Count Basie

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Count Basie_table_infobox_0

Count BasieCount Basie_header_cell_0_0_0
Background informationCount Basie_header_cell_0_1_0
Birth nameCount Basie_header_cell_0_2_0 William James BasieCount Basie_cell_0_2_1
BornCount Basie_header_cell_0_3_0 (1904-08-21)August 21, 1904

Red Bank, New Jersey, U.S.Count Basie_cell_0_3_1

DiedCount Basie_header_cell_0_4_0 April 26, 1984(1984-04-26) (aged 79)

Hollywood, Florida, U.S.Count Basie_cell_0_4_1

GenresCount Basie_header_cell_0_5_0 Count Basie_cell_0_5_1
Occupation(s)Count Basie_header_cell_0_6_0 Count Basie_cell_0_6_1
InstrumentsCount Basie_header_cell_0_7_0 Count Basie_cell_0_7_1
Years activeCount Basie_header_cell_0_8_0 1924–1984Count Basie_cell_0_8_1

William James "Count" Basie (/ˈbeɪsi/; August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. Count Basie_sentence_0

In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. Count Basie_sentence_1

He led the group for almost 50 years, 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. Count Basie_sentence_2

Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams. Count Basie_sentence_3

Biography Count Basie_section_0

Early life and education Count Basie_section_1

William Basie was born to Lillian and Harvey Lee Basie in Red Bank, New Jersey. Count Basie_sentence_4

His father worked as a coachman and caretaker for a wealthy judge. Count Basie_sentence_5

After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Count Basie_sentence_6

Both of his parents had some type of musical background. Count Basie_sentence_7

His father played the mellophone, and his mother played the piano; in fact, she gave Basie his first piano lessons. Count Basie_sentence_8

She took in laundry and baked cakes for sale for a living. Count Basie_sentence_9

She paid 25 cents a lesson for Count Basie's piano instruction. Count Basie_sentence_10

The best student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. Count Basie_sentence_11

He finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. Count Basie_sentence_12

He quickly learned to improvise music appropriate to the acts and the silent movies. Count Basie_sentence_13

Though a natural at the piano, Basie preferred drums. Count Basie_sentence_14

Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie switched to piano exclusively at age 15. Count Basie_sentence_15

Greer and Basie played together in venues until Greer set out on his professional career. Count Basie_sentence_16

By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson's "Kings of Syncopation". Count Basie_sentence_17

When not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip. Count Basie_sentence_18

He got some jobs in Asbury Park at the Jersey Shore, and played at the Hong Kong Inn until a better player took his place. Count Basie_sentence_19

Early career Count Basie_section_2

Around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Count Basie_sentence_20

Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington's early band. Count Basie_sentence_21

Soon, Basie met many of the Harlem musicians who were "making the scene," including Willie "the Lion" Smith and James P. Johnson. Count Basie_sentence_22

Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies (featuring singer Katie Crippen) as part of the Hippity Hop show; on the Keith, the Columbia Burlesque, and the Theater Owners Bookers Association (T.O.B.A.) Count Basie_sentence_23

vaudeville circuits; and as a soloist and accompanist to blues singer Gonzelle White as well as Crippen. Count Basie_sentence_24

His touring took him to Kansas City, St. Count Basie_sentence_25 Louis, New Orleans, and Chicago. Count Basie_sentence_26

Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Count Basie_sentence_27

Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. Count Basie_sentence_28

This provided an early training that was to prove significant in his later career. Count Basie_sentence_29

Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its "cutting contests." Count Basie_sentence_30

The place catered to "uptown celebrities," and typically the band winged every number without sheet music using "head arrangements." Count Basie_sentence_31

He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument. Count Basie_sentence_32

(Basie later played organ at the Eblon Theater in Kansas City). Count Basie_sentence_33

As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at "house-rent parties," introducing him to other leading musicians, and teaching him some piano technique. Count Basie_sentence_34

In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals. Count Basie_sentence_35

A few months later, he was invited to join the band, which played mostly in Texas and Oklahoma. Count Basie_sentence_36

