Count Basie: influences, peers and legacy

Every connection with its receipt

Count Basie turned the Kansas City riff into a national language: a rhythm section that floated, two tenors in dialogue, and a piano that said everything with a few well-placed notes. This mix traces him back through Harlem stride and the Blue Devils, sideways to the swing-era rivals, and forward into the big bands and pianists who learned that less swings harder.

The Kynda mix for Count Basie

• Key Influence · Ain't Misbehavin' by Fats Waller (1929). As a teenager hanging around Harlem theaters, Basie watched Fats Waller work the pipe organ at the Lincoln Theatre and was shown the pedals and stops by Waller himself — the root of Basie's later organ playing. Waller's stride attack was Basie's first model, and the lesson Basie drew from it was paradoxical: he kept the buoyancy and the humor while steadily stripping away the notes until the left hand became pure implication.
• Influencia Obscura · Blue Devil Blues by Walter Page's Blue Devils (1929). Basie heard the Oklahoma City Blue Devils while stranded on the road in Tulsa and joined them in 1928 — he later described the shock of a band that swung that hard. The group's only two recorded sides feature Walter Page, Jimmy Rushing and Hot Lips Page, all of whom ended up with Basie. The Blue Devils' democratic, riff-based head arrangements are the missing ancestor of the Basie sound, barely documented on record.
• Local Roots · Confessin' the Blues by Jay McShann (1941). McShann arrived in Kansas City in the late 1930s and inherited the territory-band blues tradition Basie had just carried to New York, right down to the blues-shouter-plus-riffing-reeds formula with Walter Brown out front. His band also launched Charlie Parker. Hearing McShann next to Basie shows how specifically local that four-four pulse and twelve-bar orientation was — a city sound rather than one man's invention.
• Beyond the Medium · Downhearted Blues by Bessie Smith (1923). Before Kansas City, Basie worked the TOBA vaudeville circuit accompanying blues singers and dancers, including a tour with Gonzelle White — the schooling that taught him to leave space for a voice and to set up a punchline. Bessie Smith's phrasing, with its enormous unhurried spaces between phrases, is the model for the Basie band's famous reticence: the band answers the singer rather than competing with her.
• Peer · Ellington at Newport by Duke Ellington (1956). Ellington and Basie were the two orchestras that survived the swing era intact, and the comparison was constant from the 1930s on: Ellington the composer-colorist, Basie the rhythm machine. They recorded together on 'First Time!' in 1961 with both full bands. Newport 1956 is Ellington's comeback through sheer momentum, the same mechanism — a roaring tenor over a riff — that kept Basie's band working for five decades.
• From the Canon · One O'Clock Jump by Count Basie (1937). The band's theme song for half a century, and the purest surviving example of its method: a head arrangement worked up from a blues riff at the Reno Club, no written score, piano intro giving way to stacked brass and reed figures. It documents the Kansas City process — collective invention over a boogie bass line — before arrangers and label budgets smoothed the edges, and explains everything the orchestra did afterward.
• Key Collaborator · The Complete Aladdin Recordings by Lester Young (1945). Young's light, vibrato-less tenor on Basie's 1936–40 records defined the band's voice as much as the rhythm section did, starting with the Jones-Smith Incorporated session that first put him on wax. Basie's practice of splitting two tenors — Young against Herschel Evans — was built to stage their contrast. These postwar small-group sides show the Basie-bred phrasing that went on to seed Charlie Parker and the whole cool school.
• Legacy · Presenting Thad Jones / Mel Lewis and the Jazz Orchestra by Thad Jones / Mel Lewis Orchestra (1966). Thad Jones spent a decade in Basie's trumpet section and wrote for the band before launching the Monday-night Village Vanguard orchestra that became the model for every modern big band and college jazz program. The buoyant rhythm-section feel, the blues-rooted shout choruses and the trust in soloists all descend directly from Basie, extended with denser harmony learned from his own writing years inside that section.

