie, p (intro); Young (ts)
2. King Porter Stomp (Jelly Roll Morton, arr. Fletcher Henderson) 2:54
Clayton, tp; Evans, ts; Clayton, tp; Hunt, tb
3. I'll Always Be In Love With You (Herman Ruby-Bud Green-Sam Stept) 252
Basie, p (intro); Basie, p; Smith, tp; Young, ts; Jones, d
4. You Do the Darndest Things, Baby (L. Pollack-S.D. Mitchell) 3:17
Basie, p; Rushing, voc; Clayton, tp; Evans, ts; Clayton, tp; Basie, p
5. Swinging at the Daisy Chain (Count Basie) 4:09
Basie, p (intro); Young, ts; Clayton, tp; Evans, ts; Basie, p; Page, b break; Jones, d; Basie, p; Page, b; Jones, d; Clayton, tp
6. Riffin' [Rug Cutter's Swing] (Fletcher or Horace Henderson, arr. Fletcher Henderson) 3:25
Smith, tp; Young, ts; Smith, tp break; Young, ts break; Hunt, tb break; Jones, d break
7. Yeah! Man (inc) (Robinson-Noble Sissle, arr. Horace Henderson) 2:24
Washington, bs; Clayton, tp; Young, ts
1937-02-12
Chatterbox Room, William Penn Hotel, Pittsburgh, PA (USA)
WCAE-Mutual Broadcast, around 11 pm for dancers
1. Oh! Lady Be Good (George Gershwin-Ira Gershwin, head arr.) 3:18
Basie, p (intro); Evans, ts; Smith, tp
2. Tattersfield Stomp (arr. Fletcher Hederson) 2:35
Young, ts; Basie, p; Young, ts; Smith, tp; Minor, tb; Basie, p; Basie p break; Young, ts break, Washington, bs
missing: Magnolias in the Moonlight (inc)
Buck Clayton, Ed Lewis, Bobby Moore (tp), Eddie Durham, Dan Minor, Benny Morton (tb), Earl Warren (as), Herschel Evans (ts), Lester Young (ts,cl), Jack Washington (as,bs), Count Basie (p), Freddie Green (g), Walter Page (b), Jo Jones (ds), Jimmy Rushing (vcl-1), Billie Holiday (vcl-2)
1937-11-03 (mostly here as MP3)
Meadowbrook Ballroom, Cedar Grove, NJ (USA)
Moten Swing (Bennie Moten, arr. Buck Clayton)
One O'Clock Jump (Count Basie, head arr.)
I Can't Get Started (Vernon Duke-Ira Gershwin, arr. Clayton)
A Study in Brown (Larry Clinton, arr. Fletcher Henderson)
I Got Rhythm in My Nursery Rhymes (-1)
John's Idea (Count Basie, arr. Bobby Durham)
Good Morning Blues (-1) (Count Basie-Eddie Durham-Jimmy Rushing, arr. Durham)
Dinah (-1) (Henry Akst-Sam Lewis-Joe Young)
Notes:
The contribution is missing: I Can't Get Started (-2)
The other part of the contribution is here (1938).
I might post this as FLAC eventually as well!
Count Basie And His Orchestra 1937/1938
Here's another contribution from Kent - thanks a lot!
This LP unites two broadcasts from 1937 and 1938, respectively. Check the two respective entries for further detail!
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01 Moten Swing (Theme) 1:10
02 One O'Clock Jump 4:33
03 Study In Brown 2:50
04 Rhythm In My Nursery Rhymes 2:26
05 John's Idea 4:57
06 Good Morning Blues 2:49
07 Dinah 2:50
Buck Clayton, Ed Lewis, Bobby Hicks, tpts; Benny Morton, Dan Minor, tbns; Earl Warren, as; Jack Washingtn, as, bars; Herschel Evans, Lester Young, cl, ts; Count Basie, p, ld; Freddy Green, g; Eddie Durham, tb, g; Walter Page, b; Jo Jones, d; Jimmy Rushing, voc
"Meadowbrook Ballroom", Cedar Grove, NJ, November 1937
08 One O'Clock Jump (Theme) 2:00
09 Every Tub 3:03
10 Song Of The Wanderer 2:36
11 Flat Foot Floogie 4:33
12 Lady Be Good 3:27
13 Boogie Woogie Blues 3:15
14 One O'Clock Jump (Closing Theme) 6:13
Buck Clayton, Ed Lewis, Harry 'Sweets' Edison, tpts; Dicky Wells, Benny Morton, Dan Minor, tbns; Earl Warren, as; Jack Washingtn, as, bars; Herschel Evans, Lester Young, cl, ts; Count Basie, p, ld; Freddy Green, g; Eddie Durham, tb, g; Walter Page, b; Jo Jones, d; Helen Humes, Jimmy Rushing, voc
"Famous Door", NY, July 1938
Note from Kent: I left the LP quasi intact. If you'd import it to iTunes, you can listen to it in a row. In case you should burn it on CD, chose 0 seconds between the tracks.