It was at this time that he began to be known as "Count" Basie (see Jazz royalty). Count Basie_sentence_37

Kansas City years Count Basie_section_3

The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. Count Basie_sentence_38

Where the Blue Devils were "snappier" and more "bluesy," the Moten band was more refined and respected, playing in the "Kansas City stomp" style. Count Basie_sentence_39

In addition to playing piano, Basie was co-arranger with Eddie Durham, who notated the music. Count Basie_sentence_40

Their "Moten Swing", which Basie claimed credit for, was widely acclaimed and was an invaluable contribution to the development of swing music, and at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. Count Basie_sentence_41

During a stay in Chicago, Basie recorded with the band. Count Basie_sentence_42

He occasionally played four-hand piano and dual pianos with Moten, who also conducted. Count Basie_sentence_43

The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster. Count Basie_sentence_44

When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms. Count Basie_sentence_45

"When his own band folded, he rejoined Moten with a newly re-organized band. Count Basie_sentence_46

A year later, Basie joined Bennie Moten's band, and played with them until Moten's death in 1935 from a failed tonsillectomy. Count Basie_sentence_47

When Moten died, the band tried to stay together but couldn't make a go of it. Count Basie_sentence_48

Basie then formed his own nine-piece band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals). Count Basie_sentence_49

The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. Count Basie_sentence_50

During a broadcast the announcer wanted to give Basie's name some style, so he called him "Count." Count Basie_sentence_51

Little did Basie know this touch of royalty would give him proper status and position him with the likes of Duke Ellington and Earl Hines. Count Basie_sentence_52

Basie's new band which included many Moten alumni, with the important addition of tenor player Lester Young. Count Basie_sentence_53

They played at the Reno Club and sometimes were broadcast on local radio. Count Basie_sentence_54

Late one night with time to fill, the band started improvising. Count Basie_sentence_55

Basie liked the results and named the piece "One O'Clock Jump." Count Basie_sentence_56

According to Basie, "we hit it with the rhythm section and went into the riffs, and the riffs just stuck. Count Basie_sentence_57

We set the thing up front in D-flat, and then we just went on playing in F." It became his signature tune. Count Basie_sentence_58

John Hammond and first recordings Count Basie_section_4

At the end of 1936, Basie and his band, now billed as "Count Basie and His Barons of Rhythm," moved from Kansas City to Chicago, where they honed their repertoire at a long engagement at the Grand Terrace Ballroom. Count Basie_sentence_59

Right from the start, Basie's band was noted for its rhythm section. Count Basie_sentence_60

Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. Count Basie_sentence_61

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". Count Basie_sentence_62

Many other bands later adapted the split tenor arrangement. Count Basie_sentence_63

In that city in October 1936, the 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". Count Basie_sentence_64

Hammond had heard Basie's band by radio and went to Kansas City to check them out. Count Basie_sentence_65

He invited them to record, in performances which were Lester Young's earliest recordings. Count Basie_sentence_66

Those four sides were released on Vocalion Records under the band name of Jones-Smith Incorporated; the sides were "Shoe Shine Boy", "Evening", "Boogie Woogie", and "Lady Be Good". Count Basie_sentence_67

After Vocalion became a subsidiary of Columbia Records in 1938, "Boogie Woogie" was released in 1941 as part of a four-record compilation album entitled Boogie Woogie (Columbia album C44). Count Basie_sentence_68

When he made the Vocalion recordings, Basie had already signed with Decca Records, but did not have his first recording session with them until January 1937. Count Basie_sentence_69

By then, Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano. Count Basie_sentence_70

His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone). Count Basie_sentence_71

Lester Young, known as "Prez" by the band, came up with nicknames for all the other band members. Count Basie_sentence_72

He called Basie "Holy Man", "Holy Main", and just plain "Holy". Count Basie_sentence_73

Basie favored blues, and he would showcase some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. Count Basie_sentence_74

He also hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy. Count Basie_sentence_75

New York City and the swing years Count Basie_section_5

When Basie took his orchestra to New York in 1937, they made the Woodside Hotel in Harlem their base (they often rehearsed in its basement). Count Basie_sentence_76