What influenced Count Basie

• James P. Johnson. Whitehead states Johnson's stride piano style influenced Count Basie. (also via One O'Clock Jump, Carolina Shout) “Johnson was a major influence on Count Basie , Duke Ellington , Art Tatum , Thelonious Monk , and Fats Waller , who was his student.” (Wikipedia)
• Billy Eckstine. Basie credited Eckstine with prompting his return to a big band. “Basie credited Billy Eckstine , a top male vocalist of the time, for prompting his return to Big Band.” (Wikipedia)
• Fats Waller. Waller taught Basie to play organ. (also via Ain't Misbehavin') “He met Fats Waller , who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument.” (Wikipedia)
• Carolina Shout by James P. Johnson (1921). Carolina Shout (James P. Johnson) — titan for Count Basie “Johnson was a major influence on Count Basie, Duke Ellington, Art Tatum, Thelonious Monk, and Fats Waller, who was his student.” (en.wikipedia.org)
• Willie "The Lion" Smith. Smith taught Basie piano technique and helped him find work. “Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at " house-rent parties ", introducing him to other leading musicians, and teaching him some piano technique.” (Wikipedia)
• Sonny Greer (1895). Greer's drumming prompted Basie to concentrate on piano. “Discouraged by the obvious talents of Sonny Greer , who also lived in Red Bank and became Duke Ellington 's drummer in 1919, Basie switched to piano exclusively at age 15.” (Wikipedia)
• Ain't Misbehavin' by Fats Waller. Ain't Misbehavin' (Fats Waller) — titan for Count Basie “He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument.” (en.wikipedia.org)
• Blue Devil Blues by Walter Page's Blue Devils (1929). Blue Devil Blues (Walter Page's Blue Devils) — ghost for Count Basie “Walter Sylvester Page (February 9, 1900 – December 20, 1957) was an American jazz multi-instrumentalist and bandleader, best known for his groundbreaking work as a double bass player with Walter Page's Blue Devils and the Count Basie Orc…” (en.wikipedia.org)
• Moten Swing by Bennie Moten's Kansas City Orchestra (1932). Moten Swing (Bennie Moten's Kansas City Orchestra) — titan for Count Basie “From 1929 to 1932, Basie was part of Bennie Moten's Kansas City Orchestra: Count Basie in Kansas City: Bennie Moten's Great Band of 1930-1932 (RCA Victor, 1965) Basie Beginnings: Bennie Moten's Kansas City Orchestra (1929–1932) (Bluebird…” (en.wikipedia.org)
• The Weary Blues by Langston Hughes (1926). The Weary Blues (Langston Hughes) — culture for Count Basie (openlibrary.org)
• Downhearted Blues by Bessie Smith (1923). Downhearted Blues (Bessie Smith) — culture for Count Basie
• Roll 'Em Pete by Pete Johnson (1938). Roll 'Em Pete (Pete Johnson) — ghost for Count Basie
• Crazy Blues by Mamie Smith (1920). Crazy Blues (Mamie Smith) — culture for Count Basie

