Count Basie's Columbia years have long been debated, subject to apocryphal written data and legend because of the willy-nilly nature of his tenure with the label and its subsidiaries. Producer Orrin Keepnews has thus assembled {America's #1 Band: The Columbia Years}, a compilation of Basie's Columbia years that not only makes sense historically; it is a treasure trove for listening. Aesthetics played a grand part in the decision-making process here, as did sound reproduction and discographical accuracy. Over four CDs, the Basie/Columbia collaboration is split into three parts. On disc one and roughly half of two, the small-group recordings are presented, from the original Smith-Jones quintet sessions in 1936 through the 1957 octet recordings. These bands include the 1936 Smith-Jones group that introduced Lester Young and bassist Walter Page to the world via recordings and also included Jimmy Rushing, Jo Jones, and of course, Carl "Tatti" Smith. In addition there is Basie's Bad Boys group, which listed Buck Clayton, Shad Collins, Dicky Wells, and Freddie Green in addition to Basie, Young, Rusing, Page, and Jones. Two selections from these sessions, "Goin' to Chicago Blues" and "Live and Love Tonight," display Basie's considerable abilities on the organ. Though these sessions were recorded in 1939, they didn't appear until 1951 on a 10" LP. Basie's Kansas City Seven -- the previous rhythm section with Lester and Buck -- also recorded in 1939 and are notable for introducing "Lester Leaps In," the saxophonist's signature tune into the canon. From 1942, there are eight cuts from Count Basie & His All American Rhythm Section, which added Don Byas to the smaller band on four. Finally there are two different octet sessions: the Neal Hefti-arranged 1950 octet session with Buddy DeFranco, Buddy Rich, Charlie Rouse, Serge Chaloff, Jimmy Lewis, and Clark Terry as well as Green and Basie, and another octet from 1957 with Wardell Gray, Gus Johnson, and Rudy Rutherford in the mix. There are 30 selections in all from the small groups. On the remainder of disc two and all of three, the Basie orchestra, beginning with the 1939 John Hammond session that resulted in "Rock-a-Bye Basie," is showcased. There are 39 cuts from the various Basie big bands that recorded for the label, including the Young, Clayton, Sweets Edison band that recorded "12th Street Rag," "Pound Cake," and "Nobody Knows" among others. The 1940 band arranged by Don Redman brought Buddy Tate, Vic Dickenson, and Earle Warren to the orchestra and recorded "Five O'Clock Whistle" and "One O'Clock Jump." Bands from 1941-1951 are also included with performances such as "Avenue C," "Stay on It," "Beaver Junction," "Hob Nail Boogie," and "Blue Skies." Finally, disc four portrays the live-in-the-club side of the band taken from radio broadcasts during the musician's union recording bans. The 1939 band recorded at the Famous Door has been often bootlegged but has never sounded this good. A rare broadcast from the Southland Theatre Restaurant from 1940 is excerpted here, and for the conditions it was recorded in, sounds amazing, as does {the Café Society Uptown} gig from 1941, which has also been bootlegged to death with dubious quality before now. In addition to the music, there is a very exhaustive set of notes that diaries the band's progress through the era and offers fine documentation as well as commentary about the developments of the band through the swing and bop eras. {America's #1 Band: The Columbia Years} and Miles Davis' Complete Jack Johnson Sessions -- also a Legacy production -- were the first real entries into the jazz Christmas present bag for 2003. Apart from that, this set in particular makes sense of a previously only sporadically documented period in the Basie repertoire and catalog. This is painstakingly executed reissue project is top-shelf for the Basie collector. ~ Thom Jurek, All Music Guide
Count Basie was born August 21, 1904. To celebrate his centennial, this exciting four-CD set has been issued. Basie's sparse and percussive approach on the piano (stripping stride piano down to its bare essentials) helped to realign the function of the instruments in the rhythm section in the 1930s. From 1935 until his death in 1984, Basie led one of the most consistently popular big bands in the world, an orchestra that still tours the world and defines swing.
Basie recorded a classic small group date for Columbia in 1936 and was associated with the label during 1939-46 and 1950-51. Included on this set are the four titles from the 1936 session (including Lester Young's immortal solo on Lady Be Good), a disc and a half of small-group dates (including Count's 1950-51 septet), the best of his big band performances for Columbia, and a full disc of mostly previously unreleased live performances from the era. Such major soloists as Young, trumpeters Buck Clayton, Harry Sweets Edison and Clark Terry, tenor-saxophonist Wardell Gray and trombonist Dickie Wells are heard in their early prime. Among the many selections are such gems as Boogie Woogie, Dickie's Dream, Lester Leaps In, One O'Clock Jump, Rock-A-Bye Basie, Taxi War Dance, Tickle Toe, Goin' To Chicago Blues and Avenue C.
Every selection on this very attractive box is well worth hearing and enjoying, showing why Count Basie's music is still loved today.
