Basie County

He showed musical abilities in early childhood. Mother helped William learn to play the piano . Later, private music teachers were invited to attend classes, among them was an “amazing German lady named Holloway.”

While studying at school, Basie dreamed about the life of a traveler, inspired by carnivals who came to the city. After leaving school, County spent most of his time in the city theater, where he performed one-time assignments and did all kinds of work, which gave him free admission to performances. He learned how to control spotlights for a vaudeville show. Once, when the pianist could not come to the show, Basie took his place. Playing by ear, he quickly learned to improvise music for shows and silent films.

Having natural data for playing the piano, Basie still preferred the drums. However, discouraged by the apparent talent of Sonny Greer, who also lived in Red Bank and became the drummer of Duke Ellington in 1919, Basie finally turned to the piano at the age of 15.

Greer and Basie played together until Greer moved on to a professional career. By then, Basie was playing with bands at dances, resorts, amateur shows, including Harry Richardson's Kings of Syncopation.

Like many other young musicians, he moves to New York , where he meets James P. Johnson , Fats Waller (from whom Basie learns a lot) and other Harlem strike- style pianists in Harlem. After moving to New York, Basie worked on engagement in the orchestra of John Clark and Sonny Greer, as well as an accompanist of blues singers Clara Smith, Maggie Joe and others. He played in cabaret and dance halls. For a short time he entered the Elmer Snowden Orchestra. Due to hard work, he suffered a nervous breakdown and, after 4 months of treatment, returned to vigorous activity. He played for some time in movie theaters, voicing silent films.

Count Basie was about 20 years old when he started working with the Keith & Toba variety show as music director and accompanist . Accompanying a small musical group, in 1927 he came on tour in Kansas City and stayed there for a long time (the group fell apart, the musicians and artists were suddenly left without work). Then, as a pianist and arranger, he becomes a member of the Walter Page's Blue Devils ensemble and plays in this group until 1929 . After that, he collaborates with little-known regional orchestras, and eventually ends up at Bennie Moten's Kansas City Orchestra. After the death of Benny Mouten in 1935, Basie leaves the orchestra and, together with Buster Smith and other former members of the Mouten Orchestra, creates a new ensemble of nine people with drummer Joe Jones and tenor saxophonist Lester Young . Under the name “Barons Of Rhythm,” this County Basie roster begins working at the Reno Club in Kansas City . Radio broadcasts of the performances of the ensemble of 1936 lead to the conclusion of contracts with the National Booking Agency and Decca Records . With a light hand leading a radio concert, Basie receives the title “Count” (“ Count ”). The Basie ensemble is constantly evolving (3 trumpets , 3 trombones , 5 saxophones and a rhythm section) and after a year changes its name to “Count Basie Orchestra”. Under this name, the orchestra will soon become the best big band of the swing era.

In 1936, the orchestra was heard by producer John Hammond , who helped Basie and his musicians come to New York. Unlike other orchestras, in which there were only 2-3 improvising soloists, in the Basie band, almost all musicians were outstanding jazzmen. This made it possible to saturate the repertoire with quick plays based on the harmonious blues pattern, and to create riffs (short melodic rhythmic constructions repeating throughout the play) that support temperamental improvisers almost “on the go”. In 1936, the County Basie’s orchestra was played by first-class soloists - Buck Clayton , Harry Edison , Hot Lips Page , Lester Young , Hershel Evans , Earl Warren , Buddy Tate , Benny Morton , Dicky Wells and others. The rhythm section was recognized as the best in jazz. Basie’s orchestra was performed by the famous vocalists Jimmy Rushing , Helen Humes and Billy Holiday (1937-38). World fame for the orchestra brought such compositions as “One O'Clock Jump” ( 1937 ), “Jumpin 'At The Woodside” ( 1938 ), “Taxy war Dance” ( 1939 ) and many others.

In 1939, Basie organized an ensemble of soloists inside the orchestra - the Kansas City Seven septet, and in the same year performed for the first time in Carnegie Hall .

