Count Basie arrived in Kansas City, Missouri in 1927, playing on the Theater Owners Bookers Association (TOBA) circuit. After playing with Walter Page's Blue Devils, in 1929 he joined rival band leader Bennie Moten's band.
Upon Moten's death in 1935, Basie left the group to start his own band, taking many of his colleagues from the Moten band with him. This nine-piece group consisted of Joe Keyes and Oran 'Hot Lips' Page on trumpet, Buster Smith and Jack Washington on alto saxophone, Lester Young on tenor saxophone, Dan Minor on trombone, and a rhythm section made up of Jo Jones on drums, Walter Page on bass and Basie on piano. With this band, then named The Barons of Rhythm, Basie brought the sound of the famous and highly competitive Kansas City "jam session" to club audiences, coupling extended improvised solos with riff-based accompaniments from the band. The group's first venue was the Reno Club in Kansas City, later moving to the Grand Terrace in Chicago.
When music critic and record producer John Hammond heard the band on a 1936 radio broadcast, he sought them out and offered Basie the chance to expand the group to the standard 13-piece big band line-up. He also offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band, he could retain the freedom and spirit of the Kansas City style of his nine-piece group.
The band, which now included Buck Clayton on trumpet and the famous blues "shouter" Jimmy Rushing, demonstrated this style in their first recordings with the Decca label in January 1937: in pieces such as "Roseland Shuffle", the soloists are at the foreground, with the ensemble effects and riffs playing a strictly functional backing role. This was a fresh big band sound for New York, contrasting the complex jazz writing of Duke Ellington and Sy Oliver and highlighting the difference in styles that had emerged between the east and west coasts.
Following the first recording session, the band's line up was reshuffled, with some of players being replaced on the request of Hammond as part of a strengthening of the band. Trumpeters Ed Lewis and Bobby Moore replaced Keyes and Smith, and Earle Warren replaced the alto saxophonist Coughey Roberts. In March 1937 the guitarist Freddie Green arrived, replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history. Billie Holiday also sang with the band during this period, although she never recorded with them for contractual reasons.
Hits such as "One O'Clock Jump" and "Jumpin' at the Woodside" (from 1937 and 1938, respectively) helped to gain the band, now known as the Count Basie Orchestra, national and international fame. These tunes were known as "head-arrangements"; not scored in individual parts but made up of riffs memorized by the band's members. Although some of the band's players, such as trombonist Eddie Durham, contributed their own written arrangements at this time, the "head-arrangements" captured the imagination of the audience in New York and communicated the spirit of the band's members.
In 1938, Helen Humes joined the group, replacing Billie Holiday as the female singer. She sang mostly pop ballads, including "My Heart Belongs to Daddy" and "Blame it on My Last Affair", acting as a gentle contrast to the blues style of Jimmy Rushing.
The band became increasingly dependent on arrangers to provide its music. These varied from players within the band, such as Eddie Durham and Buck Clayton, to professional arrangers from outside the group, who could bring their own character to the band with each new piece. External arranger Andy Gibson brought the band's harmonic style closer to the forward-looking music of Duke Ellington, with arrangements from 1940 such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music. Tab Smith contributed important arrangements at this time, such as "Harvard Blues", and others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group's repertoire.
But the many new arrangements led to a gradual change in the band's sound, distancing the group musically from its Kansas City roots. Rather than the music being built around the soloists with memorised head arrangements and riffs, the group's sound at this time became more focused on ensemble playing; closer to the traditional East Coast big band sound. This can be attributed to the increasing reliance on arrangers to influence the band with their music. It suggested that Basie's ideal of a big band-sized group with the flexibility and spirit of his original Kansas City 8-piece was not to last.
During the World War II years, some of the key members of the band left: the drummer Jo Jones and tenor saxophone player Lester Young were both conscripted in 1944, leading to the hiring of drummers such as Buddy Rich and extra tenor saxophonists, including Illinois Jacquet, Paul Gonsalves and Lucky Thompson. The musicologist Gunther Schuller has said that when Jo Jones left, he took some of the smooth, relaxed style of the band with him. Replacements such as Sonny Payne, drummed much louder and raised the dynamic of the band to a "harder, more clamorous brass sound." The ban on instrumental recordings of 1942-1944 adversely affected the finances of the Count Basie Orchestra, as it did for all big bands in the United States. Despite taking on soloists from the next generation such as Wardell Gray, Basie was forced to temporarily disband the group for a short period in 1948, before dispersing again for two years in 1950. For these two years, Basie led a reduced band of between 6 and 9 people, featuring more new players such as Buddy Rich, Serge Chaloff and Buddy DeFranco.
Basie reformed the jazz orchestra in 1952 for a series of tours, not only in the United States, but also in Europe in 1954 and Japan in 1963. The band released new recordings; some featuring guest singers such as Joe Williams, Frank Sinatra, Ella Fitzgerald and Billy Eckstine. All relied on contributions from arrangers, some of whom are now synonymous with the Basie band: Neal Hefti, Quincy Jones and Sammy Nestico. Michael G. Nastos wrote of the recording with Eckstine:
"When the Count Basie Orchestra consented to team up with vocalist Billy Eckstine, choruses of angels must have shouted hallelujah. The combination of Basie's sweet jazz and Eckstine's low-down blues sensibilities meshed well on this one-shot deal, a program mostly of downtrodden songs perfectly suited for the band and the man."