-Scott Yanow
When, in the mid-1930s, Count Basie and His Orchestra rolled out of Kansas City on a riff tide, American music was forever changed. During the Depression the mass media, such as it was, may have bestowed upon Benny Goodman the title King of Swing, but the era's musicians and cognoscenti knew that the crown rested easily on the head of William Basie (1904-84). Cookin up instantaneous head arrangements on the bandstand or in the studio, Basie and his stellar posse (many of whom are known at once by a single nickname: Pres, Buck, Dickie, Sweets, Buddy, Jo) swung the bedrock blues as never before. And imagine the incredible thrill of seeing the Basie band jump the blues away. Disc 4 of this impeccably remastered four-CD set- ontaining 89 marvelous cuts-presents several editions of the band on the stand, with a 1937 cameo appearance by no less than Billie Holiday. The rest of the collection, spanning the years 1936 to 1951, offers Basie groups of various size, including the much-overlooked octets of 1950, the vital soloists, top-flight singers like Jimmy Rushing and Helen Humes (both full-fledged Basie-ites), the All-American Rhythm Section and, of course, the leader's piano, which remains the very soul of economy.
The Small Group Recordings, Jones-Smith, Inc.: Shoe Shine Boy; Evenin'; Boogie Woogie (I May Be Wrong); Oh, Lady Be Good; Basie's Bad Boys: I Ain't Got Nobody; Goin' To Chicago Blues; Live And Love Tonight; Love Me Or Leave Me; Count Basie's Kansas City Seven: Dickie's Dream; Lester Leaps In; Count Basie & His All-American Rhythm Section: How Long Blues; Royal Garden Blues; Bugle Blues; Sugar Blues; Farewell Blues; Cafe Society Blues; Way Back Blues; St. Louis Blues; Count Basie Octet: Neal's Deal; Bluebeard Blues; The Golden Bullet; You're My Baby, You; Song Of The Islands; These Foolish Things (Remind Me Of You); I'm Confessin' (That I Love You); One O'Clock Jump; I Ain't Got Nobody; Little White Lies; I'll Remember April; Tootie; Count Basie and His Orchestra: Rock-A-Bye Basie; One Hour; Taxi War Dance; Twelfth Street Rag; Miss Thing, Parts 1 & 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; 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 Street; Lazy Lady Blues; Rambo; The King; Hob Nail Boogie; Mutton Leg; Stay On It; Little Pony; Beaver Junction; At the Famous Door: One O'Clock Jump; Swingin' The Blues; Rock-A-Bye Basie; Don't Worry 'Bout Me; Time Out; Boogie Woogie Blues; Roseland Shuffle; White Sails; Clap Hands! Here Comes Charlie; One O'Clock Jump; At the Savoy Ballroom: They Can't Take That Away From Me; Swing, Brother, Swing; At The Meadowbrook Lounge: I Can't Get Started; At The Panther Room: Moten Swing; At The Southland Theatre Restaurant: Ebony Rhapsody; Darn That Dream; Take It, Pres; Baby, Don't Tell On Me; I Got Rhythm; At Cafe Society Uptown: 9:20 Special; Elmer's Tune; Jumpin' At The Woodside.
Billie Holiday, Jimmy Rushing, Helen Humes, Vocals; Count Basie, Piano; Carl Tatti Smith, Buck Clayton, Shad Collins, Clark Terry, Harry Sweets Edison, Ed Lewis, Al Killian, Joe Newman, Al Stearns, Emmett Berry, Snooky Young, Bobby Moore, Bob Mitchell, Al Porcino, Lamar Wright, Trumpets; Eddie Durham, George Hunt, Booty Wood, Matthew Gee, Leon Comegys, George Matthews, J.J. Johnson, Louis Taylor, Dickie Wells, Dan Minor, Benny Morton, Vic Dickenson, Ed Cuffee, Robert Scott, Eli Robinson, Ted Muttonleg' Donnelly, Trombones; Buddy DeFranco, Clarinet; Rudy Rutherford, Baritone & Alto Sax/Clarinet; Serge Chaloff, Jack Washington, Charlie Fowlkes, Baritone Saxes; Tab Smith, Soprano/Alto Sax; Preston Love, George Dorsey, Earle Warren, Caughey Roberts, Jimmy Powell, Marshall Royal, Rubin Phillips, Alto Saxes; Herschel Evans, Coleman Hawkins, Lester Young, Don Byas, Charlie Rouse, Wardell Gray, Buddy Tate, Paul Bascomb, Lucky Thompson, Illinois Jacquet, Tenor Saxes; Walter Page, Jimmy Lewis, Rodney Richardson, Basses; Freddie Green, Guitar; Jo Jones, Buddy Rich, Gus Johnson, Shadow Wilson, Drums.
A sensational 4-CD overview of the classic Basie Columbia Band!
Technical Credits |
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| Andreas Meyer | Digital Transfers |
| Andy Gibson | Arranger |
| Buster Harding | Arranger |
| Darren Salmieri | Artist Coordination |
| Don Redman | Arranger |
| Dudley Brooks | Arranger |
| Elizabeth Reilly | Photo Research |
| Fong Y. Lee | Packaging Manager |
| George Avakian | Producer |
| Henri Woode | Arranger |
| Howard Fritzson | Art Direction |
| Illinois Jacquet | Arranger |
| Jimmy Mundy | Arranger |
| John Hammond, Sr. | Producer |
| Loren Schoenberg | Liner Notes |
| Mark Wilder | Digital Editing |
| Neal Hefti | Arranger |
| Orrin Keepnews | Liner Notes |
| Ria Shibayama | Art Direction |
| Sara Syms | Graphic Design |
| Seth Foster | Noise Reduction |
| Seth Rothstein | Project Director |
| Skip Martin | Arranger |
| Steven Berkowitz | A&R |
| Tab Smith | Arranger |
| Tadd Dameron | Arranger |