Peers and kindred spirits

• Sarah Vaughan. Basie recorded with Vaughan. (also via The Atomic Mr. Basie) “In addition to numbers featuring the band, it accompanied Holiday and Vaughan.” (Rutgers University Libraries)
• Frank Sinatra (1915). Sinatra collaborated with Count Basie on two albums. (also via The Atomic Mr. Basie) “Quincy had arranged Basie’s 1963 album with Ella Fitzgerald ( Ella and Basie! ) and Frank Sinatra’s second album with Basie (1964’s It Might As Well Be Swing )” (SammyDavisJr.info)
• Billie Holiday (1915). States Count Basie co-starred with Billie Holiday at the Strand. (also via Taxi War Dance) “In addition to numbers featuring the band, it accompanied Holiday and Vaughan.” (Rutgers University Libraries)
• Benny Carter. Carter supplied arrangements for Basie. “Benny's Charts at Sierra Music : Charts for all movements of Benny's Kansas City Suite (as recorded by Count Basie).” (Benny Carter Web Site)
• Ella Fitzgerald. Count Basie was among Fitzgerald's prominent collaborators. (also via One O'Clock Jump) “Quincy had arranged Basie’s 1963 album with Ella Fitzgerald ( Ella and Basie! ) and Frank Sinatra’s second album with Basie (1964’s It Might As Well Be Swing )” (SammyDavisJr.info)
• Duke Ellington (1899). Ellington's orchestra collaborated with Count Basie's orchestra. (also via One O'Clock Jump, Ellington at Newport) “That summer, Basie and Duke Ellington combined forces for the recording First Time! The Count Meets the Duke , each providing four numbers from their play books.” (Wikipedia)
• Tony Bennett (1926). Basie and Bennett recorded albums together. (also via The Atomic Mr. Basie) “Although I’d talked with him on the telephone I didn’t meet Count Basie until our rehearsals began. It was an amazing experience, the fulfillment of a dream, and I’ll never forget it.” (The Year of Tony Bennett)
• Sammy Nestico. Nestico supplied arrangements for Basie. “As a result, this arranger of Count Basie’s band in the 1950s is as well known to music fans as he is to beginning music students in school bands.” (NAMM)
• Eddie Durham. Basie and Durham worked together as arrangers. “As a member of Count Basie’s band (1937-38) Durham participated in a series of small ensemble recordings and became the first to record jazz electric guitar solos on record.” (Rutgers University Community Repository)
• Norman Granz. Granz booked and promoted Basie's new band. “The Complete Clef/Verve Count Basie Fifties Studio Recordings (1952-1957) Mosaic Records, 8 CDs, MD8-229 Original sessions produced by Norman Granz” (Rutgers University Libraries)
• Sammy Davis Jr.. Basie recorded with Davis. “That’s it! One take? It ain’t get no better than that!” (SammyDavisJr.info)
• Jackie Wilson. Basie and his band recorded an album with Wilson. “A version of Sam Cooke ’s “Chain Gang” came from a soon-to-be-unveiled full album with Count Basie and his Orchestra. The LP pairing with the great jazz figurehead was titled Manufacturers Of Soul.” (uDiscover Music)
• Bing Crosby. Basie recorded with Crosby. “Bing Crosby 's only full-length collaboration with the Count Basie orchestra has always struck me as a missed opportunity” (Bing Crosby on CD)
• Benny Goodman. Goodman recorded Basie's band's signature tune. (via One O'Clock Jump, The Famous 1938 Carnegie Hall Jazz Concert) “Soon after, Benny Goodman recorded their signature " One O'Clock Jump " with his band.” (Wikipedia)
• The Complete Aladdin Recordings by Lester Young (1945). The Complete Aladdin Recordings (Lester Young) — collaborator for Count Basie “Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison, plunger trombonist Al Grey, and sing…” (en.wikipedia.org)
• The Jazz Odyssey of James Rushing Esq. by Jimmy Rushing (1956). The Jazz Odyssey of James Rushing Esq. (Jimmy Rushing) — collaborator for Count Basie “Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison, plunger trombonist Al Grey, and sing…” (en.wikipedia.org)
• The Famous 1938 Carnegie Hall Jazz Concert by Benny Goodman (1938). The Famous 1938 Carnegie Hall Jazz Concert (Benny Goodman) — peer for Count Basie “Soon after, Benny Goodman recorded their signature "One O'Clock Jump" with his band.” (en.wikipedia.org)
• Count Basie Orchestra. Basie formed the orchestra in 1935. “In 1935, he formed the Count Basie Orchestra , and in 1936 took them to Chicago for a long engagement and their first recording.” (Wikipedia)
• Walter Page and his Famous Blue Devils. Basie was invited to join Walter Page's band. “In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils , one of the first big bands , which featured Jimmy Rushing on vocals. [ 18 ] A few months later, he was invited to join the band” (Wikipedia)
• Batman Theme by Neal Hefti (1966). Batman Theme (Neal Hefti) — collaborator for Count Basie “Neal Hefti began to provide arrangements, including "Li'l Darlin'".” (en.wikipedia.org)
• Stompin' at the Savoy by Chick Webb and His Orchestra (1934). Stompin' at the Savoy (Chick Webb and His Orchestra) — peer for Count Basie “At the Savoy, Webb competed in battle of the bands contests with the Benny Goodman Orchestra and the Count Basie Orchestra.” (en.wikipedia.org)
• Barons of Rhythm. Basie formed the Barons of Rhythm. “Basie then formed his own nine-piece band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals).” (Wikipedia)
• Bennie Moten band. Basie joined Moten's band as its pianist. “The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City” (Wikipedia)
• Neil Peart. Peart recorded a version of Basie's signature tune. (via One O'Clock Jump) “Drummer Neil Peart of the Canadian rock band Rush recorded a version of "One O'Clock Jump" with the Buddy Rich Big Band , and has used it at the end of his drum solos” (Wikipedia)
• Ellington at Newport by Duke Ellington. Ellington at Newport (Duke Ellington) — peer for Count Basie “Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie switched to piano exclusively at age 15.” (en.wikipedia.org)
• Piney Brown Blues by Big Joe Turner (1940). Piney Brown Blues (Big Joe Turner) — geography for Count Basie “Basie favored blues, and he would showcase some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams.” (en.wikipedia.org)
• Robert Altman. The Atomic Mr. Basie (Count Basie) — geography for Robert Altman (via The Atomic Mr. Basie) (musicbrainz.org)
• Mary Lou Williams (1910). The Complete Decca Recordings (Count Basie) — peer for Mary Lou Williams (via The Complete Decca Recordings) (musicbrainz.org)
• Janelle Monáe (1985). The Complete Decca Recordings (Count Basie) — geography for Janelle Monáe (via The Complete Decca Recordings) (musicbrainz.org)
• Until the Real Thing Comes Along by Andy Kirk and His Twelve Clouds of Joy (1936). Until the Real Thing Comes Along (Andy Kirk and His Twelve Clouds of Joy) — geography for Count Basie
• Confessin' the Blues by Jay McShann (1941). Confessin' the Blues (Jay McShann) — geography for Count Basie