Soon, they were booked at the Roseland Ballroom for the Christmas show. Count Basie_sentence_77

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. Count Basie_sentence_78

Well, the Roseland is still standing". Count Basie_sentence_79

Compared to the reigning band of Fletcher Henderson, Basie's band lacked polish and presentation. Count Basie_sentence_80

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. Count Basie_sentence_81

They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up. Count Basie_sentence_82

His first official recordings for Decca followed, under contract to agent MCA, including "Pennies from Heaven" and "Honeysuckle Rose". Count Basie_sentence_83

Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. Count Basie_sentence_84

(Holiday did not record with Basie, as she had her own record contract and preferred working with small combos). Count Basie_sentence_85

The band's first appearance at the Apollo Theater followed, with the vocalists Holiday and Jimmy Rushing getting the most attention. Count Basie_sentence_86

Durham returned to help with arranging and composing, but for the most part, the orchestra worked out its numbers in rehearsal, with Basie guiding the proceedings. Count Basie_sentence_87

There were often no musical notations made. Count Basie_sentence_88

Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory. Count Basie_sentence_89

Next, Basie played at the Savoy, which was noted more for lindy-hopping, while the Roseland was a place for fox-trots and congas. Count Basie_sentence_90

In early 1938, the Savoy was the meeting ground for a "battle of the bands" with Chick Webb's group. Count Basie_sentence_91

Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. Count Basie_sentence_92

As Metronome magazine proclaimed, "Basie's Brilliant Band Conquers Chick's"; the article described the evening: Count Basie_sentence_93

The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Count Basie_sentence_94

Soon after, Benny Goodman recorded their signature "One O'Clock Jump" with his band. Count Basie_sentence_95

A few months later, Holiday left for Artie Shaw's band. Count Basie_sentence_96

Hammond introduced Helen Humes, whom Basie hired; she stayed with Basie for four years. Count Basie_sentence_97

When Eddie Durham left for Glenn Miller's orchestra, he was replaced by Dicky Wells. Count Basie_sentence_98

Basie's 14-man band began playing at the Famous Door, a mid-town nightspot with a CBS network feed and air conditioning, which Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of 1938. Count Basie_sentence_99

Their fame took a huge leap. Count Basie_sentence_100

Adding to their play book, Basie received arrangements from Jimmy Mundy (who had also worked with Benny Goodman and Earl Hines), particularly for "Cherokee", "Easy Does It", and "Super Chief". Count Basie_sentence_101

In 1939, Basie and his band made a major cross-country tour, including their first West Coast dates. Count Basie_sentence_102

A few months later, Basie quit MCA and signed with the William Morris Agency, who got them better fees. Count Basie_sentence_103

On February 19, 1940, Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on 20 February. Count Basie_sentence_104

On the West Coast, in 1942 the band did a spot in Reveille With Beverly, a musical film starring Ann Miller, and a "Command Performance" for Armed Forces Radio, with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and the singer Dinah Shore. Count Basie_sentence_105

Other minor movie spots followed, including Choo Choo Swing, Crazy House, Top Man, Stage Door Canteen, and Hit Parade of 1943. Count Basie_sentence_106

They also continued to record for OKeh Records and Columbia Records. Count Basie_sentence_107

The war years caused a lot of members turn over, and the band worked many play dates with lower pay. Count Basie_sentence_108

Dance hall bookings were down sharply as swing began to fade, the effects of the musicians' strikes of 1942–44 and 1948 began to be felt, and the public's taste grew for singers. Count Basie_sentence_109

Basie occasionally lost some key soloists. Count Basie_sentence_110

However, throughout the 1940s, 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. Count Basie_sentence_111

Los Angeles and the Cavalcade of Jazz concerts Count Basie_section_6

Count Basie was the featured artist at the first Cavalcade of Jazz concert held at Wrigley Field on September 23, 1945 which was produced by Leon Hefflin Sr. Al Jarvis was the Emcee and other artists to appear on stage were Joe Liggins and his Honeydrippers, The Peters Sisters, Slim and Bam, Valaida Snow, and Big Joe Turner. Count Basie_sentence_112

