In addition, the band began to see an increased presence in Las Vegas and Hollywood Basie's famous cameo in Mel Brooks's "Blazing Saddles" is no doubt a highlight of the now-classic comedy. The 1960s and 1970s would see a string of successful albums backing singers such as Frank Sinatra, Ella Fitzgerald, Sarah Vaughan and Tony Bennett, among others.
Gone were the "head" arrangements of old in favor of a consistently expanding library of charts provided by what may have been the greatest stable of arrangers ever housed by a single band.īasie's celebrity firmly cemented by this point, his band remained true to this new format for the rest of his life.
#KANSAS CITY JAZZ STYLE HEAD ARRANGEMENTS SERIES#
By the mid-1950s, however, Basie was able to reform his big band, aided in no small part to a series of hit recordings, including a particularly popular version of the jazz standard "April In Paris." This new Basie band maintained the same relentless sense of swing as the earlier units, but was much more organized as a whole. Financial considerations would force him to reduce his ensemble to an octet by the end of the 1940s. World War II was not kind to big bands for a variety of reasons, and Basie's band was no exception. Spurred by drummer "Papa" Jo Jones' more free-form approach and guitarist Freddie Green's steady "rhythm" style of playing, the innovations of this organization would play a key role in setting up the eventual rise of bebop in the 1940s. In addition, the band's rhythm section was responsible for a distinctive shift in the way time is kept in jazz. This allowed for a much more soloist-friendly environment than most of the other bands of the swing era. The Basie organization specialized in arrangements that were fairly loosely organized and easy to customize on the spot, known informally as "head" arrangements. It did not take long for this new band to make its impact on the world of jazz. After Moten's sudden death in 1935, rather than letting the band fall apart, Basie ended up taking over the reigns himself, bringing in several of his former Blue Devils band mates, including Page himself, in the process. His notoriety rising, Basie eventually left the Blue Devils to take over the piano chair in the Bennie Moten Orchestra, considered to be the finest band in the Kansas City area. This turned out to be a blessing in disguise, as it was not long before Basie found himself hired by bassist Walter Page to play with his now-legendary territory band, the Blue Devils. A series of tours with vaudeville troupes came next when one of the troupes broke up in Kansas City in 1927, Basie found himself stranded.
Most of his education stemmed from hanging around the Harlem stride piano scene of the 1920s. Settling on the piano as his main instrument as a teen, Basie's musical apprenticeship was fairly typical for the time. Although his economical piano playing was ahead of his time compared to several of his more stride-oriented contemporaries, Basie was always best known as the face of an organization that played a continuous role in shaping the trajectory of jazz for over 50 years.īorn on Augin Red Bank, New Jersey, even as a youth Basie was attracted to not just music in general, but the idea of being a bandleader specifically. Next to Duke Ellington, there is no more famous band in the history of jazz than that of William "Count" Basie.
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