mp3@160, VBR-mono
This LP unites two broadcasts from 1937 and 1938, respectively. Check the two respective entries for further detail!
.jpg)
01 Moten Swing (Theme) 1:10
02 One O'Clock Jump 4:33
03 Study In Brown 2:50
04 Rhythm In My Nursery Rhymes 2:26
05 John's Idea 4:57
06 Good Morning Blues 2:49
07 Dinah 2:50
Buck Clayton, Ed Lewis, Bobby Hicks, tpts; Benny Morton, Dan Minor, tbns; Earl Warren, as; Jack Washingtn, as, bars; Herschel Evans, Lester Young, cl, ts; Count Basie, p, ld; Freddy Green, g; Eddie Durham, tb, g; Walter Page, b; Jo Jones, d; Jimmy Rushing, voc
"Meadowbrook Ballroom", Cedar Grove, NJ, November 1937
08 One O'Clock Jump (Theme) 2:00
09 Every Tub 3:03
10 Song Of The Wanderer 2:36
11 Flat Foot Floogie 4:33
12 Lady Be Good 3:27
13 Boogie Woogie Blues 3:15
14 One O'Clock Jump (Closing Theme) 6:13
Buck Clayton, Ed Lewis, Harry 'Sweets' Edison, tpts; Dicky Wells, Benny Morton, Dan Minor, tbns; Earl Warren, as; Jack Washingtn, as, bars; Herschel Evans, Lester Young, cl, ts; Count Basie, p, ld; Freddy Green, g; Eddie Durham, tb, g; Walter Page, b; Jo Jones, d; Helen Humes, Jimmy Rushing, voc
"Famous Door", NY, July 1938
Note from Kent: I left the LP quasi intact. If you'd import it to iTunes, you can listen to it in a row. In case you should burn it on CD, chose 0 seconds between the tracks.
mp3@160, VBR-mono
Freddie Webster 1941-1947 (Compilation)
Another contribution from generous Kent, dedicated to trumpet player Freddie Webster.
Read some more here:
http://www.danmillerjazz.com/webster.html
Tracks and basic credits:
Earl Hines & His Orchestra, 1941:
01 Windy City Jive 2:52
02 Swingin' On C 3:09
03 Yellow Fire 3:03
Louis Jordan & His Tympani Five, 1941:
04 Brotherly Love 3:00
05 Saxa-Woogie 2:36
Jimmy Lunceford & His Orchestra, 1942:
06 Knock Me A Kiss 3:00
07 Bust Out 1:40
Lucky Millinder & His Orchestra, 1942:
08 I Want A Tall Skinny Papa 2:51
09 Savoy 3:02
Benny Carter & His Orchestra, 1943:
10 Rose Room 3:00
11 Sweet Georgia Brown 2:30
Jimmy Lunceford & His Orchestra, 1944:
12 Yesterdays 5:44
13 Minor Riff 2:49
Miss Rhapsody, 1945:
14 He May Be Your Man 2:56
15 The Night Before Judgement Day 2:53
16 I Fell For You 3:00
Frank Socolow Quintet, 1945:
17 Reverse The Charges 2:49
18 The Man I Love 3:16
19 September In The Rain 2:46
Sarah Vaughan, 1946:
20 If You Could See Me Now 2:50
21 I Can Make You Love Me If You'll Let Me 3:07
22 You're Not The Kind Of A Boy 2:46
23 My Kinda Love 2:38
24 Tenderly (1947) 3:02
Read some more here:
http://www.danmillerjazz.com/webster.html
Tracks and basic credits:
Earl Hines & His Orchestra, 1941:
01 Windy City Jive 2:52
02 Swingin' On C 3:09
03 Yellow Fire 3:03
Louis Jordan & His Tympani Five, 1941:
04 Brotherly Love 3:00
05 Saxa-Woogie 2:36
Jimmy Lunceford & His Orchestra, 1942:
06 Knock Me A Kiss 3:00
07 Bust Out 1:40
Lucky Millinder & His Orchestra, 1942:
08 I Want A Tall Skinny Papa 2:51
09 Savoy 3:02
Benny Carter & His Orchestra, 1943:
