CD1
- Shoe Shine Boy
- Evenin’
- Boogie Woogie (I May Be Wrong)
- Oh, Lady Be Good
- I Ain’t Got Nobody
- Goin’ To Chicago Blues
- Live & Love Tonight
- Love Me or Leave Me
- Dickie’s Dreams
- Lester Leaps In
- How Long Blues
- Royal Garden Blues
- Bugle Blues
- Sugar Blues
- Farewell Blues
- Café Society Blues
- Way Back Blues
- St Louis Blues
- Neal’s Idea
- Bluebeard Blues
- The Golden Bullet
- You’re My Baby
Tracks 1 to 4
Carl "Tatti" Smith – Trumpet
Lester Young – Tenor
Basie – Piano
Walter Page – Bass
Jo Jones – Drums
Vocal by Jimmy Rushing on tracks 2 & 3
Tracks 5 to 8
Buck Clayton, Shad Collins – Trumpet
Dickie Wells – Trombone (track 6 only)
Lester Young – Tenor
Basie – Piano & Organ
Freddie Green – Guitar
Walter Page – Bass
Jo Jones - Drums
Vocal by Jimmy Rushing on track 6
Tracks 9 & 10
Buck Clayton - Trumpet
Dickie Wells – Trombone
Lester Young – Tenor
Rhythm section as previous tracks
Tracks 11 to 18
Buck Clayton – Trumpet and Don Byas – Tenor,
appear on tracks 12,13,14 & !8 only
The remaining players are as the previous
session.
Tracks 19 to 22
Clark Terry - Trumpet
Buddy De Franco – Clarinet
Charlie Rouse – Tenor
Serge Charloff – Baritone
Basie – Piano
Freddie Green - Guitar
Jimmy Lewis – Bass
Buddy Rich - Drums
Neal Hefti - Arranger
The music on CD1 comes from the period 1936
to 1950
The first session from
1936 is remarkable in many ways; it was
the first recording by Lester Young, a genius
of the tenor saxophone who continues to
influence many saxophone players long after
his death. Many of the greatest names in
the history of the tenor saxophone paid
homage to his unique style which they absorbed
into their
own playing, Al Cohn, Zoot
Sims, Flip Phillips and Stan Getz, to name
but a few! Never before had a rhythm section
played with such cohesion, the makings of
everything that the Count was to do in the
future started here.
In the Count himself we
gradually here the sparse playing he was
famous for developing, on the earlier recordings
he plays mostly ‘stride’ piano, which was
his starting point. It had the great advantage
as a training ground for jazz pianists;
it required them to be as competent with
each hand.
Another Basie trade mark
the "Ching Chang, Ching Chang"
of Freddie Green’s guitar playing starts
to emerge, Freddie Green helped the band
to swing which is the opposite of what most
guitar players do for a big band. His first
appearance is on the last four tracks of
disc one; these were recorded in 1950 some
8 years after the previous session. I guess
it was to make interesting programming that
the sessions are not arranged in chronological
order and the band certainly took a step
development between the two sessions mentioned.
Quality arrangements from Neal Hefti and
a front line boasting Terry, De Franco,
Rouse and Charloff, driven along by Buddy
Rich no less, was bound to produce some
fireworks.
This first CD is devoted
to Basie in small group settings, everything
Basie had anything to do with had certain
qualities, it swings, the rhythm section
is always excellent, his own sparse ‘comping’
is ideal for any soloist and he always hired
the best guys who were around at the time.
CD2
- Song of the Islands
- These Foolish Things
- I’m Confessin’
- One O’Clock Jump
- I Ain’t Got Nobody
- Little White Lies
- I’ll remember April
- Tootie
- Rock-A-Bye Basie
- One Hour
- Taxi War Dance
- Twelfth Street Rag
- Miss Thing, Part 1
- Miss Thing, Part 2
- Nobody Knows (Take 1)
- Pound Cake
- Song of the Islands
- Clap Hands! Here Comes Charlie
- Tickle Toe
- Louisiana
- Easy Does It
- Somebody Stole My Gal
- I want a Little Girl
Tracks 1 to 8
Clark Terry – Trumpet
Buddy De Franco – Clarinet
Wardell Gray – Tenor
Rudy Rutherford – Baritone
Basie – piano
Freddie Green – Guitar
Jimmy Lewis – Bass
Gus Johnson - Drums
Tracks 9 to 23
Buck Clayton, Shad Collins, Harry Edison,
Ed Lewis – Trumpets
Dan Minor, Benny Morton, Dickie Wells –
Trombones
Earl Warren, Lester Young, Buddy Tate, Jack
Washington – Saxes
Basie – Piano
Freddie Green – Guitar
Walter Page – Bass
Jo Jones – Drums
CD2 starts with an excellent
Basie Octet from 1950, with a line-up that
included Clark Terry, Buddy de Franco and
Wardell Gray, this band could not fail.
