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 Blues
Count Basie Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Goin' to Chicago, sorry but I can't take you,
There's nothin' in Chicago that a mucky woman can do!
When you see me comin', raise your window high,
When you see me comin', raise your window high,
When you see me passin' baby, hang your head and cry!
Hurry down sunshine, see what tomorrow brings,
The sun went down, tomorrow brought us rain!
You're so mean and evil, you do things you ought not do,
You're so mean and evil, you do things you ought not do,
You've got my brand of honey, just don't have to put up with you!
The song "Good Morning Blues" by Count Basie and Jimmy Rushing is a soulful tune that tells the story of a man who is leaving his lover and heading to Chicago. The sentiment behind the lyrics is one of regret and sadness, as the singer must leave behind someone he cares about deeply. The first stanza of the song declares the singer's intentions to leave, with the repeated line "Goin' to Chicago, sorry but I can't take you," indicating that there is a reason why he cannot take his companion with him. The line "There's nothin' in Chicago that a mucky woman can do!" serves to emphasize the desperation of the situation - the singer is presenting Chicago as a place where there are no opportunities for his lover.
The second stanza is a warning to the woman left behind. The singer is not angry with her, but rather resigned to the fact that he must leave. The repeated line "When you see me comin', raise your window high" is a reminder of the heartbreak that leaving his lover causes. The line about hanging your head and crying is an acknowledgement of the pain caused by his departure. The third stanza expresses the hope that the next day will bring better things. The repeated line "Hurry down sunshine, see what tomorrow brings" is a message of optimism and hope. However, the final stanza is a reminder of the pain the singer is experiencing. The line "You've got my brand of honey, just don't have to put up with you!" indicates that while the singer loves his companion, he is also frustrated by her actions.
Line by Line Meaning
Goin' to Chicago, sorry but I can't take you,
I'm heading off to Chicago, but unfortunately, I can't take you along.
Goin' to Chicago, sorry but I can't take you,
I'm heading off to Chicago, but unfortunately, I can't take you along.
There's nothin' in Chicago that a mucky woman can do!
Chicago is no place for a woman of low moral character, there is nothing there for you to do.
When you see me comin', raise your window high,
When you catch sight of me approaching, it's best you raise your window high.
When you see me comin', raise your window high,
When you catch sight of me approaching, it's best you raise your window high.
When you see me passin' baby, hang your head and cry!
When I walk by you, it's best for you to hang your head in sadness and shed a tear.
Hurry down sunshine, see what tomorrow brings,
Come quickly sun, and let us see what tomorrow will bring.
Hurry down sunshine, see what tomorrow brings,
Come quickly sun, and let us see what tomorrow will bring.
The sun went down, tomorrow brought us rain!
Yesterday's sunshine is gone, and today it is raining.
You're so mean and evil, you do things you ought not do,
You are incredibly unkind and malicious, doing things that you know are wrong.
You're so mean and evil, you do things you ought not do,
You are incredibly unkind and malicious, doing things that you know are wrong.
You've got my brand of honey, just don't have to put up with you!
Although you have stolen my affections, I refuse to deal with your negativity and mistreatment.
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