Count Basie Orchestra, The - Live At Birdland '2021

Tracks list

Tracklist:

1. Intro (Live)
2. The Kid From Redbank (Live)
3. Who, Me (Live)
4. Way Out Basie (Live)
5. In The Wee Small Hours Of The Morning (Live)
6. Doodle Oodle (Live)
7. Four Five Six (Live)
8. Basie Power (Live)
9. Honeysuckle Rose (Live)
10. Only The Young (Live)
11. I Cant Give You Anything But Love (Live)
12. Easin It (Live)
13. Whats New (Live)
14. Kansas City Shout (Live)
15. How Do You Keep The Music Playing (Live)
16. Basie (Live)
17. One O Clock Jump (Live)
18. Wind Machine (Live)
19. April In Paris (Live)
20. There Will Never Be Another You (Live)
21. Ive Grown Accustomed To Her Face (Live)
22. I Needs To Be Beed With (Live)
23. Flute Juice (Live)
24. Moten Swing (Live)
25. Blues In Hoss Flat (Live)
26. Once In A While (Live)
27. Five O Clock In The Morning (Live)
28. Shiny Stockings (Live)
29. What Kind Of Fool Am I (Live)
30. Deed I Do (Live)
31. From One To Another (Live)
32. Whirlybirds (Live)
33. One O Clock Jump (short) (Live)

In the history of Jazz music, there is only one bandleader that has the
distinction of having his orchestra still performing sold out concerts all over
the world, with members personally chosen by him, for over 30 years after his
passing. Pianist and bandleader William James “Count” Basie was and
still is an American institution that personifies the grandeur and excellence of
Jazz. The Count Basie Orchestra, today directed by Scotty Barnhart, has won
every respected jazz poll in the world at least once, won 18 Grammy Awards,
performed for Kings, Queens, and other world Royalty, appeared in several
movies, television shows, at every major jazz festival and major concert hall in
the world. The latest honors are the 2018 Downbeat Readers Poll Award as the #1
Jazz Orchestra in the world, and a Grammy Nomination for their 2018 acclaimed
recording, All About That Basie, which features special guests Stevie Wonder,
Jon Faddis, Take 6, and Kurt Elling among others. It follows their critically
acclaimed release in 2015 of A Very Swingin’ Basie Christmas!, the very
first holiday album in the 80 year history of the orchestra. Released on Concord
Music, it went to #1 on the Jazz charts and sold out on Amazon! Special guests
include vocalists Johnny Mathis, Ledisi, our own Carmen Bradford and pianist
Ellis Marsalis. A full length documentary on Mr. Basie and the orchestra was
completed by the BBC Television Network and is slated for worldwide release in
2019 or 2020, which will then be the orchestra’s 85th Anniversary.

Some of the greatest soloists, composers, arrangers, and vocalists in jazz
history such as Lester Young, Billie Holiday, Frank Foster, Thad Jones, Sonny
Payne, Freddie Green, Snooky Young, Frank Wess, and Joe Williams, became
international stars once they began working with the legendary Count Basie
Orchestra. This great 18-member orchestra is still continuing the excellent
history started by Basie of stomping and shouting the blues, as well as refining
those musical particulars that allow for the deepest and most moving of swing.

William “Count” Basie was born in Red Bank, New Jersey in 1904. He
began his early playing days by working as a silent movie pianist and organist
and by eventually working with the Theater Owners Booking Agency (TOBA) circuit.
It is also sometimes referred to as the “chitlin’ circuit”
that catered primarily to the African-American communities in the South, East,
and Mid-West. In 1927, Basie, then touring with Gonzelle White and the Big Jazz
Jamboree, found himself stranded in Kansas City, Missouri. It was here that he
would begin to explore his deep love of the Blues, and meet his future band
mates including bassist Walter Page.

In the 1920’s and 30’s, Kansas City was headquarters for the
territory bands that played the mid and southwest. It was also ground zero for
the heady mixture of blues, 4/4 swing rhythms and hot instrumentalists that were
to become the standard bearers and precursors for the Swing Era and the
underlying rhythm of Modern Jazz. Walter Page’s Blue Devils and Benny
Moten’s Kansas City Orchestra caught Basie’s ear and soon he was
playing with both and serving as second pianist and arranger for Mr. Moten. In
1935, Bennie Moten died and it was left to Basie to take some of the musicians
from that orchestra and form his own, The Count Basie Orchestra, which is still
alive and well today some 78 years later. His orchestra epitomized Kansas City
Swing and along with the bands of Fletcher Henderson, Jimmy Lunceford, Duke
Ellington and Benny Goodman, Basie’s orchestra would define the big band
era.

While the media of the period crowned Benny Goodman the “King of
Swing”, the real King of Swing was undoubtedly Count Basie. As the great
Basie trumpeter Sweets Edison once said, “we used to tear all of the other
bands up when it came to swing”. The basic fundamentals of Basie’s
orchestra were and still are foot stomping 4/4 swing, an unparalleled use of
dynamic contrasts, shouting the blues at any tempo, and just making one want to
dance. The Basie orchestra evolved into one of the most venerable and viable
enterprises in American music with the highest levels of continued productivity
rivaling any musical organization in history.

