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
One O'Clock Jump
Count Basie Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
My pretty little poppy
You're like that lovely flower, so sweet and heavenly
Since I found you
My heart is wrapped around you
And loving you it seems to beat a rhapsody
Amapola
The pretty little poppy
Amapola, Amapola
How I long to hear you say, "I love you."
The lyrics of Count Basie's song One O'Clock Jump mainly serve as an introduction to the instrumental jazz piece, but it starts with a sweet ode to a loved one in the form of the song Amapola. It is a love song that describes the beauty and charm of a woman comparing her to the pretty little poppy flower, heavenly and sweet. The singer is completely enraptured with his love, and his heart beats with a rhapsody whenever he thinks about her.
The chorus of the song, "Amapola, Amapola, how I long to hear you say I love you" highlights the singer's intense desire for reciprocity and love from his beloved. The song speaks to the universal feeling of being deeply in love and wanting your partner to share those same feelings with you. The lyrics may be simple but powerful, expressing the feelings of love and longing that are relatable to many people.
Line by Line Meaning
Amapola
Oh Amapola song, symbolizing and referring to a Spanish folksong declaring a love for a flower.
My pretty little poppy
You are like a beautiful and delicate poppy flower, charming and attractive.
You're like that lovely flower, so sweet and heavenly
You are like an enchanting and divine flower, exuding a mesmerizing and delightful fragrance.
Since I found you
Ever since I discovered you and met you, my life has changed for the better.
My heart is wrapped around you
My heart belongs to you entirely and is consumed by your love.
And loving you it seems to beat a rhapsody
Loving you causes my heart to produce a melodious and enthusiastic music, just like a rhapsody.
The pretty little poppy
That charming little flower, used as a metaphor to compare to the girl's beauty.
Must copy its endearing charm from you
That cute flower seems to have acquired its appealing and captivating attractiveness from you, my love.
Amapola, Amapola
Oh Amapola song, repeated with affection to convey deeper emotions towards the loved one.
How I long to hear you say, "I love you."
I am eagerly hoping to hear those magical words of love from you soon, satisfying my heart's desire and making me complete.
Lyrics © BMG Rights Management, Sony/ATV Music Publishing LLC
Written by: WILLIAM BASIE
Lyrics Licensed & Provided by LyricFind
@colleman87000
Cela fait quarante ans que j'ai découvert et aime LE Jazz, ce jazz qui swing sous le talent du Duke, de Lionel Hampton, du Count de Basie, de Louis Arsmtrong ... membre du Hot Club de Limoges entre les années 80 et 2000, j'ai eu la chance de participer aux réunions hebdomadaires organisées par et chez Jean Marie Masse* chaque samedi soir avec une quinzaine d'autres 'fidèles' du pape du jazz limougeaud*, il m'a fait découvrir tous les grands jazzmen noirs américains dont Duke Ellington dont ce disque d'anthologie enregistré en 1957 et en direct un vendredi soir à Carroltown, ce soir là l'orchestre du Duke était tellement décontracté que cela s'entend et se perçoit à l'écoute de l'album.
un album mythique, un album d'anthologie, j'oserais même dire l'ALBUM de Duke.
__ ALL STAR ROAD BAND VOLUME 1 :
_ Duke Ellington - Take The A Train ( Live 1957 ) . . .
https://www.youtube.com/watch?v=tvrOVCwUzLc
_ Take The A Train (Ray Nance Vocal) ( Live 1957 )
https://www.youtube.com/watch?v=_KJ31bS7hEI
_ Diminuendo and Crescendo in Blue ( Live 1957 )
https://www.youtube.com/watch?v=1GtYfG577MQ
_ Stardust ( Live 1957 )
https://www.youtube.com/watch?v=tQjO6KjxDAo
_ On The Sunny Side Of The Street ( Live 1957 )
https://www.youtube.com/watch?v=AseoBpZPbGI
_ Jeep's Blues ( Live 1957 )
https://www.youtube.com/watch?v=FBd2UZkvjxE
- Sophisticated Lady ( Live 1957 )
https://www.youtube.com/watch?v=qn-x3b0URm4
- Mood Indigo ( Live 1957 )
https://www.youtube.com/watch?v=ricN32SsQj0
- Perdido ( Live 1957 )
https://www.youtube.com/watch?v=h5HN3vfF9SY
@peterbland7227
In the 1940’s, my dad used to travel down from college to go see Count Basie, Duke Ellington, etc. in Manhattan. What an era.
@patrickcrotty9162
This was filmed a year before I was born and my folks were always playing Count Basie when I was growing up. My favorite, I can watch this video over and over. Just fantastic
@jamesford3648
Who is still coming back in 2024 to listen to the Count. I certainly am
@AndyGalaxy
"Well this, ladies and gentlemen, just about winds up our little session. All the gang and myself, we sincerely hope you've enjoyed it as much as we've enjoyed working for you. It's been swell, and you're just wonderful again, so 'til we meet again, thanks a million again, and invite us again back soon, very shortly, I hope, so we meet again. Good evening!" - Count Basie
@adfr1806
We feel that it was the time when humility went hand by hand with talent.
@cheeseheadfiddle
Consummate class. One of the all time great figures in the art world of the 20th century. What a life he led.
@dwaynebrue7651
The Legendary Count Basie!! Nobody swings like The Count Basie Orchestra!!
@mahmoudmusicalvid8706
Dwayne Brue exact. Even Benny Goodman’s Orchestra couldn’t swing harder than Basie’s one 😍😍!!
@bernardzevenhuizen3309
That's right!
@jeanhodgson8623
This is a stiff and plodding version. Benny Goodman's, for the 1955 movie is light and swinging and is, for me, the definitive version. Having Hymie Schertzer leading the saxophone section made all the difference.
Count's 1930s rhythm section, with Walter Page, Freddie Green (seen here) and Jo Jones, was the best every in the swing style. The bass player here is too staccato, and I would have called for a rehearsal.