They played to a crowd of 15,000. Count Basie_sentence_113

Count Basie and his Orchestra played at the tenth Cavalcade of Jazz concert also at Wrigley Field on June 20, 1954. Count Basie_sentence_114

He played along with The Flairs, Christine Kittrell, Lamp Lighters, Louis Jordan and His Tympany Five, Ruth Brown, and Perez Prado and his Orchestra. Count Basie_sentence_115

Post-war and later years Count Basie_section_7

The big band era appeared to have ended after the war, and Basie disbanded the group. Count Basie_sentence_116

For a while, he performed in combos, sometimes stretched to an orchestra. Count Basie_sentence_117

In 1950, he headlined the Universal-International short film "Sugar Chile" Robinson, Billie Holiday, Count Basie and His Sextet. Count Basie_sentence_118

He reformed his group as a 16-piece orchestra in 1952. Count Basie_sentence_119

This group was eventually called the New Testament band. Count Basie_sentence_120

Basie credited Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band. Count Basie_sentence_121

He said that Norman Granz got them into the Birdland club and promoted the new band through recordings on the Mercury, Clef, and Verve labels. Count Basie_sentence_122

The jukebox era had begun, and Basie shared the exposure along with early rock'n'roll and rhythm and blues artists. Count Basie_sentence_123

Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements. Count Basie_sentence_124

Basie added touches of bebop "so long as it made sense", and he required that "it all had to have feeling". Count Basie_sentence_125

Basie's band was sharing Birdland with such bebop greats as Charlie Parker, Dizzy Gillespie, and Miles Davis. Count Basie_sentence_126

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". Count Basie_sentence_127

Basie also added flute to some numbers, a novelty at the time that became widely copied. Count Basie_sentence_128

Soon, his band was touring and recording again. Count Basie_sentence_129

The new band included: Paul Campbell, Tommy Turrentine, Johnny Letman, Idrees Sulieman, and Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd "Candy" Johnson (tenor sax); Marshal Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax). Count Basie_sentence_130

Down Beat magazine reported, "(Basie) has managed to assemble an ensemble that can thrill both the listener who remembers 1938 and the youngster who has never before heard a big band like this." Count Basie_sentence_131

In 1957, Basie sued the jazz venue Ball and Chain in Miami over outstanding fees, causing the closure of the venue. Count Basie_sentence_132

In 1958, the band made its first European tour. Count Basie_sentence_133

Jazz was especially appreciated in France, The Netherlands, and Germany in the 1950s; 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. Count Basie_sentence_134

Neal Hefti began to provide arrangements, notably "Lil Darlin'". Count Basie_sentence_135

By the mid-1950s, Basie's band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time. Count Basie_sentence_136

They also toured with the "Birdland Stars of 1955", whose lineup included Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz. Count Basie_sentence_137

In 1957, Basie released the live album Count Basie at Newport. Count Basie_sentence_138

"April in Paris" (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album. Count Basie_sentence_139

The Basie band made two tours in the British Isles and on the second, they put on a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza. Count Basie_sentence_140

He was a guest on ABC's The Pat Boone Chevy Showroom, a venue also opened to several other black entertainers. Count Basie_sentence_141

In 1959, Basie's band recorded a "greatest hits" double album The Count Basie Story (Frank Foster, arranger), and Basie/Eckstine Incorporated, an album featuring Billy Eckstine, Quincy Jones (as arranger) and the Count Basie Orchestra. Count Basie_sentence_142

It was released by Roulette Records, then later reissued by Capitol Records. Count Basie_sentence_143

Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to "Sweet Georgia Brown", followed in January 1961 by Basie performing at one of the five John F. Kennedy Inaugural Balls. Count Basie_sentence_144

That summer, Basie and Duke Ellington combined forces for the recording First Time! Count Basie_sentence_145

The Count Meets the Duke, each providing four numbers from their play books. Count Basie_sentence_146

During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. Count Basie_sentence_147

Some time around 1964, Basie adopted his trademark yachting cap. Count Basie_sentence_148

Through steady changes in personnel, Basie led the band into the 1980s. Count Basie_sentence_149

