Many other bands later adapted the split tenor arrangement. In 2009, Edgecombe Avenue and 160th Street in, "Blues in Hoss' Flat," composed by Basie band member, Since 1963 "The Kid From the Red Bank" has been the theme and, This page was last edited on 15 January 2021, at 12:53. With Billy Eckstine on the album Basie/Eckstine Incorporated, in 1959. The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. His lengthy career resulted in a large discography spread across all of the major labels and quite a few minor ones as well. C Instruments, Bass Clef Instruments, Bb Instruments, Eb Instruments sheet music book by Count Basie : Hal Leonard at Sheet Music Plus. William Basie was born to Lillian and Harvey Lee Basie in Red Bank, New Jersey. "[16] He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument. She was born with cerebral palsy and the doctors claimed she would never walk. 1981 interview cited in "The Lester Young Story" (Properbox 16), pp. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. In 2005, Count Basie's song "One O'Clock Jump" (1937) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. Both of Basie's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. [5][6], The best student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. Download sheet music for Count Basie. Count Basie / Sarah Vaughan - Count Basie/Sarah Vaughan music CD album at CD Universe, Live Recording, enjoy top rated service and worldwide shipping. [75], Basie also recorded with Tony Bennett in the late 1950s. [43] 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. Who was Count Basie's main piano influence? Date of birth: August 21, 1904, Red Bank, New Jersey, USA Date and place of death: April 26, 1984, Hollywood, Florida, USA Instrument: Piano; Organ [45] In early 1938, the Savoy was the meeting ground for a "battle of the bands" with Chick Webb's group. (HL.843010). Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. [21] In addition to playing piano, Basie was co-arranger with Eddie Durham, who notated the music. Count Basie Plays, Joe Williams Sings Standards, A Swingin' Christmas (Featuring The Count Basie Big Band), NAACP Image Award for Outstanding Jazz Artist,, Grammy Lifetime Achievement Award winners, Short description is different from Wikidata, Articles with Encyclopædia Britannica links, Wikipedia articles with BIBSYS identifiers, Wikipedia articles with MusicBrainz identifiers, Wikipedia articles with PLWABN identifiers, Wikipedia articles with SELIBR identifiers, Wikipedia articles with SNAC-ID identifiers, Wikipedia articles with SUDOC identifiers, Wikipedia articles with Trove identifiers, Wikipedia articles with WORLDCATID identifiers, Creative Commons Attribution-ShareAlike License, Best Jazz Instrumental Performance, Big Band, Best Jazz Performance by a Soloist (Instrumental), Best Performance by an Orchestra – For Dancing. He married Catherine Morgan on July 13, 1940 in the King County courthouse in Seattle, Washington. [32] He invited them to record, in performances which were Lester Young's earliest recordings. [61] Basie also added flute to some numbers, a novelty at the time that became widely copied. Thereafter, Basie competed in the category of Best Jazz Instrumental Performance by a Big Band, winning the Grammy in 1980 for On the Road and in 1982 for Warm Breeze, earning a nomination for Farmer's Market Barbecue in 1983, and winning a final time, for his ninth career Grammy, in 1984 for 88 Basie Street. [22] At the first Grammy Awards ceremony, Basie won the 1958 awards for Best Performance by a Dance Band and Best Jazz Performance, Group, for his Roulette Records LP Basie. Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory.[44]. She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements. [70], During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. The Count Meets the Duke, each providing four numbers from their play books. The orchestra was re-established commercially by the 1955 album Count Basie Swings - Joe Williams Sings (released on Clef Records), particularly by the single "Every Day (I Have the Blues)," which reached the Top Five of the R&B charts and was later inducted into the Grammy Hall of Fame. [72] The Basies bought a home in the new whites-only neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Albans, Queens. He finished junior high school[7] but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. It was released by Roulette Records, then later reissued by Capitol Records. Their albums together included In Person and Strike Up the Band. Count Basie was among the most important bandleaders of the swing era. 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. For example, he went overseas for the first time to play in Scandinavia in 1954, and thereafter international touring played a large part in his schedule. (Basie later played organ at the Eblon Theater in Kansas City). Next, Basie played at the Savoy, which was noted more for lindy-hopping, while the Roseland was a place for fox-trots and congas. For a while, he performed in combos, sometimes stretched to an orchestra. "Taxi War Dance," Count Basie. [55] The war years caused a lot of members turn over, and the band worked many play dates with lower pay. C Instruments, BC Instruments, Bb Instruments, Eb Instruments sheet music book by Count Basie : Hal Leonard at Sheet Music Plus. [12][13] His touring took him to Kansas City, St. Louis, New Orleans, and Chicago. Upon Moten's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm. As with "Willow Weep for Me" (SCCJ II/13), the "A" section of the AABA form sounds deceptively like a blues (because the harmony moves to IV in the fifth bar).32-bar AABA: [24] He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page's Blue Devils in July 1928. She paid 25 cents a lesson for Count Basie's piano instruction. Get inspired this winter at the Count Basie Center Academy of the Arts! After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Count Basie: New Testament Band. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie. Late one night with time to fill, the band started improvising. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. [30], In that city in October 1936, the band had a recording session which the producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with". This provided an early training that was to prove significant in his later career. Count Basie, Soundtrack: Pearl Harbor. Jazz Musician of the Day: Count Basie. On Saturday, March 21st, the Count Basie Center Academy of the Arts has the perfect gift for parents worn down after a week of teaching: A break. Count Basie repeatedly talks about how the blues did not influence him during the interview. [77][78], Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. [62] Soon, his band was touring and recording again. a. 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. A towering figure in big-band jazz, with a lean piano style and a gift for setting tempos and making a rhythm section swing. [56], Count Basie was the featured artist at the first Cavalcade of Jazz concert held at Wrigley Field on September 23, 1945 which was produced by Leon Hefflin Sr.[57] Al Jarvis was the Emcee and other artists to appear on stage were Joe Liggins and his Honeydrippers, The Peters Sisters, Slim and Bam, Valaida Snow, and Big Joe Turner. William James (August 21, 1904 - April 26, 1984), known as Count Basie, was a jazz pianist, but also an organist and composer. [41], Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. She was 67 years old. 6. Fats Waller. Basie was a member of Omega Psi Phi fraternity. [42] The band's first appearance at the Apollo Theater followed, with the vocalists Holiday and Jimmy Rushing getting the most attention. There were further nominations for best jazz performance for Basie at Birdland in 1961 and The Legend in 1962. [5] Greer and Basie played together in venues until Greer set out on his professional career. [60] The jukebox era had begun, and Basie shared the exposure along with early rock'n'roll and rhythm and blues artists. Their only child, Diane, was born February 6, 1944. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. Basie credited Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band. [48] When Eddie Durham left for Glenn Miller's orchestra, he was replaced by Dicky Wells. 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). Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to "Sweet Georgia Brown", followed in January 1961 by Basie performing at one of the five John F. Kennedy Inaugural Balls.