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Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin


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InBasie formed his own jazz orchestra, the Count Basie Orchestraand in took them to Chicago for a long engagement and their first recording. He led the group for almost 50 Musique - France Gall - France Gall, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others.

After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. His father played the mellophoneand his mother played the piano; in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for Count Basie's piano instruction. Not much of a student in Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin , Basie dreamed of a traveling life, inspired by touring carnivals which came to town.

He finished junior high school [7] but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies. Though a natural at the piano, Basie preferred drums.

Discouraged by the obvious talents of Sonny Greerwho also lived in Red Bank and became Duke Ellington 's drummer inAt age 15, Basie switched to piano exclusively.

Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin Richardson's "Kings of Syncopation". AroundBasie went to Harlema hotbed of jazz, where he lived down the block from the Alhambra Theater.

Early after his arrival, Toon Hermans - One Man Show Opgenomen In Theater Carré, Amsterdam bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington 's early band. LouisNew Orleansand Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. This provided an early training that was to prove significant in his later career.

Back in Harlem inBasie gained his first steady job at Leroy's, a place known for its piano players and its " cutting contests. Basie later played organ at the Eblon Theater in Kansas City. It was at this time that he began to be known as "Count" Basie see Jazz royalty.

The following year, inBasie became the pianist with the Bennie Moten band Movie Three - Michael Mantler - Movies in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson 's. He occasionally played four-hand piano and dual pianos with Moten, who also conducted.

When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms. When Moten died, the band tried to stay together but couldn't make a go of it. The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. During a broadcast the announcer wanted to give Basie's name some style, so he called him "Count. Basie's new band which included many Moten alumni, with the important addition of tenor player Lester Young.

They played at the Reno Club and sometimes were broadcast on local radio. Late one night with time to fill, the band started improvising. Basie liked the results and named the piece " One O'Clock Jump. We set the thing up front in D-flat, and then we just went on playing in F.

Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Young complained of Herschel Evans ' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels". Many other bands later adapted the split tenor arrangement. In that city in Octoberthe band had a recording session which the producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with".

After Vocalion became a subsidiary of Columbia Records in"Boogie Woogie" was released in as part of a four-record compilation album entitled Boogie Woogie Columbia album C By then, Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano. He also hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy. When Basie took his orchestra to New York inthey made the Woodside Hotel in Harlem their base they often rehearsed in its basement.

Basie recalled a review, which said something like, "We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing".

The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards.

They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up. Hammond introduced Basie to Billie Holidaywhom he invited to sing with the I Cannot Hide From God - Kings Men - Favourites. Holiday did not record with Basie, as she had her own record contract and preferred working with small combos. There were often no musical notations made.

Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory. Next, Basie played at the Savoywhich was noted more for lindy-hoppingwhile the Roseland was a place for fox-trots and congas. Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically.

Undismayed by Chick's forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick's brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance. He constantly parried Chick's thundering haymakers with tantalizing runs and arpeggios which teased more and Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin force from his adversary.

The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. A few months later, Holiday left for Artie Shaw 's band. Hammond introduced Helen Humeswhom Basie hired; she stayed with Basie for four years. Basie's man band began playing at the Famous Doora mid-town nightspot with a CBS network feed and air conditioningwhich Hammond was said to have bought the club in return for their booking Basie Выпусти Меня Отсюда - Сплин - Сигнал Из Космоса throughout the Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin of Their fame took a huge leap.

On February 19,Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on 20 February. Dance hall Call Me - Count Basie With The Alan Copeland Singers - Basie Swingin Voices Singin were down sharply as swing began to fade, the effects of the musicians' strikes of —44 and began to be felt, and the public's taste grew for singers.

Basie occasionally lost some key soloists. However, throughout the s, he maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists. The big band era appeared to have ended after the war, and Basie disbanded the group. For a while, he performed in combos, sometimes stretched to an orchestra. He reformed his group as a piece orchestra in This group was Невидь - Зов Новой Гипербореи called the New Testament band.

Basie credited Billy Eckstinea top male vocalist of the time, for prompting his return to Big Band. He said that Norman Granz got them into the Birdland club and promoted the new band through recordings on the MercuryClefand Verve labels.

Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements. Basie added touches of bebop "so long as it made sense", and he required that "it all had to have feeling". Behind the occasional bebop solos, he always kept his strict rhythmic pulse, "so it doesn't matter what they do up front; the audience gets the beat".

Inthe band made its first European tour. Jazz was especially appreciated in France, The Netherlands, and Germany in the s; these countries were the stomping grounds for many expatriate American jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Neal Hefti began to provide arrangements, notably " Lil Darlin' ". By the mids, Basie's band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time.

InBasie released the live album Count Basie at Newport. It was released by Roulette Records, then later reissued by Capitol Records. Later that year, Basie appeared on a television special with Fred Astairefeaturing a dance solo to " Sweet Georgia Brown ", followed in January by Basie performing at one of the five John F. Kennedy Inaugural Balls.

The Count Meets the Dukeeach providing four numbers from their play books. During the balance of the s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises.

Some time aroundBasie adopted his trademark yachting cap. Through steady changes in personnel, Basie led the band into the s. Basie made a few more movie appearances, such as the Jerry Lewis film Cinderfella and the Mel Brooks movie Blazing Saddlesplaying a revised arrangement of "April in Paris". Basie was a member of Omega Psi Phi Fraternity. They were divorced sometime before Some time in or beforethe now single Basie returned to New York City, renting a house at West th Street, Manhattan, as evidenced by the census.

Inthey moved to Queens. Albans, Queens. She was 67 years old. Count Basie died of pancreatic cancer in Hollywood, Florida on April 26, at the age of Basie hitched his star to some of the most famous vocalists of the s and s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Jimmy Rushing sang with Basie in the late s. Ella Fitzgerald made some memorable recordings with Basie, including the album Ella and Basie!

With the New Testament Basie band in full swing, and arrangements written by a youthful Quincy Jonesthis album proved a swinging respite from her Songbook recordings and constant touring she did during this period. Sinatra later said of this concert "I have a funny feeling that those two nights could have been my finest hour, really. It went so well; it was so thrilling and exciting". Basie also recorded with Tony Bennett in the late s.

Basie also toured with Bennett, including a date at Carnegie Hall. Other notable recordings were with Sammy Davis Jr.


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    Count Basie & Billy Eckstine - Basie & Eckstine Incorporated (Roulette ) String Along with Basie (Roulette, ) Count Basie and the Kansas City 7 (Impulse!, ) Basie Swingin' Voices Singin' (ABC-Paramount, ) with the Alan Copeland Singers; Basie Meets Bond (United Artists, ) Loose Walk with Roy Eldridge (Pablo, ) Basie Jam.


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