Early years
Count Basie arrived in Kansas City, Missouri, in 1927 playing on the Theater Owners Bookers Association (TOBA) circuit.[1] After playing with the Blue Devils, he joined rival band leader Bennie Moten's band. Upon Moten's death, 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 himself on piano. With this band, then named 'The Barons of Rhythm', Basie brought the sound of the infamous 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 presented the opportunity to move the group to New York 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 inherent in the Kansas City style of his nine-piece.
The band, which now included Buck Clayton on trumpet and famous blues 'shouter' Jimmy Rushing, demonstrate this style in their first recordings with the Decca label in January 1937: in pieces such as 'Roseland Shuffle' we can hear that 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.
In New York
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 alto saxophonist Coughey Roberts was replaced by Earl Warren. Significantly, March 1937 saw the arrival of guitarist Freddie Green, who replaced Claude Williams to complete one of the most respected rhythm sections in big band history. Billie Holiday also sang with the band during this period, although never recorded with them.
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 what was known as 'head-arrangements'; not scored in individual parts but made up of riffs memorised by the band's members. Although some of the band's players, such as trombonist Eddie Durham, did contribute their own written arrangements at this time, it was these 'head-arrangements' that 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 Forties
As time went on, 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 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 also 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 at this time.
However, this influx of new arrangements led to a gradual change in the band's sound, distancing the group musically from its West Coast roots. Rather than structuring the music 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 assert their own character on to the band with their music; an indicator perhaps 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.[9]
The World War II years saw some of the key members of the band leave: 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 Gonzalves and Lucky Thompson. Some, such as musicologist Gunther Schuller, have claimed that when Jo Jones left he took some of the smooth and relaxed style of the band with him, due to his replacements, such as Sonny Payne, drumming a lot louder and therefore raising the whole dynamic of the band to a 'harder, more clamorous brass sound'.[10] The ban on instrumental recordings of 1942 to 44 had a financial impact on the Count Basie Orchestra, as it did on all big bands in America, and despite taking on new soloists 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 players such as Buddy Rich, Serge Chaloff and Buddy DeFranco.
The 'Second Testament'
Basie reformed the jazz orchestra in 1952 for a series of tours, not only in America but also in Europe in 1954 and Japan in 1963. The band also released new recordings; some featuring guest singers such as Joe Williams, Frank Sinatra and Ella Fitzgerald, and all reliant on music provided by arrangers, some of whom are now synonymous with the Basie band: Neal Hefti, Quincy Jones and Sammy Nestico to name a few. This new band became known as 'The Second Testament'., and achieved a new surge of popularity with albums such as 1958's 'The Atomic Mr. Basie' With this album and others of the late fifties, such as April in Paris and Basie Plays Hefti, we can hear the epitome of the new Count Basie Orchestra sound, thanks largely to the work of the aforementioned arrangers. The sound of the band was now that of a tight ensemble: heavier and full bodied, and a contrast to the riff based band of the late thirties and early forties. 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 themselves, despite the presence of notable soloists such as trumpeter Thad Jones and saxophonist Frank Foster. This orchestral style was to remain the typical sound of the band, even up to the present day; a fact that has attracted criticism from some musicologists, notably Gunther Schuller who, in his book 'The Swing Era', described the group as 'perfected neo-classicism...a most glorious dead end'.
The Continuing Band
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 now drummer and arranger Dennis Mackrel. It continues to release new recordings, for example Basie is Back from 2006 which features new recordings of classic tunes from the Basie Orchestra's back catalogue, including "April in Paris" and even the band's early hit "One O'clock Jump". The group also continues to produce notable collaborations, such as with singer Ray Charles in Ray Sings, Basie Swings of 2006, and with arranger Allyn Ferguson on the 1999 album Swing Shift.
www.basieband.com
Let the Good Times Roll
The Count Basie Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
Let's have some fun
You only live but once
And when you're dead you're done
So let the good times roll,
I said let the good times roll,
I don't care if you're young or old,
You oughtta get together and let the good times roll-a
Don't sit there mumbling
Talkin' trash
If you want to have a ball,
You got to go out and spend some cash
And let the good times roll now,
I'm talkin' 'bout the good times,
Well it makes no difference whether you're young or old,
All you got to do is get together and let the good times roll
Hey y'all tell everybody! Ray Charles's in town,
I got a dollar and a quarter and I'm just ringing the clock,
But don't let no female, play me cheap,
I got fifty cents more than I'm gonna keep.