Basie made a few more movie appearances, such as in the Jerry Lewis film Cinderfella (1960) and the Mel Brooks movie Blazing Saddles (1974), playing a revised arrangement of "April in Paris". Count Basie_sentence_150

During its heyday, The Gong Show (1976–80) used Basie's "Jumpin' at the Woodside" during some episodes, while an NBC stagehand named Eugene Patton would dance on stage; Patton became known as "Gene Gene the Dancing Machine". Count Basie_sentence_151

Marriage, family and death Count Basie_section_8

Basie was a member of Omega Psi Phi fraternity. Count Basie_sentence_152

On July 21, 1930, Basie married Vivian Lee Winn, in Kansas City, Missouri. Count Basie_sentence_153

They were divorced sometime before 1935. Count Basie_sentence_154

Some time in or before 1935, the now single Basie returned to New York City, renting a house at 111 West 138th Street, Manhattan, as evidenced by the 1940 census. Count Basie_sentence_155

He married Catherine Morgan on July 13, 1940 in the King County courthouse in Seattle, Washington. Count Basie_sentence_156

In 1942, they moved to Queens. Count Basie_sentence_157

Their only child, Diane, was born February 6, 1944. Count Basie_sentence_158

She was born with cerebral palsy and the doctors claimed she would never walk. Count Basie_sentence_159

The couple kept her and cared deeply for her, and especially through her mother's tutelage Diane learned not only to walk but to swim. Count Basie_sentence_160

The Basies bought a home in the new whites-only neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Count Basie_sentence_161 Albans, Queens. Count Basie_sentence_162

On April 11, 1983, Catherine Basie died of heart disease at the couple's home in Freeport, Grand Bahama Island. Count Basie_sentence_163

She was 67 years old. Count Basie_sentence_164

Count Basie died of pancreatic cancer in Hollywood, Florida on April 26, 1984 at the age of 79. Count Basie_sentence_165

Singers Count Basie_section_9

Basie hitched his star to some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Count Basie_sentence_166

Jimmy Rushing sang with Basie in the late 1930s. Count Basie_sentence_167

Joe Williams toured with the band and was featured on the 1957 album One O'Clock Jump, and 1956's Count Basie Swings, Joe Williams Sings, with "Every Day (I Have the Blues)" becoming a huge hit. Count Basie_sentence_168

With Billy Eckstine on the album Basie/Eckstine Incorporated, in 1959. Count Basie_sentence_169

Ella Fitzgerald made some memorable recordings with Basie, including the 1963 album Ella and Basie!. Count Basie_sentence_170

With the New Testament Basie band in full swing, and arrangements written by a youthful Quincy Jones, this album proved a swinging respite from her Songbook recordings and constant touring she did during this period. Count Basie_sentence_171

She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. Count Basie_sentence_172

In addition to Quincy Jones, Basie was using arrangers such as Benny Carter (Kansas City Suite), Neal Hefti (The Atomic Mr Basie), and Sammy Nestico (Basie-Straight Ahead). Count Basie_sentence_173

Frank Sinatra recorded for the first time with Basie on 1962's Sinatra-Basie and for a second studio album on 1964's It Might as Well Be Swing, which was arranged by Quincy Jones. Count Basie_sentence_174

Jones also arranged and conducted 1966's live Sinatra at the Sands which featured Sinatra with Count Basie and his orchestra at the Sands Hotel in Las Vegas. Count Basie_sentence_175

In May 1970, Sinatra performed in London's Royal Festival Hall with the Basie orchestra, in a charity benefit for the National Society for the Prevention of Cruelty to Children. Count Basie_sentence_176

Sinatra later said of this concert "I have a funny feeling that those two nights could have been my finest hour, really. Count Basie_sentence_177

It went so well; it was so thrilling and exciting". Count Basie_sentence_178

Basie also recorded with Tony Bennett in the late 1950s. Count Basie_sentence_179

Their albums together included In Person and Strike Up the Band. Count Basie_sentence_180

Basie also toured with Bennett, including a date at Carnegie Hall. Count Basie_sentence_181