The Count Basie Orchestra can be viewed between 1935 and 1955 as the Old
Testament and New Testament bands. The Old Testament band’s style was a
combination of spontaneously developed riff-driven, or ‘head’
arrangements, full of the blues and relaxed, but intense swing that showcased a
some of the greatest names in Jazz history in Lester Young, Hershel Evans, Harry
Edison, Buck Clayton, Dicky Wells, Jo Jones, Freddie Green and Jimmy Rushing
among others.

The “New Testament” Count Basie Orchestra was formed circa 1952
after Basie’s brief hiatus from the full orchestra as he was working with
a small group of six to seven pieces during the industry imposed recording ban
that began in 1948. With the April In Paris recording in 1955, the orchestra
began to set standards of musical achievement that have been emulated by every
jazz orchestra since that time. The sound of the orchestra was constantly
deepening and getting more precise as each series of non-stop tours were
completed. One of the things that set Mr. Basie’s orchestra apart from
all others and is one of the secrets to it’s longevity, is the fact the
Basie allowed and actually encouraged his musicians to compose and arrange
especially for the orchestra and it’s distinctive soloists such as Snooky
Young, Thad Jones, Frank Foster, and Frank Wess on flute, who recorded the very
first jazz flute solo in history. Eddie Durham, Thad Jones, Ernie Wilkins,
Quincy Jones, Neal Hefti, Sammy Nestico, and Frank Foster, to name a few of the
more prominent Basie arrangers, have added volumes to the Basie Library. Through
them, the Basie repertoire continued to broaden harmonically and rhythmically,
making it more than hospitable to the talents of the successive generations of
musicians. The orchestra also began to become the first choice for the top jazz
vocalists of the day including Frank Sinatra, Ella Fitzgerald, Tony Bennett, and
of course, Basie’s “Number One Son”, the great Joe Williams.

As Basie allowed for a certain measure of change and for a variety of voices to
emerge on the platform he created, his orchestra’s repertoire always
remained accessible, endlessly interesting, and ultimately perfect for dancing.
This can be even witnessed in the major motion picture of 1960, Cinderfella,
starring Jerry Lewis. For the biggest scene in the movie, which required the
perfect orchestra to dance to at the ball, Lewis chose none other than The Count
Basie Orchestra. This movie was seen by millions and placed the orchestra at the
top of everyone’s list for not only full concerts, but also Presidential
Inaugural Balls, and for private parties of the world’s elite from New
York to Bangkok, Thailand, to St. Tropez in the South of France.

During the 1960s and throughout the 1970s and into the 80s, the
orchestra’s sound, swing feel, general articulation and style began to
become more laid back and even more relaxed. As 30-year veteran trumpeter Sonny
Cohn once stated, “this is a
laid…back…orchestra…a…laid…back…orchestra”.
With very few personnel changes, the orchestra members were able to blend into
one sound and one way of phrasing that is now known as the “Basie
way”. Jazz orchestras all over the world began to emulate this way of
playing. It’s unmistakable with its deceptive suspension of time and
rhythm, but it’s one that is infectious and never loses that
all-important dance element. In simple terms, the Count Basie Orchestra
continued to set a precedent in 4/4 swing at any tempo that is still unsurpassed
today. Swing is that intangible that makes you pat your foot.

Since Basie’s passing in 1984, Thad Jones, Frank Foster, Grover Mitchell,
Bill Hughes, Dennis Mackrel, and now Scotty Barnhart, have led the Count Basie
Orchestra and maintained it as one of the elite performing organizations in
Jazz. Its next recording will celebrate the first 80 years of the orchestra and
will be released on Concord Music in 2018. Executive Produced by Scotty Barnhart
and Sam Beler, it features legendary artists such as Stevie Wonder, Take 6, Joey
DeFrancesco, Kurt Elling, and others.

Current members include musicians hired by Basie himself: Frequent guest
vocalist Carmen Bradford (joined in 1983) and trombonist Clarence Banks (joined
in 1984). Long-time members include Doug Miller (1989, formerly w/Lionel
Hampton), and members who have joined in the last 15-25 years; trombonists David
Keim (formerly w/Stan Kenton), Alvin Walker and Mark Williams, guitarist Will
Matthews, trumpeter Endre Rice, saxophonists Doug Lawrence (formerly w/Benny
Goodman, Buck Clayton) and returning on lead alto, David Glasser. Newer members
include bassist Trevor Ware, trumpeters Brandon Lee and returning member, Shawn
Edmonds, our new lead trumpeter Frank Greene III, pianist Glen Pearson and the
youngest members; 27 year old Robert Boone on drums, 24 year old Joshua Lee on
baritone saxophone and 24 year old Markus Howell on alto..

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