10 Rose Room 3:00
11 Sweet Georgia Brown 2:30
Jimmy Lunceford & His Orchestra, 1944:
12 Yesterdays 5:44
13 Minor Riff 2:49
Miss Rhapsody, 1945:
14 He May Be Your Man 2:56
15 The Night Before Judgement Day 2:53
16 I Fell For You 3:00
Frank Socolow Quintet, 1945:
17 Reverse The Charges 2:49
18 The Man I Love 3:16
19 September In The Rain 2:46
Sarah Vaughan, 1946:
20 If You Could See Me Now 2:50
21 I Can Make You Love Me If You'll Let Me 3:07
22 You're Not The Kind Of A Boy 2:46
23 My Kinda Love 2:38
24 Tenderly (1947) 3:02
Tadd Dameron's Big Ten - Dial "D & T" for "Dameron & Trumpets" - 1949/1953
This is a terrific contribution compiled and shared by Kent - thanks a lot!
This deserves being exposed not only on the main blog but here, too!
I'm a big fan of Tadd Dameron's and have his official releases (the Navarro/Dameron Blue Note 2CD set and all the OJCs), as well as three of those Boris Rose LPs. But I'm no good as far as digitizing vinyl goes, so this is very, very much appreciated!
Some further reading:
AAJ's biography
Part 30 of "Jazzed in Cleveland" by Joe Mosbrook
"I Remember Tadd" by George Ziskind
Tadd Dameron's Big Ten - Dial "D & T" for "Dameron & Trumpets" - 1949/1953
The Fats-Navarro-Sides (1949):
01 Sid's Delight aka Tadd's Delight (studio) 2:53
02 Casbah (Rae Pearl-voc, studio) 2:59
With Miles Davis - Broadcasts from the "Royal Roost":
03 Focus (live) 3:57
04 April In Paris 2:57
05 Good Bait (Take 23) 3:30
06 Webb's Delight aka Tadd's or Sid's Delight 3:44
07 Milé or Miles aka Milano) 3:40
08 Casbah (live) 3:42
With Miles Davis - Studio Date:
09 John's Delight 2:56
10 What's New? (Kay Penton-voc) 2:59
11 Heaven's Doors Are Open Wide (Kay Penton-voc) 3:16
12 Focus (studio) 2:57
Dial "B" For Brownie (1953):
13 Philly J. J. 5:08
14 Choose Now (#1) 4:52
15 Choose Now (#2) 3:25
16 Dial 'B' For Beauty 4:33
17 Theme Of No Repeat 5:19
Credits:
#1-#2: Fats Navarro (tp) Kai Winding (tb) Sahib Shihab (as) Dexter Gordon (ts) Cecil Payne (bars) Tadd Dameron (p) Curly Russell (b) Kenny Clarke (d) Vidal Balado (cga) Diego Iborra (bgo) Rae Pearl (voc) - NYC, January 18, 1949;
#3-#6: Miles Davis (tp) Kai Winding (tb) Sahib Shihab (as) Benjamin Lundy (ts) Cecil Payne (bars) Tadd Dameron (p) John Collins (g) Curly Russell (b) Kenny Clarke (d) Carlos Vidal (cga), radio broadcast, "Royal Roost" - NYC, February 19, 1949;
#7-#8: Same personnel, radio broadcast, "Royal Roost" - NYC, February 26, 1949;
#9-#12: Miles Davis (tp) J.J. Johnson (tb) Sahib Shihab (as) Benjamin Lundy (ts) Cecil Payne (bars) Tadd Dameron (p, arr) John Collins (g) Curly Russell (b) Kenny Clarke (d) Kay Penton (voc #10 & #11) - NYC, April 19, 1949;
#13-#17: Clifford Brown, Idrees Sulieman (tp) Herb Mullins (tb) Gigi Gryce (as) Benny Golson (ts) Oscar Estell (bars) Tadd Dameron (p, arr) Percy Heath (b) Philly Joe Jones (d) - NYC, June 11, 1953
This deserves being exposed not only on the main blog but here, too!
