King of Swing [Clef]

Read About This Recording

When the world isn't dancing to Basie's intoxicating music they are busy listening to those magnificent rhythms. His sound is always unwavering. As a soloist or in the midst of brilliant accompaniment, the royal Count never overshadowed his musicians. He gave them a wide range of flexibility and freedom to express themselves which kept the band swinging with unique, new concepts and unparalleled success. As Frank Foster once noted, he encouraged young band members to write music for the band and always swing.

A few outstanding young arrangers are featured here swinging in their personal style but always in the context of Basie's bold rollicking sound. Selections by Neal Hefti include Cherry Point, and Plymouth Rock a smooth tune with an outstanding muted trumpet solo and colorful rhythms. Ernie Wilkins, a saxophone section constant offers The Blues Done Come Down and more. This is the King of Swing at his best, as always.

No pianist makes the pearly keys dance like the great Count Basie, his fingers possessed a magical dexterity that created a distinctive sound. His amazing soft touch and his smooth pinky action on high registered keys is always an inviting sound, which meant a big swinging time was on the horizon.

-Ron Scott

Quotes

It is a jazz band that can be danced to - that is, while you're not listening to this most swinging, most rollicking of jazz-band bands going today.

Extended Article

The hardest swinging big band in jazz-is the way Down Beat referred to the Count Basie Orchestra on the occasion of the Count's 20th anniversary as a leader. In a most unobtrusive way these 20 years have made first a few and then a vast number of enthusiasts realize that Bill Basie-given the nickname of Count by a glib, late-at-night radio announcer-is entitled even more to a higher realm. He is, in short, by acclamation rather than descent, the king of swing. Other claimants to the title will please aside while the case for Basie is presented: For all of two decades Basie has never become involved with pseudo-avant garde projcts or with would-be symphonic chi-chi or with pompous analyses of what jazz really means or with wide-eyed faddism or-well, what are some of the other ills that a jazzman can fall heir to? The fact is, in two decades Basie has followed an unwavering path as a soloist, with a small group of musicians or with a big band. The Basie sound-and the Basie swing-has always been identifiable. As Jo Jones once said about the Basie organization, no matter how many men we had at any one time there was all the freedom and flexibility of a small unit.... Freedom and flexibility, more than anything else, characterize the Basie band through the years. Freedom applies, moreover, to Basie's notion of giving young, talented arrangers their head in writing as they thought the band should play-and, clearly, as Basie himself thought the band should play. Some of the best of the modern arrangements are included in this album. There are fully five selections by Neal Hefti-including Cherry Point, Bubbles, Plymouth Rock, You For Me and Two for the Blues. Ernie Wilkins, a stalwart in the saxophone section, contributed The Blues Done Come Back. Two are by Manny Albam-I Feel Like a New Man and Slow But Sure.

One more point need be made about this Basie band. It is a jazz band that can be danced to-that is, while you're not listening to this most swinging, most rollicking of jazz-band bands going today.

Contents

Cherry Point; Bubbles; Right On; The Blues Done Come Back; Plymouth Rock; I Feel Like a New Man; You for Me; Soft Drink; Two for the Blues; Slow But Sure.

Count Basie, Piano; Wendell Culley, Reunald Jones, Joe Newman, Joe Wilder, Paul Campbell, Thad Jones, Trumpets; Johnny Mandel, Bass Trumpet; Henderson Chambers, Henry Coker, Benny Powell, Bill Hughes, Trombones; Marshall Royal, Clarinet/Alto Sax; Ernie Wilkins, Alto/Tenor Sax; Frank Foster, Frank Wess, Tenor Saxes; Charlie Fowlkes, Baritone Sax; Freddie Green, Guitar; Eddie Jones, Bass; Gus Johnson, Drums.