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Contains: April in Paris * Avenue C * Basie Boogie * Blue and Sentimental * Blues in the Dark * Cherry Point * Cool Blue * Coral Reef * I Left My Baby * Jive at Five * Oh! What a Night for Love * Panassie Stomp * Rockabye Basie * Shorty George * Splanky * Take Me Back Baby * Taps Miller * Teddy the Toad * Way Back Blues * You Can't Run Around and many more.

The Jazz Itineraries series, a new format based on Ken Vail's successful Jazz Diaries, charts the careers of famous jazz musicians, listing club and concert appearances with details of recording sessions and movie appearances. Copiously illustrated with contemporary photographs, newspaper extracts, record and performance reviews, ads and posters, the series provides fascinating insight into the lives of the greatest jazz musicians of our times.No.3 in the series, Count Basie: Swingin' The Blues 1936?1950, chronicles Basie's life from the Kansas City years, discovery by John Hammond, triumph in New York with the floating swing of the All-American rhythm section and tenor saxist Lester Young, through to the eventual demise of the swingingest of big bands in January 1950.

This exhaustively researched work offers detailed information on more than 1,100 recordings spanning 55 years of Count Basie's performances. It also provides extensive cross-referenced listings of tunes, musicians, soloists, and arrangers, and an itinerary of the band's engagements from the time Basie left Kansas City in 1936 to his death in 1984. The main text consists of chronologically arranged, annotated entries on five different categories of recordings: commercial sessions, electrical transcriptions for use by radio stations, broadcasts recorded privately or held in radio or television archives, films and videos, and location recordings of engagements. The text is enlivened by comments on musical significance, personnel changes, and relevant news events of the day, as well as pertinent anecdotes. An appendix lists all known micro-groove issues of Count Basie performances, cross-referenced to the main text. The band itinerary, contained in a second appendix, provides an account of engagements in clubs and concert halls, at jazz festivals and racetracks, and even aboard ocean liners. A wealth of cross-referenced material is contained in five separate indexes covering all known films and videos in which Basie took part; radio and television performances; arrangers whose work has colored the Count Basie orchestra repertoire; musicians, vocalists, and other voices heard in the sessions listed; and tunes played, together with composer, lyricist, and year of composition. The volume also includes a bibliography.

The Jazz Itineraries series, a new format based on Ken Vail's successful Jazz Diaries, charts the careers of famous jazz musicians, listing club and concert appearances with details of recording sessions and movie appearances. Copiously illustrated with contemporary photographs, newspaper extracts, record and performance reviews, ads and posters, the series provides fascinating insight into the lives of the greatest jazz musicians of our times.No.3 in the series, Count Basie: Swingin' The Blues 1936?1950, chronicles Basie's life from the Kansas City years, discovery by John Hammond, triumph in New York with the floating swing of the All-American rhythm section and tenor saxist Lester Young, through to the eventual demise of the swingingest of big bands in January 1950.

The late Count Basie is one of the jazz immortals. The master of swing, whose beat was the subtlest and supplest of all the bandleaders, Basie featured some of the great soloists in jazz history while he sat unobtrusively at the piano, keeping time with his unmatched rhythm section, showing off the surging power of his brass players, and commenting wittily with a single chord or phrase. A man and musician of reserve and modesty, Basie nonetheless will always be a landmark for his won achievements and for the jazz musicians who passed through his band. In this sociable and pioneering oral history of Basie and his band, Stanley Dance talks with the Count himself, Jimmy Rushing, Buddy Tate, Buck Clayton, Joe Williams, Jay McShann, Jo Jones, Dicky Wells, Lester Young, and a dozen others, who reminisce about each other, Kansas City jazz, and their legendary peers Billie Holiday and Charlie Parker. With a rich flow of anecdote, opinion, and biographical information—and with striking photographs—this history both documents and assesses the legacy of Basie for American music.

The late Count Basie is one of the jazz immortals. The master of swing, whose beat was the subtlest and supplest of all the bandleaders, Basie featured some of the great soloists in jazz history while he sat unobtrusively at the piano, keeping time with his unmatched rhythm section, showing off the surging power of his brass players, and commenting wittily with a single chord or phrase. A man and musician of reserve and modesty, Basie nonetheless will always be a landmark for his won achievements and for the jazz musicians who passed through his band. In this sociable and pioneering oral history of Basie and his band, Stanley Dance talks with the Count himself, Jimmy Rushing, Buddy Tate, Buck Clayton, Joe Williams, Jay McShann, Jo Jones, Dicky Wells, Lester Young, and a dozen others, who reminisce about each other, Kansas City jazz, and their legendary peers Billie Holiday and Charlie Parker. With a rich flow of anecdote, opinion, and biographical information—and with striking photographs—this history both documents and assesses the legacy of Basie for American music.