In the 40s saxophonists Don Bayes, Lucky Thompson, Illinois Jacket, trumpeter Joe Newman, trombonists Vick Dickenson, JJ Johnson came to the orchestra. By 1944, more than three million band records had been sold. However, then, there is a decline in the activities of Basie and his big band due to wartime conditions and the inconsistency of the performing staff. In the second half of the 40s, difficult times came for all large orchestras, and Basie was forced, for financial reasons, to disband his band in 1950 . Over the next two years, he leads compositions from six and nine musicians, including prominent instrumentalists Clark Terry , Buddy De Franco , Serge Haloff and Buddy Rich .

After the restoration of the orchestra in 1952, County Basie embarked on a series of lengthy tours and recording sessions, which ultimately earned Basie a reputation as an “unrivaled swing master.” Over time, his orchestra established itself as a stable jazz band, and also became one of the "jazz universities" for training young musicians. Among the musicians, at that time, a galaxy of talented instrumentalists worked in the orchestra: Joe Newman, Ted Jones, Snooki Young , Henry Cowker, Benny Powell, Al Gray, Paul Quinichet, Eddie “Lockjo” Davis, Frank Wess, Frank Foster, Billy Mitchell Freddy Green, Gus Johnson and Sonny Payne. With the musical group Basie, singer Joe Williams performed. Arrangers Neil Heftie , Frank Foster, Ernie Wilkins developed the so-called “percussive method”, built on sharp dynamic contrasts and on a powerful percussion game, emphasizing all the accents of the melodic line and filling all the pauses.

In 1954, Count Basie and his orchestra made their first tour of Europe . The Count Basie’s orchestra gained worldwide fame thanks to its numerous European tours of 1956–57, 1959, 1962, 1966, 1969. In 1963 he visited Japan , and in 1965 performed in Australia. Basie Orchestra took part in many jazz festivals: Chicago ( 1958 ), New York ( 1959 ), Randall's Island Jazz Festival ( 1960 ), festival in Harlem ( 1961 ) and in France ( 1961 ), Newport ( 1965 ), Monterey ( 1966 ), Newport ( 1968 ), West Berlin ( 1968 ), etc.

Over the past two decades, Basie has released a huge number of recordings with both his big band and famous jazz singers, took part in the filming of films (for example, Sex And Single Girl), and actively performed on radio and television. Since 1955, County Basie has repeatedly held leading positions in surveys of jazz lovers and critics (in some cases, sharing first places with Duke Ellington ). He founded a music publishing house.

County Basie also worked as a theater organist in New York and performed several organ recording sessions.

In the 70s the composition of the orchestra was gradually updated (white musicians also appeared), but the catchy and powerful style remained unchanged.

In the last decade, Basie received a lot of awards, became an honorary doctor at several universities.

Since the mid-70s, a severe illness of County Basie makes it difficult for his further work. Since the beginning of the 80s, he sometimes already has to lead the orchestra, sitting in a wheelchair. In the last years of his life, County Basie devotes more and more time to preparing an autobiography.

After Basie's death in 1984, tenor saxophonist Frank Foster became the leader of the orchestra. Then the orchestra was led by the trombonist Grover Mitchell.

In 1985, the band performed in Sochi at the Black Sea festival, and then gave one concert in Krasnodar and Moscow .

Swing Master

Rhythm Band

The basis of the County Basie’s orchestra was an excellent rhythm group, which provided the interaction of brass and reed wind instruments and created the necessary background when playing solo. This illustrious orchestra group included artists such as Walter Page (double bass), Joe Jones (drums), Freddie Green (rhythm guitar) and Count Basie (piano) himself.

The introduction of rhythm guitars made it possible to change the habitual style of jazz accompaniment, making it more flexible and sensitive in relation to the soloists of the orchestra and facilitating the establishment of a beat beat (with four almost equally accented beats in each measure) as the norm of performance in jazz.

Drummer Joe Jones' technique, which included using a hi-hat cymbal to provide basic metric pulsation instead of a large drum, made it possible to substantially soften the timbre of percussion in the big band.

Another important element in the sound of the rhythm group was the accurate and reliable “walking bass” technique, which replaced the piano accompaniment of the left hand and added “swing” to the orchestral swing.