I'm a big fan of Tadd Dameron's and have his official releases (the Navarro/Dameron Blue Note 2CD set and all the OJCs), as well as three of those Boris Rose LPs. But I'm no good as far as digitizing vinyl goes, so this is very, very much appreciated!
Some further reading:
AAJ's biography
Part 30 of "Jazzed in Cleveland" by Joe Mosbrook
"I Remember Tadd" by George Ziskind
Tadd Dameron's Big Ten - Dial "D & T" for "Dameron & Trumpets" - 1949/1953
The Fats-Navarro-Sides (1949):
01 Sid's Delight aka Tadd's Delight (studio) 2:53
02 Casbah (Rae Pearl-voc, studio) 2:59
With Miles Davis - Broadcasts from the "Royal Roost":
03 Focus (live) 3:57
04 April In Paris 2:57
05 Good Bait (Take 23) 3:30
06 Webb's Delight aka Tadd's or Sid's Delight 3:44
07 Milé or Miles aka Milano) 3:40
08 Casbah (live) 3:42
With Miles Davis - Studio Date:
09 John's Delight 2:56
10 What's New? (Kay Penton-voc) 2:59
11 Heaven's Doors Are Open Wide (Kay Penton-voc) 3:16
12 Focus (studio) 2:57
Dial "B" For Brownie (1953):
13 Philly J. J. 5:08
14 Choose Now (#1) 4:52
15 Choose Now (#2) 3:25
16 Dial 'B' For Beauty 4:33
17 Theme Of No Repeat 5:19
Credits:
#1-#2: Fats Navarro (tp) Kai Winding (tb) Sahib Shihab (as) Dexter Gordon (ts) Cecil Payne (bars) Tadd Dameron (p) Curly Russell (b) Kenny Clarke (d) Vidal Balado (cga) Diego Iborra (bgo) Rae Pearl (voc) - NYC, January 18, 1949;
#3-#6: Miles Davis (tp) Kai Winding (tb) Sahib Shihab (as) Benjamin Lundy (ts) Cecil Payne (bars) Tadd Dameron (p) John Collins (g) Curly Russell (b) Kenny Clarke (d) Carlos Vidal (cga), radio broadcast, "Royal Roost" - NYC, February 19, 1949;
#7-#8: Same personnel, radio broadcast, "Royal Roost" - NYC, February 26, 1949;
#9-#12: Miles Davis (tp) J.J. Johnson (tb) Sahib Shihab (as) Benjamin Lundy (ts) Cecil Payne (bars) Tadd Dameron (p, arr) John Collins (g) Curly Russell (b) Kenny Clarke (d) Kay Penton (voc #10 & #11) - NYC, April 19, 1949;
#13-#17: Clifford Brown, Idrees Sulieman (tp) Herb Mullins (tb) Gigi Gryce (as) Benny Golson (ts) Oscar Estell (bars) Tadd Dameron (p, arr) Percy Heath (b) Philly Joe Jones (d) - NYC, June 11, 1953
Count Basie meets the Master Horns - 1936-1953
Another contribution by Kent - here are his comments (originally posted over here):
Hi Ubu,
this is a compilation I've made up myself. So you can't purchase it anywhere. The idea was, to bring several tracks in chronological order which show Count Basie and some of his most illustrious sidemen and one guest you never would think of: Artie Shaw, the king of clarinet!
The tunes on that album stem from three different sources: "Lady Be Good" from 1936 is from Basie's complete Columbia-LP-Box-Set. The one track from 1938 and the tracks from 1944 are from a Hindsight-Lp, which you could find on CD here:
http://www.cduniverse.com/productinfo.asp?pid=1048055
The last two tracks are from a jam session the Count did in 1953 for Norman Granz. That is the only compete LP. The links between the tracks are "Lady Be Good", Artie Shaw and Buddy DeFranco, Lester Young, Stan Getz and Wardell Gray and trumpeter Harry "Sweets" Edison who is soloing on the 1938, 1944 and the 1953 tracks.
Here the tracks & dates:
01 - One O'Clock Jump (Theme)
02 - Lady Be Good - Jones-Smith Inc.