So let the good times roll now,
I tell y'all I'm gonna let the good times roll now,
Well it don't make no difference if you're young or old,
All you got to do is get together and let the good times roll
Hey no matter whether, rainy weather,
If you want to have a ball, you got to get yourself together,
Oh, get yourself under control, woah, and let the good times roll.
The Count Basie Orchestra's Let the Good Times Roll is an anthem for everyone to come together and enjoy life. The song is urging listeners to let loose and have some fun because life is short, and when it's over, it's done. The lyrics are a call to action asking people not to sit there and mumble or talk trash but to go out and spend some cash and join everyone in the good times.
The song also includes a reference to the late Ray Charles, who was known for his soulful music and influential sound. It's a callout to the fact that everyone should know that Ray Charles is in town, and it's time to celebrate his music and have some fun.
The song Let the Good Times Roll is a reminder to live in the moment, appreciate what life has to offer, and to not take anything for granted. The lyrics serve to inspire people to come together, let loose, and enjoy everything that life has to offer. The song is a timeless classic that remains popular to this day.
Line by Line Meaning
Hey everybody!
Greetings, everyone!
Let's have some fun
Let us enjoy ourselves in a pleasing manner
You only live but once
Human existence is fleeting
And when you're dead you're done
Death is the finality of life
So let the good times roll,
Therefore, we ought to celebrate life and embrace pleasure
I said let the good times roll,
I emphasized that we should indulge in enjoyable moments
I don't care if you're young or old,
Age doesn't matter when it comes to having fun
You oughtta get together and let the good times roll-a
You should gather with others and enjoy life to the fullest
Don't sit there mumbling
Don't remain in a gloomy or silent mood
Talkin' trash
Speaking negatively or uselessly
If you want to have a ball,
If you wish to have a fabulous time,
You got to go out and spend some cash
You must be willing to spend some money to have a good time
And let the good times roll now,
And therefore, in doing so, you should enjoy the moment
I'm talkin' 'bout the good times,
I am referring to moments of enjoyment
Well it makes no difference whether you're young or old,
Age has no bearing on the ability to enjoy good times
All you got to do is get together and let the good times roll
Just gather together and celebrate life
Hey y'all tell everybody! Ray Charles's in town,
Tell all others that Ray Charles is in our vicinity
I got a dollar and a quarter and I'm just ringing the clock,
I possess a small quantity of cash, and I intend to use it to have a good time
But don't let no female, play me cheap,
Regardless, do not allow any woman to take advantage of me
I got fifty cents more than I'm gonna keep.
I am willing to spend some amount of cash to enhance my enjoyment
So let the good times roll now,
So, let's celebrate life
I tell y'all I'm gonna let the good times roll now,
I assure you that I will enjoy myself
Hey no matter whether, rainy weather,
No matter the climatic conditions
If you want to have a ball, you got to get yourself together,
If you desire to have fun, you must organize and prepare yourself
Oh, get yourself under control, woah, and let the good times roll.
Therefore, you must prioritize, be in charge, do things conscientiously, in other to enjoy life to the fullest
Lyrics © OBO APRA/AMCOS
Lyrics Licensed & Provided by LyricFind
@MrM6d
August 2021 Letting the Good Times Roll Ray! Made it through the pandemic!
@jimciuk7828
The good times do roll when Ray sings
@robertcavalier6133
One the HOTTEST, FINEST jazz combos ever! Brother Ray was inspired & Count Basie knew how to entertain! Great tunes that only a nation as fabulous as the U.S.A. could create such brilliance! It's our diversity that makes us #1! LOVE IT! * Cav *
@jimciuk7828
Loved it
@robertcavalier6133
This is TRUE MUSICAL GENIUS! Wowza! * Cav = havin' fun with entertainment excellence! *
@massimilianomezzapesa3537
Amazing version
@sethfranklin817
This was godly to listen to, their horn line and soloists are just tearing it up!
@jazzology1
One of my old favourites -what a groove!
@alanavilesangel1708
Que gran tema por Dios!!! Una maravilla. No soy un gran seguidor de Ray Charles, pero este tema es extraodrinario!!
@sherom
Fantastic...have to check out Ray's vocal range here ! Amazing !!!