It is a great pity that Wardell Gray lived
for such a short period; he was an outstanding
exponent of the Tenor Saxophone. The ensembles
are neat; the arrangements interesting,
the soloists exceptional and Basie himself
solos more than he ever did with the big
bands.
The big band tracks here
date to 1939, there are guest vocals from
Helen Hume and Jimmy Rushing and this must
have been the start of the Basie bands we
know and love. Rock A Bye and Taxi War Dance
are head arrangements, unusual for such
a large band, Lester Young had a hand in
both. Twelfth Street Rag is also a head
arrangement done as a feature for the Count
and then Lester Young and later Harry Edison.
Skippy Martin did the arrangements of both
parts of Miss Thing and the band really
does start to develop the sounds of the
latter day Basie bands, the good dynamics
and section playing are to the fore as well
as the outstanding soloists. Interestingly
it must have been made into two parts to
suit the 78-rpm media that was around at
the time because it is really all one piece!
Nobody Knows is a feature for Jimmy Rushing,
who was such a part of the early Basie story,
his blues inspired vocals always stopped
the show. A different version of Song of
the Islands starts with Harry Edison playing
the melody loosely over the ensemble, there
are a few bars by Lester Young and then
the Count himself solos in his own unique
style, the arrangement is thought to be
by Buck Clayton. Clap Hands has a tremendous
chorus from Lester Young showing just what
an influence on every Tenor player of the
period he was. The next number is probably
Lester’s most famous composition Tickle
Toe and once again he solos to perfection.
Somebody Stole My Girl is
a feature Jimmy Rushing backed only by Harry
Ediswan, Jack Washington and the rhythm
section. It gives Jack a chance to solo
that he doesn’t do much of on the other
tracks. Jimmy is also featured on the last
track and he sounds more at home with this
number than the former, which was more of
a music hall song than a jazzer.
CD2 has a nice mixture of
Basie Bands large and small and some excellent
solos.
CD3
- Five O’Clock Whistle
- Broadway
- It’s the Same Old South
- Jump the Blues Away
- The Jitters
- 9;20 Special
- Goin’ to Chicago Blues
- Harvard Blues
- One O’Clock Jump
- It’s Sand, Man
- Ain’t It the Truth
- Taps Miller
- Avenue C
- Blue Skies
- Queer St
- Lazy Lady Blues
- Rambo
- The King
- Hob Nail Boogie
- Mutton Leg
- Stay on It
- Little Pony
- Beaver Junction
Tracks 1 to 7
Buck Clayton, Al Killian, Harry Edison, Ed
Lewis – Trumpet
Dan Minor, Vic Dickenson, Dickie Wells – Trombone
Earle Warren, Lester Young, Buddy Tate, Jack
Washington – Saxes
Basie – Piano
Freddie Green – Guitar
Walter Page – Bass
Jo Jones – Drums
Tracks 8 to 11
Trumpets as previous tracks
Dickie Wells, Robert Scott, Eli Robinson –
Trombones
Tab Smith, Earle Warren, Buddy Tate, Don Byas,
Jack Washington – Saxes
Rhythm section as previous tracks.
Tracks 11 to 23
These tracks have too many changes to list
here.
These are all Basie classics
from the 1940 band. It is interest to contrast
the styles of the two tenor players, Buddy
Tate’s sound is nearer to the classic Coleman
Hawkins sound. Hawkins himself plays as
a guest on 9:20 Special; an arrangement
by Buck Clayton still played by many rehearsal
bands today. Many other famous tenor players
appear in various tracks here Wardell Gray,
Don Byas, Illinois Jacquet and Lucky Thomson
are all heard to good effect. The Basie
band in the period 1940 to 1950 started
building into the formidable outfit that
we heard in the 1950’s and right up to the
time of Basie’s death. The tracks include
many classics 9:20 Special, One O’Clock
Jump, Broadway and Taps Miller to name just
a few. The well-constructed jazz solos permeate
each track, as does the precision of the
band and that wonderful Basie band feel
which makes every number interesting.
