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
St. Louis Blues
The Count Basie Orchestra Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
I hate to see that evening sun go down,
'Cause my lovin' baby done left this town.
If I feel tomorrow, like I feel today,
If I feel tomorrow, like I feel today,
I'm gonna pack my trunk and make my getaway.
She pulls my man around by her apron strings.
And if it wasn't for powder and her store-bought hair,
Oh, that man of mine wouldn't go nowhere.
I got those St. Louis blues, just as blue as I can be,
Oh, my man's got a heart like a rock cast in the sea,
Or else he wouldn't have gone so far from me.
I love my man like a schoolboy loves his pie,
Like a Kentucky colonel loves his rocker and rye
I'll love my man until the day I die, Lord, Lord.
I got the St. Louis blues, just as blue as I can be, Lord, Lord!
That man's got a heart like a rock cast in the sea,
Or else he wouldn't have gone so far from me.
I got those St. Louis blues, I got the blues, I got the blues, I got the blues,
My man's got a heart like a rock cast in the sea,
Or else he wouldn't have gone so far from me, Lord, Lord!
The lyrics of The Count Basie Orchestra's St. Louis Blues convey a sense of loss and heartache. The singer expresses her sadness at seeing the evening sun go down because her lover has left the town. She goes on to say that if she feels the same way tomorrow, she will pack her trunk and leave as well. The sadness is compounded by the fact that her lover was lured away by a woman from St. Louis with diamond rings who controls him with her apron strings. The singer laments that she has the St. Louis blues, feeling as blue as she can be, and worries that her man's heart is like a rock cast in the sea, which is why he left her.
The lyrics of the song feature themes of love, loss, and heartbreak, which are common in blues music. The singer's longing for her lost lover is expressed through her sorrowful tone and vivid imagery. The song is an example of the type of music that was popular in the late 1920s and early 1930s, and it reflects the African American experience during that time. The song became a huge hit and remains a popular jazz standard to this day.
Line by Line Meaning
I hate to see that evening sun go down,
The singer is unhappy because their lover has left town and the sunset only reminds them of their loneliness.
If I feel tomorrow, like I feel today,
The singer's feelings are so intense that they will take action and leave town if they still feel the same tomorrow.
Oh, that St. Louis woman, with her diamond rings,
The singer's lover is with another woman who has material possessions and control over him.
She pulls my man around by her apron strings.
The other woman has control over the singer's lover and he is led by her desires.
And if it wasn't for powder and her store-bought hair,
If the other woman didn't use cosmetics and fancy hairstyles, the singer's lover wouldn't be interested in her.
Oh, that man of mine wouldn't go nowhere.
The other woman is the only reason why the singer's lover has left her.
I got those St. Louis blues, just as blue as I can be,
The singer is feeling incredibly sad and lonely because their lover has left them.
Oh, my man's got a heart like a rock cast in the sea,
The singer feels like her lover has a heart made of stone because he has left her.
Or else he wouldn't have gone so far from me.
The singer thinks that her lover wouldn't have left if he truly cared about her.
I love my man like a schoolboy loves his pie,
The singer loves her lover with the same intense and innocent love as a child loves their favorite dessert.
Like a Kentucky colonel loves his rocker and rye
The singer's love for her lover is as strong as a southern gentleman's love for his favorite whiskey and chair.
I'll love my man until the day I die, Lord, Lord.
The singer's love for her lover is unwavering and she will continue to love him until she dies.
I got the St. Louis blues, just as blue as I can be, Lord, Lord!
The singer is feeling incredibly sad and lonely because her lover has left her.
That man's got a heart like a rock cast in the sea,
The singer feels like her lover has a heart made of stone because he has left her.
Or else he wouldn't have gone so far from me, Lord, Lord!
The singer believes that her lover wouldn't have left if he truly cared about her.
Lyrics © Sony/ATV Music Publishing LLC
Written by: BILLY STRAYHORN
Lyrics Licensed & Provided by LyricFind
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Sweet.
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Genial
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When was it composed
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The album was released in 1967
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The song was composed in 1914 by W C Handy