03 - Ev'ry Tub - Lester Young (ts), Harry "Sweets" Edison (tp)
04 - Lady Be Good - Artie Shaw (cl) & Count Basie's Orchestra
05 - Jumpin' At The Woodside - Lester Young & Harry "Sweets" Edison
06 - Bird Calls - Artie Shaw & Count Basie's Rhythm Section
07 - Lady Be Good - All Star Jam
08 - Blues For The Count - All Star Jam
Personnel:
01, 04, 05 & 06 - Count Basie (ld, p), Earle Warren, James Powell, Rudy Rutherford, Eli Thompson (saxes), Ed Lewis, Harry "Sweets" Edison, Al Killian, Joe Newman (tpts), Eli Robinson, Ted Donnelly, Lou Taylor, Dicky Wells (tbns), Artie Shaw (clarinet), Freddie Greene (g), Rodney Richardson (b), Shadow Wilson (d) - 1944;
02 - Count Basie (p), Lester Young (ts), Walter Page (b), Jo Jones (d), Carl Smith (tp) - Chicago, November 9, 1936; - Sorry for my Freudian mistyping on the mp3!
03 - Count Basie & His Orchestra - Lester Young (ts), Harry Sweets Edison (tp), Count Basie, Freddie Greene, Walter Page & Jo Jones = The All American Rhythm Section - Live, 1938;
07 - Count Basie (p), John Simmons (b), Buddy Rich (d), Freddie Greene (g), Stan Getz (ts), Wardell Gray (ts), Harry "Sweets" Edison (tp), Willie Smith (as), Buddy DeFranco (cl) - August 18, 1953;
08 - Count Basie (org), John Simmons (b), Buddy Rich (d), Freddie Greene (g), Benny Carter (as), Buddy DeFranco (cl), Harry "Sweets" Edison (tp), Wardell Gray (ts), Stan Getz (ts) - August 18, 1953;
Note to track #1: at the very ending, during the roaring out chorus, one can hear a clarinet, very loud, very high but in absolute control. Is this Artie Shaw as well? The typical glissandi are there and the tone could also be his. But that kinda dirty playing and singing into the instrument, almost like Benny Goodman ... I don't know, since there's nothing written in the liners.
More Music Coming Soon!
For those who can't wait for more goodies to appear here... there's good news, I'm in the process of preparing a load of stuff, covering roughly 1937-1946. Be patient, but be assure I haven't forgotten or even abandoned this site!
Birdland
I'll be away playing Joe Zawinul's "Birdland" (in a horribly stiff upper lip arrangement, I'm sure) and lots of crap for three weeks in the army band... sorry for the slow start I got here, but more will follow, that I can guarantee!
John S. Wilson's NY Times obituary and some Lestorian sounds
For starters, here's a link to John S. Wilson's obituary in April 27, 1984 edition of the New York Times:
Count Basie, 79, Band Leader And Master of Swing, Dead
And here, on my main blog, you can check out in MP3 @ 320 kbs format most of the live recordings available by Basie's greatest ever sideman, Lester "Pres" Young:
Lester Young Live and Private Recordings in Chronological Order
Count Basie, 79, Band Leader And Master of Swing, Dead
And here, on my main blog, you can check out in MP3 @ 320 kbs format most of the live recordings available by Basie's greatest ever sideman, Lester "Pres" Young:
Lester Young Live and Private Recordings in Chronological Order
:: 1924-1927 :: First Steps as a professional musician ::
1924 >> After moving to New York in the summer of 1924, Basie meets fellow pianists James P. Johnson, Lucky Roberts, Willie "The Lion" Smith, and Fats Waller. Their stride style remained a strong component in Basie’s music throughout his career, despite his more minimalist aesthetic.
Fats Waller
Basie recalls: "I saw Fats Waller. I dropped into the old Lincoln theatre in Harlem and heard a young fellow beating it out on the organ. From that time on, I was a daily customer. Hanging onto his every note, sitting behind him all the time, fascinated by the ease with which his hands pounded the keys and manipulated the pedals. He got used to seeing me. As though I was part of the show. One day he asked me whether I played the organ. 'no', I said, 'but I'd give my right arm to learn.' The next day he invited me to sit in the pit and start working the pedals. I sat on the floor, watching his feet, and used my hands to imitate them. Then I sat beside him and he taught me."
Basie gained valuable experience as house pianist in “Leroy’s,” the first Harlem cabaret open to black patrons.