About the role of Count Basie himself in the rhythm group, Nat Shapiro wrote:

• “Basie’s piano cannot essentially be separated from the living pulse generated by the rhythmic group of his band. By itself, his game creates a certain mood, and then supports and strengthens it. But along with the guitar, bass and drums, his piano becomes an integral part of this perfect, powerful section of the orchestra, which captivates and encourages the whole band to drive . In this sense, it can be said that the Basie Orchestra is built around its rhythm section - a section with a beat that is more likely than any other factor to rhythmically influence both large and small orchestras over the past three decades. ”

The rhythm group of the County Basie Orchestra rehearsed separately from the rest of the musicians for hours, achieving coherence and clarity of sound. Subsequently, many jazz ensembles enjoyed its innovations.

Orchestral style

Count Basie often, since the end of the 30s, preferred light and naturally developing arrangements. The sound of the orchestra has always been distinguished by the use of riff technique, which was characteristic of many ensembles in the Southwestern United States . This type of orchestral accompaniment gave complete freedom to the prominent soloists of the Basie Orchestra, such as trumpeters Harry Edison, Buck Clayton, trombones Benny Morton, Dicky Wells, saxophonists Hershel Evans ( ) and Lester Young. The completely different manner of performing saxophonists, Young and Evans, gave the sound of the orchestra a special scope, tension and drama. All these soloists are vividly represented in the records of 1937-1941 at Decca Records and Vocalion , which became one of the best jazz records.

The brass wind instruments in the County Basie Orchestra have always been distinguished by a special sound and were a source of tremendous tension. Talking about what, in fact, the band leader expected from his copper group, Basie explained:

• “I want these four trumpets and three trombones to sting with real strength and courage. But I also want this sharp sound to be as enjoyable and artful as if there were only three brass instruments in their place that I used in Kansas City. I want to say that if each note in brass does not have its exact and definite meaning and they just scream and cut the ear, then something needs to be changed immediately. Copper should never turn into an end in itself. ”

In his orchestras of the 50s and 60s, Basie maintained a vibrant swing sound, while selecting soloists with more modern views on jazz. Among the musicians of that period, Thad Jones, Eddie “Lockjaw” Davis, Frank Wess, Marshall Royal, and Frank Foster were especially notable. Changes in the sound of the orchestra were associated primarily with the names of arrangers collaborating with Basie, such as Benny Carter, Quincy Jones, Thad Jones and Neal Hefty.

George Simon, in his book Big Bands, wrote:

• “For decades, County Basie’s Orchestra has been one of the most exciting big bands. At the same time, the style of the orchestra has not changed. And what is the “Basie style”? First of all, this is a strong swing ensemble sound, sprinkled with numerous magnificent solos and, of course, light, infectious piano inserts of the leader. Throughout the years, the Basie Orchestra has managed to sound fresh and modern. Probably this was because it always maintained an exceptionally healthy mind. The musicians play what they like, and the music of the orchestra can satisfy the tastes of the widest public - unlike many bands trying to do more complex things and finding it difficult to find contact with the audience. ”

Basie's solo style

Basie’s creativity is also significant when viewed as a pianist. Early recordings testify to his mastery in the manner of ragtime and stride piano. However, by the mid-30s, County Basie had developed an absolutely individual, concise, blues-oriented style, with the characteristic use of short melodic phrases, often no more than cliches skillfully placed and played with wit and ingenuity. Count Basie consciously adhered to minimalism, avoiding the then popular piano styles and the whitish mannerism inherent in many pianists of that time. He saw his main task as ensuring freedom of orchestral improvisations. Basie’s piano was the energy source from which his orchestra musicians drew the power and astounding drive .

• “County is probably the best pianist to push the orchestra and support the soloists,” said guitarist Freddy Green . - I mean his manner of preparing the ground for each soloist. When he finishes his solo, he opens the way for the next soloist to enter. ”

County Basie's piano style is one of the most easily identifiable sounds in jazz .

Basie had a great influence on pianists of the 50s. West Coast Schools. Various jazz pianists such as Erroll Garner , Mary Lou Williams and John Lewis also recognized his influence.