Who Count Basie influenced

• Keith Jarrett (1945). Jarrett cites hearing Count Basie live as a formative jazz experience. “And I heard Basie live a couple times. That was great.” (Fresh Air (NPR/WHYY))
• Modern Jazz Quartet (1952). Whitehead states the Modern Jazz Quartet learned key stylistic traits from Count Basie. “The Modern Jazz Quartet learned a lot from Basie about keeping a clean profile and swinging with a light stick, lighter than that after colorist Connie Kay came in on drums.” (Fresh Air (NPR))
• Swingin' New Big Band by Buddy Rich (1966). Swingin' New Big Band (Buddy Rich) — legacy for Count Basie “Drummer Neil Peart of the Canadian rock band Rush recorded a version of "One O'Clock Jump" with the Buddy Rich Big Band, and has used it at the end of his drum solos on the 2002 Vapor Trails Tour and Rush's 30th Anniversary Tour.” (en.wikipedia.org)
• Presenting Thad Jones / Mel Lewis and the Jazz Orchestra by Thad Jones / Mel Lewis Orchestra (1966). Presenting Thad Jones / Mel Lewis and the Jazz Orchestra (Thad Jones / Mel Lewis Orchestra) — legacy for Count Basie “From 1954–1963, he was a member of the Count Basie Orchestra, for whom he composed and arranged.” (en.wikipedia.org)
• Night Train by Oscar Peterson (1963). Night Train (Oscar Peterson) — legacy for Count Basie “Basie (Roulette, 1958) Memories Ad-Lib with Joe Williams (Roulette, 1958) Basie/Eckstine Incorporated with Billy Eckstine ( Roulette 1959) String Along with Basie (Roulette, 1960) Count Basie and the Kansas City 7 (Impulse!, 1962) Basie …” (en.wikipedia.org)
• Charlie Parker. Lester Leaps In (Count Basie and His Orchestra) — titan for Charlie Parker (via Lester Leaps In, One O'Clock Jump)