Other notable recordings were with Sammy Davis Jr., Bing Crosby, and Sarah Vaughan. Count Basie_sentence_182

One of Basie's biggest regrets was never recording with Louis Armstrong, though they shared the same bill several times. Count Basie_sentence_183

In 1968 Basie and his Band recorded an album with Jackie Wilson titled Manufacturers of Soul. Count Basie_sentence_184

Legacy and honors Count Basie_section_10

Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Count Basie_sentence_185

Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music. Count Basie_sentence_186

In his autobiography, he wrote, "I think the band can really swing when it swings easy, when it can just play along like you are cutting butter." Count Basie_sentence_187

Count Basie_unordered_list_0

  • In Red Bank, New Jersey, the Count Basie Theatre, a property on Monmouth Street redeveloped for live performances, and Count Basie Field were named in his honor.Count Basie_item_0_0
  • Received an honorary doctorate from Berklee College of Music in 1974.Count Basie_item_0_1
  • Mechanic Street, where he grew up with his family, has the honorary title of Count Basie Way.Count Basie_item_0_2
  • In 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson Home, a National Historic Landmark where Count Basie had also lived.Count Basie_item_0_3
  • In 2010, Basie was inducted into the New Jersey Hall of Fame.Count Basie_item_0_4
  • In October 2013, version 3.7 of WordPress was code-named Count Basie.Count Basie_item_0_5
  • In 2019, Basie was inducted into the Blues Hall of Fame.Count Basie_item_0_6
  • On June 25, 2019, The New York Times Magazine listed Count Basie among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.Count Basie_item_0_7
  • Asteroid 35394 Countbasie, discovered by astronomers at Caussols in 1997, was named after him. The official naming citation was published by the Minor Planet Center on 8 November 2019 (M.P.C. 118220).Count Basie_item_0_8
  • 6508 Hollywood Blvd in Hollywood, California is the location of Count Basie's star on the Hollywood Walk of Fame.Count Basie_item_0_9

Representation in other media Count Basie_section_11

Count Basie_unordered_list_1

Discography Count Basie_section_12

Count Basie made most of his albums with his big band. Count Basie_sentence_188

See the Count Basie Orchestra Discography. Count Basie_sentence_189

From 1929–1932, Basie was part of Bennie Moten's Kansas City Orchestra: Count Basie_sentence_190

Count Basie_unordered_list_2

As sideman Count Basie_section_13

With Harry Edison Count Basie_sentence_191

Count Basie_unordered_list_3

Filmography Count Basie_section_14

Count Basie_unordered_list_4

Awards Count Basie_section_15

Grammy Awards Count Basie_section_16

In 1958, Basie became the first African-American to win a Grammy Award. Count Basie_sentence_192