This new band became known as "The Second Testament". With albums such as The Atomic Mr. Basie (1958), April in Paris (1957)and Basie Plays Hefti (1958), the new Count Basie Orchestra sound became identifiable. The sound of the band was now that of a tight ensemble: heavier and more full bodied, contrasting with the riff-based band of the late 1930s and early 1940s. Whereas previously the emphasis had been on providing space for exemplary soloists such as Lester Young and Buck Clayton, now the focus had shifted to the arrangements, despite the presence of soloists such as trumpeter Thad Jones and saxophonist Frank Foster. This orchestral style continues as the typical sound of the band up to the present day; which has been criticized by some musicologists. In his book The Swing Era, Gunther Schuller described the group as "perfected neo-classicism...a most glorious dead end."
After Basie's death in 1984, the band has continued to play under the direction of some of the players he had hired, including Eric Dixon, Thad Jones, Frank Foster, Grover Mitchell, Bill Hughes, and Dennis Mackrel. The current director is Scotty Barnhart. New recordings have continued to be released, for example Basie is Back (2006) which features new recordings of classic tunes from the Basie Orchestra's catalog, including "April in Paris" and even the band's early hit "One O'clock Jump". The group also continues to produce collaborations with high-profile singers, such as Ray Charles in Ray Sings, Basie Swings (also 2006), and with arranger Allyn Ferguson on the album Swing Shift (1999).
Awards and honors
Won seventeen Grammy Awards, including in 1999 for the album Count Plays Duke and in 1997 for the album Live at Manchester Craftsmen's Guild
Included in the Down Beat Readers' Poll in 1983, 1984, 1985, 1986, 1988, 1990, 1991, 1992, 1993, 1996, and 1997 (the last time as Best Big Band)
Included in the Down Beat Critics' Poll 1984, 1986, 1991, 1993, and 1994
Included in the Jazz Times Critics' and Readers' Poll in 1994, and 1995
April In Paris
Count Basie Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I never met it face to face
I never knew my heart could sing
I never missed a warm embrace
Till April in Paris, chestnuts in blossom
Holiday tables under the trees
April in Paris, this is a feeling
I never knew the charm of spring
I never met it face to face
I never knew my heart could sing
I never missed a warm embrace
Till April in Paris
Whom can I run to
What have you done to my heart
The lyrics in Count Basie's song 'April in Paris' is about discovering the beauty of Spring for the first time, particularly in the city of Paris. The first stanza explains the persona's ignorance and lack of knowledge about Spring and its magic. The persona never experienced Spring's charm or encountered it personally. The persona also did not expect that his/her heart could sing, and he/she never missed the warmth and comfort that a hug could bring. The second stanza is where the song reaches its climax as the persona found himself/herself in Paris during Spring. The lyrics mention "chestnuts in blossom" and "holiday tables under the trees," most likely referring to the Parisian tradition of celebrating the arrival of Spring. The persona describes the feeling that cannot be replicated, which meant that the experience was unique and one-of-a-kind, and it touched the persona's heart to the point that he/she is left wondering "what have you done to my heart."
Overall, the song 'April in Paris' is a love letter to the romantic city of Paris during Spring. The lyrics express the persona's newfound love for Spring and the charm of Paris in that season. The song conveys the idea that Paris in Spring is a magical and unforgettable experience that can leave an indelible mark on one's life.
Line by Line Meaning
I never knew the charm of spring
I had never experienced the beauty of springtime.
I never met it face to face
I had never been physically present during springtime.
I never knew my heart could sing
I had never felt so happy and joyful before.
I never missed a warm embrace
I had never longed for someone to hold me close.
Till April in Paris, chestnuts in blossom
It wasn't until I experienced spring in Paris, with the sight of blooming chestnuts.
Holiday tables under the trees
With tables set beneath the trees for a holiday meal.
April in Paris, this is a feeling
April in Paris created an incomparable feeling.
That no one can ever reprise
A feeling that can never be replicated.
Till April in Paris
It wasn't until my experience in Paris.
Whom can I run to
Who can I turn to now?
What have you done to my heart
My heart has been completely captivated and forever changed by my experience in Paris.
Lyrics © SHAPIRO BERNSTEIN & CO. INC.
Written by: E. Y. HARBURG, VERNON DUKE
Lyrics Licensed & Provided by LyricFind
@snapfinger1
The logistics of keeping a band like this together are mind blowing.
@fernmann7
True, but if you’re a musician, who better to work for than the great CB?
@snapfinger1
@@fernmann7 Duke Ellington ?
@jeaninep.donaldson112
My favorite part of the Blazing Saddles movie❤😂
@antiquedreams.6104
We owe so much to jazz musicians from the great big bands era. They completely redefined music! Every single genre and artist ever since has been heavily influenced by jazz's charm. The orchestrated arrangements, the piano solos, even the most famous and used chord progression of all time was originally used in a jazz song. I will never get over how talented and inspiring these people were.
@Thelonious2Monk
There was and never will be any orchestra that swings like that of the Great Count (actually King) Basie. This piece is so engraved in my brain that I am practically made out of it!!!
@gabrieldjatienza6971
Just 20 seconds of Count Basie in a hilarious scene in Blazing Saddles leading to thunderous applause and laughter in that comedy masterpiece!
@StevenC32
Count Basie was so talented, he gave the world some truly amazing music. My Father grew up listening to this kind of music. I grew up during the 70s and did not fully appreciate the type of music from my Father's generation, but now that I am older and wizer, I can fully appreciate this type of music. My only regret is that I wish that I could have enjoyed this music while my father was still alive and shared my appreciation for the music of his generation.
@michaelward7612
My thriteen year old is watching this. He is learning about The Count and The Duke.
@nicklh186
Michael Ward amazing! 😄