As a pianist, he had a distinctive and influential style (the song title "Splanky" is an onomatopoetic reference to the sound of his playing), equally at home in the barrelhouse and the concert hall. Willie "The Lion" Smith, James P. Johnson, and Fats Waller were among his influences.
As a bandleader, he created an organization (built upon the remains of Bennie Moten's Kansas City Orchestra) that was a favorite both of dancers and of vocalists such as Frank Sinatra, Ella Fitzgerald, Sarah Vaughan, and, of course, Billie Holiday. Equally important, it kept many musicians employed through lean years. Many jazz musicians of note built their chops and earned their bread and butter in Basie's organization.
In addition to Basie, the swinging "All American Rhythm Section" of his orchestra included greats such as Walter Page (bass), Jo Jones (drums), and Freddie Green (guitar). It was the greatest, most swinging rhythm sections in the history of jazz. Chief among its vocalists were, first, Jimmy Rushing and, later, Joe Williams. Over the years it boasted sidemen and soloists like Herschel Evans (tenor sax), Lester Young (tenor sax), Eddie "Lockjaw" Davis (tenor sax), Buddy Tate (tenor sax), Illinois Jacquet (tenor sax), Earle Warren (alto sax), Jack Washington (alto & baritone sax), Harry "Sweets" Edison (trumpet), Buck Clayton (trumpet), Thad Jones (trumpet), Snooky Young (trumpet), Benny Morton (trombone), Benny Powell (trombone), and Dicky Wells (trombone).
Basie also collaborated with artists such as Zoot Sims and Oscar Peterson, and recorded with ensembles large and small, including the Count Basie Trio, the Count Basie Sextet, and the Kansas City Seven. Notable arrangers included Eddie Durham (who helped shape the Basie Orchestra's sound) and Neal Hefti.
Going to Chicago
Count Basie Lyrics
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Sorry, I can't take you
Going to Chicago
Sorry, I can't take you
There's nothing in Chicago
That a man like you can do
When you see me coming
When you see me coming
Raise your window high
When you see me going
Baby, hang your head and cry
You're so mean and evil
You do things you shouldn't do
You're so mean and evil
You do things you shouldn't do
And you've got my brand of honey
Guess I'll have to put up with you
I was going to Chicago but
now I'm coming back to you
The lyrics of "Goin' to Chicago Blues" by Count Basie and his Orchestra depict a man who is leaving his lover behind as he heads to Chicago. He tells his lover that he cannot take her with him because there is nothing in Chicago that she can do. The man warns his lover to raise her window high and hang her head and cry when she sees him leaving. He accuses her of being mean and evil and doing things she shouldn't do. Despite this, he admits that he has feelings for her and that he has her brand of honey, which means that he will have to put up with her.
This song is a classic example of a blues song, where the singer expresses his emotions and feelings through the lyrics. The blues was a genre of music that emerged in the African American community in the early 20th century, and it was characterized by its simple chord progressions, call and response vocals, and soulful melodies. The song is particularly notable for its use of the 12-bar blues chord progression, which is a staple of the genre.
Lyrics © Warner/Chappell Music, Inc.
Written by: COUNT BASIE, JAMES RUSHING, JAMES ANDREW RUSHING
Lyrics Licensed & Provided by LyricFind
@charlesbarry971
Big voice.
A throwback from the days of the blues shouters
RIP legend.
@debrathompson4319
The best of the best! Love Joe Williams voice and style! Can never beat Basie....soooouuunnd!
@funlolafamuyiwa3884
He was absolutely phenomenal!
@edc3743
This guy stole my playlist!!!! Yes sir he done did! GREAT!!!!
There is Rushing and Williams with CB at Newport 1962, doing this blues, good clip.
@patcovington
That's a great clip. Masters.
@bmbacchus
He and Count were masters! Joe's phrasing on a simple blues is just genius! I remember seeing Count at Avery Fischer Hall with Joe and Milt Jackson as guests with the band. Man! I wish I had got to see them on the road when they were together all the time. Must have been just lovely every day and night!
@gynack
@UCU4k6nyi-Dk1hyAP9LpIc-A
I saw Basie with Joe Williams in London in about 1960. It was a pretty good concert. Basie came back about 3 years later, with Jimmy Rushing.The band was okay in the first half. When Rushing came on for the second half and started singing the band lit up, and between them they generated a swing that just wasna there before he came on, and it was a marvellous second half of the concert.
Rushing is a more raw, direct singer than Williams. I hate that label "Blues Shouter". It's misleading because Rushing is far more than just that. I prefer Bluesy-sounding numbers in general, and Rushing is peerless in that field. Williams just isna as good. A lot of Joe's renditions of this song is taken up with talking narrative, interesting and well done, but Jimmy Rushing has that extra something. More grit, more direct, more swing. Basie declared that there was no better band singer than Rushing.
There are a couple of different versions of this song by Rushing on YT. One of them is live with the Benny Goodman band. Interesting comparisons. I'm assuming Williams made up the spoken narratives and interjected comments himself. I admit they do add something to a basically simple Blues song.
@lastknowngood0
The last time I saw Joe perform was at the Hollywood Florida Jazz Festival in 1989 I think. Awesome Guy! The first time was in Birdland around 1957! Rest easy Joe ~ See you when I get there!
@michaelkirkby6306
One of my very, very favorite jazz singers - a gentleman on and off the stage. First class all the way.
@rondesourdis1447
100% agreement