Count Basie (1904–1984), pianist, composer, and icon of big-band jazz, known for such classics as "Jumpin' at the Woodside," "Cherokee," and "One O'Clock Jump," recounts his life story to Albert Murray with all the charm and dry humor of two friends sitting at the kitchen table. Good Morning Blues is both testimony and tribute to a remarkable, rich life.

Indispensable Count Basie Count Basie - CD 078636649726

Presents the life and times of the great jazz musician and band leader as told by the man himself, from his early days playing pickup at local social events, through his arrival--and eventual triumph--in New York

In Rhythm Is My Beat: Jazz Guitar Great Freddie Green and the Count Basie Sound, Alfred Green tells the story of his father, rhythm guitarist Freddie Green, whose guitar work served as the pulse of the Count Basie Band. A quiet but key figure in big band jazz, Freddie Green took a distinct pride in his role as Basie’s rhythm guitarist, redefining the outer limits of acoustic rhythm guitar and morphing it into an art form. So distinct was Green’s style that it would eventually give birth to notations on guitar charts that read: “Play in the style of Freddie Green.” This American jazz icon, much like his inimitable sound, achieved stardom as a sideman, both in and out of Basie’s band. Green’s signature sound provided lift to soloists like Lester Young and vocalist Lil’ Jimmy Rushing, a reflection of Green’s sophisticated technique, that produced, in Green’s words, his “rhythm wave.” Billie Holiday, Ruby Braff, Benny Goodman, Gerry Mulligan, Teddy Wilson, Ray Charles, Judy Carmichael, Joe Williams and other recording artists all benefited from the relentless fours of the man who came to be known as Mr. Rhythm. The mystique surrounding Freddie Green’s technique is illuminated through generous commentary by insightful interviews with other musicians, guitar professionals and scholars, all of whom offer their ideas on Freddie Green’s sound. Alfred Green throughout demystifies the man behind the legend.This work will interest jazz fans, students, and scholars; guitar enthusiasts and professionals; music historians and anyone interested not only in the history of jazz but of the African American experience in jazz.

Included in this book are 76 “in the style of” drum parts based on Harold’s performances and recordings with the Count Basie Orchestra. Comments, analysis and study suggestions are included with each part. These charts and notes provide much needed material for the study and mastery of the “Swing Big Band” style. Listening, analysis and practice will give you the guidelines for feel, tempo, dynamics, interpretation, and sight reading from Harold Jones, one of the world’s greatest and most musical drummers!

Included in this book are 76 “in the style of” drum parts based on Harold’s performances and recordings with the Count Basie Orchestra. Comments, analysis and study suggestions are included with each part. These charts and notes provide much needed material for the study and mastery of the “Swing Big Band” style. Listening, analysis and practice will give you the guidelines for feel, tempo, dynamics, interpretation, and sight reading from Harold Jones, one of the world’s greatest and most musical drummers!

Only The Best Of Count Basie and His Orchestra Count Basie - CD 090431111024

Joe Williams Sings Basie Swings (IMPORT) Basie, Count / Williams, Joe - LP 8436569191682

Vinyl LP pressing of this 2015 holiday release. William "Count" Basie (1904-1984) started his orchestra in Kansas City in 1935, and proceeded to develop and maintain one of the greatest jazz orchestras in music history. With Mr. Basie s meticulous attention to detail, selecting the very best musicians, and making sure that every tune could be danced to, The Count Basie Orchestra soon became the favorite for everyone to listen and dance to with it's irresistible "Kansas City stomp" style. Today,

First Time: The Count Meets The Duke (IMPORT) Basie, Count / Ellington, Duke - LP 8719039003822

Doodles From Ron WoodFeaturing Muddy Waters, Richard Pryor, Count Basie, Bob Marley, Dan Ackroyd, Marvin Gaye, Mick Jagger, Bob Dylan, Boy George, ...

This arrangement gives string players a wonderful chance to play a classic jazz swinger from the Count Basie library featuring the clarity and econ...

Recorded in 1971 by the Count Basie Orchestra on the album Have A Nice Day, this Sammy Nestico classic opens with a short ensemble blast at fortiss...

This exciting chart was recorded by both the Count Basie Orchestra and the Buddy Rich Big Band. As you may know, Buddy Rich did not read music, and...