Selected Discography

• 1929 - Basie's Basement
• 1932 - Jive At Five
• 1936 - Super Chief
• 1937 - On The Upbeat
• 1938 - Rock-A-Bye Basie, vol. 2
• 1939 - Blues By Basie
• 1946 - Count Basie: The Orchestra And The Octet
• 1950 - Count Basie At The Piano
• 1952 - Count Basie And His Orchestra Collates
• 1953 - Sixteen Men Swinging
• 1954 - Basie Jazz
• 1955 - Rock The Blues
• 1956 - Count Basie in London
• 1956 - Live in Basel
• 1956 - The Count
• 1956 - The Swinging Count
• 1956 - The Band Of Distinction
• 1956 - Basie Roars Again!
• 1956 - Basie Rides Again!
• 1956 - Basie Bash
• 1956 - Switzerland 1956
• 1957 - Count Basie At Newport
• 1957 - The Atomic Mr. Basie
• 1958 - Basie Plays Hefti
• 1959 - One More Time
• 1959 - Count Baisie In Kansas City. 1929-32
• 1961 - The Count Basie Story
• 1963 - On My Way And Shouting Again
• 1963 - The Best Of Count Basie
• 1964 - The World Of Count Basie. 3 LP
• 1988 - The Essential Count Basie. Vol. 1-3
• 1992 - The Best Of Count Basie. 1937-39
• 1994 - The Complete Atomic Basie
• 1995 - The Complete Roulette Studio Count Basie. 10 CD
• 1995 - Big Band Basie
• 1995 - Live In France
• 1996 - It Had To Be You
• 1996 - Swingin 'Machine: Live
• 1996 - Live At Manchester Craftsmen's Guild
• 1996 - Pop Classics
• 1996 - One O'Clock Jump
• 1996 — Unbeatable Basie Beat
• 1996 — Jazz Hour With Count Basie, vol.2: Jumpin'
• 1996 — Makin'Whoopee (Collector's Edition)
• 1996 — Count Basie/Sarah Vaughan (Capitol)
• 1997 — Count Basie Live! 1938 At The Famous Door NYC
• 1997 — At The Royal Roost NY 1948 (live)
• 1998 — Count Basie Encounters Oscar Peterson
• 1998 — Live At The Sands
• 1998 — Paris Jazz Concert 1972 (live)
• 1999 — Swing Shift
• 2000 — Cafe Society Uptown 1941
• 2000 — Live in Stockholm
• 2000 — Count On The Coast, vol.3
• 2000 — Count Basie Live
• 2001 — At Birdland Summer 1952 (live)
• 2001 — Olympia: Live 5-62
• 2001 — Palais De Chaillot 3-29-60: Live
• 2001 — Swingin'At The Chatterbox: 1937 (live)
• 2001 — Breakfast Dance And Barbecue

Избранные DVD

• Count Basie «The Kansas City Suite»
• Count Basie «Live 1962 »
• Count Basie «Sound of Swing»
• Count Basie «Live in Europe & Jo Jones»
• Count Basie «Swing Era Masters»
• Count Basie «In Montreal 1988 »
• Count Basie "At Carnegie Hall "
• Count Basie «Jam '75»

• Фейертаг В. Б. Джаз. XX век . Encyclopedic reference book. — Спб.: « СКИФИЯ », 2001, с.78-80. ISBN 5-94063-018-9
• Шапиро Н. Послушай, что я тебе расскажу… История джаза, рассказанная людьми, которые её создавали .— Новосибирск: Сиб.унив.изд-во, 2006. ISBN 5-94087-307-3
• Bohlander K., Holler K.-H. Jazzfuhrer.— Leipzig, 1980.

• Джазовые персоналии: William Count Basie . Персональная страница Каунта Бэйси на информационном портале « Инфо-Джаз »
• Персональная страница Каунта Бэйси на сайте джазовой энциклопедии Джаз XX век
• Профиль Каунта Бэйси на Last.fm
• Stars of jazz. Бейси Каунт (рус.)