I find myself in total disagreement
with the sleeve note writer who says these
bands were better than the bands of the
later 50’s. Of my musical associates there
is total agreement that ‘The Atomic Mr Basie’
is the best big band album that has ever
been made. The ensemble playing is superb
and the soloists second to none. That is
not to say that these Basie bands aren’t
good, they are and to me as a great Basie
fan, I found it fascinating as to how the
skills of the arrangers and the soloists
got better and better over the period.
All the tracks on CD3 are
interesting but the outstanding ones for
me are the last three, the solos from Clark
Terry and Wardell Gray are as good as you
will ever here and the ensemble work has
got the classic Basie Big Band sound that
was to follow. The Neal Hefti arrangement
on Little Pony also signposted things to
come.
CD4
- One O’Clock Jump
- Swingin’ the Blues
- Rock-A-Basie
- Don’t Worry ‘Bout Me
- Time Out
- Boogie Woogie Blues
- Roseland Shuffle
- White Sails
- Clap Hands! Here Comes Charlie
- One O’Clock Jump
- They Can’t Take That Away From Me
- Swing, Brother Swing
- I Can’t Get Started
- Moten Swing
- Ebony Rhapsody
- Darn That Dream
- Take It, Pres
- Baby, Don’t Tell Me
- I Got Rhythm
- 9:20 Special
- Elmer’s Tune
- Jumpin’ At The Woodside
CD 4 comes from radio broadcasts and Concerts
by the band. Most of the material on this
CD has not been released before.
Tracks 1 to 10
Buck Clayton, Shad Collins, Harry Edison,
Ed Lewis – Trumpet
Dan Minor, Benny Moten, Dickie Wells – Trombone
Earle Warren, Buddy Tate, Lester Young, Jack
Washington – Saxes
Basie – Piano
Walter Page – Bass
Jo Jones – Drums
Helen Humes and Jimmy Rushing sing on 3 tracks.
Tracks 11 to 19 have only minor personnel
changes
Tracks 20 to 22
Buck Clayton, Harry Edison, Al Killian, Ed
Lewis – trumpet
Dickie Wells, Eli Robinson, Robert Scott –
Trombone
Tab Smith. Earle Warren, Don Byas, Buddy Tate,
Jack Washington – Saxes
Rhythm Section as previously listed
The first sequence is from
a broadcast from the ‘Famous Door’.
LesterYoung is the outstanding
soloist on the Famous Door session, one
of the giants of the tenor saxophone; he
is at his best on this set. The advantage
of these broadcasts is we get to hear the
full version of arrangements, which in many
cases had to be abridged to get them on
to 78rpm records. Helen Humes manages to
make the very ordinary White Sails song
into something worth listening to and Jimmy
Rushing is his usual self on Boogie Woogie
Blues. The band is outstanding on Roseland
Shuffle that starts with some interesting
exchanges between The Count and Lester Young
Tracks 11, 12 & 13 are
very special, although Billie Holiday worked
with the Basie band for a year; she never
recorded with them at that time, due to
contractual arrangements. There is an obvious
empathy between Billie and the band worthy
of preservation. Moten swing has an extended
piano intro that is followed by an outstanding
chorus by Harry Edison, who was already
at 18 developing his signature style. Helen
Humes brings her vocal talents to Darn That
Dream, the arrangement is not of the best
but the quality of the composition and her
vocal ability pull things through.
Lester Young is again the
star on I Got Rhythm, his solos stand the
test of time well and it is always a treat
to hear him in action, whatever the setting.
Edison & Dickinson follow and are equally
inspired in their solos. 9:20 Special is
the same arrangement as we heard earlier,
but this time Don Byas is the Tenor Sax
soloist. The band sounds nice and relaxed
and the ensembles are well played. Elmer’s
Tune was a big hit for the Glenn Miller
Band, but this version is pure Basie and
includes two Baritones in the saxophone
section. The last track Jumpin’ at the Woodside
is the usual Basie arrangement, but this
time Don Byas is the soloist and he adds
a new dimension to the music. Very different
from the Lester Young original, but very
enjoyable.
The music on this CD is sometimes
referred to as ‘The Old Testament’ as far
as the Basie Band is concerned. The term
is not meant to be derogatory and there
is no reason why it should be. This is how
Count Basie developed the best big band
ever and how the reputations of many fine
soloists were made. It is my opinion that
it is essentially listening to all lovers
of Big Band Music. It is well packaged with
comprehensive personnel details and a most
informative sleeve note written by Toren
Schonberg who is Executive Director of the
Jazz Museum in Harlem.
Don Mather