Count Basie_table_general_1

Count Basie Grammy Award historyCount Basie_cell_1_0_0
YearCount Basie_header_cell_1_1_0 CategoryCount Basie_header_cell_1_1_1 TitleCount Basie_header_cell_1_1_2 GenreCount Basie_header_cell_1_1_3 ResultsCount Basie_header_cell_1_1_4
1984Count Basie_cell_1_2_0 Best Jazz Instrumental Performance, Big BandCount Basie_cell_1_2_1 88 Basie StreetCount Basie_cell_1_2_2 JazzCount Basie_cell_1_2_3 WinnerCount Basie_cell_1_2_4
1982Count Basie_cell_1_3_0 Best Jazz Instrumental Performance, Big BandCount Basie_cell_1_3_1 Warm BreezeCount Basie_cell_1_3_2 JazzCount Basie_cell_1_3_3 WinnerCount Basie_cell_1_3_4
1980Count Basie_cell_1_4_0 Best Jazz Instrumental Performance, Big BandCount Basie_cell_1_4_1 On The RoadCount Basie_cell_1_4_2 JazzCount Basie_cell_1_4_3 WinnerCount Basie_cell_1_4_4
1977Count Basie_cell_1_5_0 Best Jazz Performance by a Big BandCount Basie_cell_1_5_1 Prime TimeCount Basie_cell_1_5_2 JazzCount Basie_cell_1_5_3 WinnerCount Basie_cell_1_5_4
1976Count Basie_cell_1_6_0 Best Jazz Performance by a Soloist (Instrumental)Count Basie_cell_1_6_1 Basie And ZootCount Basie_cell_1_6_2 JazzCount Basie_cell_1_6_3 WinnerCount Basie_cell_1_6_4
1963Count Basie_cell_1_7_0 Best Performance by an Orchestra – For DancingCount Basie_cell_1_7_1 This Time By Basie! Hits of the 50's And 60'sCount Basie_cell_1_7_2 PopCount Basie_cell_1_7_3 WinnerCount Basie_cell_1_7_4
1960Count Basie_cell_1_8_0 Best Performance by a Band For DancingCount Basie_cell_1_8_1 Dance With BasieCount Basie_cell_1_8_2 PopCount Basie_cell_1_8_3 WinnerCount Basie_cell_1_8_4
1958Count Basie_cell_1_9_0 Best Performance by a Dance BandCount Basie_cell_1_9_1 Basie (The Atomic Mr. Basie)Count Basie_cell_1_9_2 PopCount Basie_cell_1_9_3 WinnerCount Basie_cell_1_9_4
1958Count Basie_cell_1_10_0 Best Jazz Performance, GroupCount Basie_cell_1_10_1 Basie (The Atomic Mr. Basie)Count Basie_cell_1_10_2 JazzCount Basie_cell_1_10_3 WinnerCount Basie_cell_1_10_4

Grammy Hall of Fame Count Basie_section_17

By 2011, four recordings of Count Basie had been inducted into the Grammy Hall of Fame, a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance." Count Basie_sentence_193

Count Basie_table_general_2

Count Basie Grammy Hall of Fame AwardsCount Basie_cell_2_0_0
Year recordedCount Basie_header_cell_2_1_0 TitleCount Basie_header_cell_2_1_1 genreCount Basie_header_cell_2_1_2 LabelCount Basie_header_cell_2_1_3 Year inductedCount Basie_header_cell_2_1_4
1939Count Basie_cell_2_2_0 Lester Leaps InCount Basie_cell_2_2_1 Jazz (Single)Count Basie_cell_2_2_2 VocalionCount Basie_cell_2_2_3 2005Count Basie_cell_2_2_4
1955Count Basie_cell_2_3_0 Everyday (I Have the Blues)Count Basie_cell_2_3_1 Jazz (Single)Count Basie_cell_2_3_2 ClefCount Basie_cell_2_3_3 1992Count Basie_cell_2_3_4
1955Count Basie_cell_2_4_0 April in ParisCount Basie_cell_2_4_1 Jazz (Single)Count Basie_cell_2_4_2 ClefCount Basie_cell_2_4_3 1985Count Basie_cell_2_4_4
1937Count Basie_cell_2_5_0 One O'Clock JumpCount Basie_cell_2_5_1 Jazz (Single)Count Basie_cell_2_5_2 DeccaCount Basie_cell_2_5_3 1979Count Basie_cell_2_5_4

Honors and inductions Count Basie_section_18

On May 23, 1985, William "Count" Basie was presented, posthumously, with the Presidential Medal of Freedom by President Ronald Reagan. Count Basie_sentence_194

The award was received by his son, Aaron Woodward. Count Basie_sentence_195

On September 11, 1996 the U.S. Count Basie_sentence_196 Post Office issued a Count Basie 32 cents postage stamp. Count Basie_sentence_197

Basie is a part of the Big Band Leaders issue, which, is in turn, part of the Legends of American Music series. Count Basie_sentence_198

In 2009, Basie was inducted into the New Jersey Hall of Fame. Count Basie_sentence_199

In May 2019, Basie was inducted into the Blues Hall of Fame at a ceremony in Memphis, TN, presented by The Blues Foundation. Count Basie_sentence_200

National Recording Registry Count Basie_section_19

In 2005, Count Basie's song "One O'Clock Jump" (1937) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. Count Basie_sentence_201

The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant." Count Basie_sentence_202

Credits to the contents of this page go to the authors of the corresponding Wikipedia page: Basie.