A nineteen year old, Basie started playing on the Columbia Wheel and TOBA vaudeville circuits. He worked as a solo pianist, accompanist, and musical director for blues singers, dancers, and comedians. One of his first jobs was with an act called Kattie Crippin and Her Kids, later with another act called Hippity Hope. Early in his career, he also played with June Clark's band and accompanied singers Clara Smith and Maggie Jones. Soon, he joined a road show led by Gonzel White, where he played in a four-piece band and even acted the part of a villain in one of the comedy skits. While on tour with White, he first heard Walter Page's Blue Devils, a band he would join soon.
The Count (I)
Just when William "Bill" Basie threw off his former nickname "Nutty" to become "The Count" is not clear. But by 1927, his business card told fellow musicians: "Beware, The Count Is Here".
One morning, Basie would later recount in his autobiography "Good Morning Blues," he was woken up in a Tulsa, Oklahoma hotel room by what he thought was a record playing. Checking out the source of the music, he found out it was actually a band: Walter Page and His Blue Devils.
The Blue Devils
Basie recounts: "Everybody seemed to be having so much fun just being up there and playing together, and they looked good and sounded good to boot. There was such a team spirit among those guys, and it came out in the music... hearing them that day was probably the most important turning point in my musical career, so far as my notions about what kind of music I really wanted to try to play were concerned." (from "Good Morning Blues")
The next time Basie met the Blue Devils, their pianist was sick, and Basie sat in for a couple of nights. Walter Page, the leader of the band, was sufficiently impressed to give the young pianist his address.
Soon thereafter, Gonzelle White's troupe broke up. Basie got ill with a spinal meningitis, and although he recovered within a few weeks, he was broke and stranded in Kansas City. In those years, there were enough jobs for a musician in Kansas City, though, and Basie soon found himself playing organ in a silent movie house, the Eblon Theater.
Fats Waller
Basie recalls: "I saw Fats Waller. I dropped into the old Lincoln theatre in Harlem and heard a young fellow beating it out on the organ. From that time on, I was a daily customer. Hanging onto his every note, sitting behind him all the time, fascinated by the ease with which his hands pounded the keys and manipulated the pedals. He got used to seeing me. As though I was part of the show. One day he asked me whether I played the organ. 'no', I said, 'but I'd give my right arm to learn.' The next day he invited me to sit in the pit and start working the pedals. I sat on the floor, watching his feet, and used my hands to imitate them. Then I sat beside him and he taught me."
Basie gained valuable experience as house pianist in “Leroy’s,” the first Harlem cabaret open to black patrons.
A nineteen year old, Basie started playing on the Columbia Wheel and TOBA vaudeville circuits. He worked as a solo pianist, accompanist, and musical director for blues singers, dancers, and comedians. One of his first jobs was with an act called Kattie Crippin and Her Kids, later with another act called Hippity Hope. Early in his career, he also played with June Clark's band and accompanied singers Clara Smith and Maggie Jones. Soon, he joined a road show led by Gonzel White, where he played in a four-piece band and even acted the part of a villain in one of the comedy skits. While on tour with White, he first heard Walter Page's Blue Devils, a band he would join soon.
The Count (I)
Just when William "Bill" Basie threw off his former nickname "Nutty" to become "The Count" is not clear. But by 1927, his business card told fellow musicians: "Beware, The Count Is Here".
One morning, Basie would later recount in his autobiography "Good Morning Blues," he was woken up in a Tulsa, Oklahoma hotel room by what he thought was a record playing. Checking out the source of the music, he found out it was actually a band: Walter Page and His Blue Devils.
The Blue Devils
Basie recounts: "Everybody seemed to be having so much fun just being up there and playing together, and they looked good and sounded good to boot. There was such a team spirit among those guys, and it came out in the music... hearing them that day was probably the most important turning point in my musical career, so far as my notions about what kind of music I really wanted to try to play were concerned." (from "Good Morning Blues")
The next time Basie met the Blue Devils, their pianist was sick, and Basie sat in for a couple of nights. Walter Page, the leader of the band, was sufficiently impressed to give the young pianist his address.
Soon thereafter, Gonzelle White's troupe broke up. Basie got ill with a spinal meningitis, and although he recovered within a few weeks, he was broke and stranded in Kansas City. In those years, there were enough jobs for a musician in Kansas City, though, and Basie soon found himself playing organ in a silent movie house, the Eblon Theater.
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