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1. Down for Double 3:03 9. Circus in Rhythm 2:56 17. Just an Old Manuscript 3:06 19. Sugar Hill Shuffle 3:45 (Freddie Green) (Earl Warren) (Don Redman) (Eli Robinson) Lang-Worth 982, mx YTNY 2542 Lang-Worth 1041, mx YTNY 3042 Lang-Worth AS 149, mx YTNY 4108 Lang-Worth AS 141, mx YTNY 4109-1 Recorded 10 January 1944 Recorded 27 May 1944 Recorded 13 February 1945 Recorded 13 February 1945 2. Rockabye Basie 3:47 10. Gee, Baby, Ain’t I Good To You? 4:06 18. Playhouse No.2 Stomp (I Got Rhythm) All selections recorded in New York (Shad Collins–Count Basie) (Don Redman–Andy Razaf) 4:55 Transfers & Production: David Lennick Lang-Worth AS 53, mx YTNY 2545 Jimmy Rushing, vocal (George Gershwin–Count Basie) Digital Restoration: Graham Newton Recorded 10 January 1944 V-Disc 552, mx XP 33599 V-Disc 439, mx VP 1120 Recorded 27 May 1944 Recorded 11 January 1945 Original monochrome photo of Count Basie 3. Rockin’ the Blues 2:50 from ABC RA/Lebrecht (Earl Warren) 11. Basie Strides Again 2:58 Lang-Worth 982, mx YTNY 2542 (Buck Clayton) Recorded 10 January 1944 V-Disc 813, mx ND 7TC 1412-1 4. Do Nothing Till You Hear From Me 3:02 Recorded 27 May 1944 (Duke Ellington–Bob Russell) 12. Let’s Jump 4:11 Thelma Carpenter, vocal (Al Killian) Lang-Worth AS 53, mx YTNY 2545 Lang-Worth AS 83, mx YTNY 3043 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded Recorded 10 January 1944 Recorded 25 May 1944 music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to 5. Wiggle Woogie 2:00 13. Tush 3:00 (Earl Warren) (Dicky Wells) produce restorations that have set new standards in the field of historical recordings. Lang-Worth 982, mx YTNY 2542; Lang-Worth 1041, mx YTNY 3042 Recorded 10 January 1944 Recorded 25 May 1944 Also available in the Naxos Jazz Legends series ... 6. Basie Boogie 2:12 14. Jimmy’s Blues 3:16 (Count Basie) (Jimmy Rushing) Lang-Worth AS 53, mx YTNY 2544 Jimmy Rushing, vocal Recorded 10 January 1944 V-Disc 460, mx XP 34117 7. Red Bank Boogie (G. I. Stomp) 2:16 Recorded 11 January 1945 (Count Basie–Buck Clayton) 15. Taps Miller 5:07 Lang-Worth AS 57, mx YTNY 2543 (Count Basie–Bob Russell) Recorded 10 January 1944 V-Disc 419, mx D5 TC 123 8. Kansas City Stride 4:14 Recorded 11 January 1945 (Dicky Wells) 16. Take Me Back, Baby 3:05 V-Disc 258, mx XP 33591 (Count Basie–Jimmy Rushing–Tab Smith) Recorded 27 May 1944 Jimmy Rushing, vocal 8.120764 8.120811 8.120819 V-Disc 460, mx XP 34117 Recorded 11 January 1945 These titles are not for retail sale in the USA
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COUNT BASIE Reno Club. He flew out to Kansas City and Nothing Till You Hear From Me puts the Clayton’s “Avenue C” taken at an exciting pace. The catchy Just An Old Manuscript was Vol.4 persuaded Count to bring his band East to New spotlight on Thelma Carpenter. Wiggle Woogie It features all of the key principals with solos regularly performed by the Basie band during ‘Circus in Rhythm’ Radio Transcriptions and V-Discs 1944-1945 York. Although the orchestra was not an immed- is back to the blues with fine stretching out from from Basie, Wells, Tate, Edison and Young along 1944-45 although rarely afterwards. Playhouse iate success, by mid-1937 it was on its way to the Basie with a chorus from Tate. Basie Boogie and with some stirring ensembles. While Let’s Jump No. 2 Stomp is really “I Got Rhythm”. Basie Due to a musicians union strike that was initially show ran out of money and broke up in Kansas top. With such soloists as tenors Lester Young Red Bank Boogie really do not feature that much uses some familiar riffs, has a classic chorus by even states the theme very briefly during the first against all record labels, the Count Basie City, it actually turned out very well for Basie who and Herschel Evans, trumpeters Buck Clayton and boogie-woogie from Basie (his left hand was far Young and an explosive spot for Joe Newman, chorus while Edison quotes “The Jeep Is Jumpin’” Orchestra, which was signed to Columbia, was noticed that Kansas City had a great music scene Harry ‘Sweets’ Edison, and trombonist Dickie too sparse to play with the locomotive power of Dickie Wells’ Tush gives the composer and Young before Tate and Rutherford take over. The unable to make any commercial recordings from and decided to stay. He worked for a time as an Wells, not to mention the influential rhythm Albert Ammons and Pete Johnson) but they show opportunities to interact with the ensembles. swinging programme concludes with Sugar Hill August 1942 until 6 December 1944. Fortunately accompanist to silent movies, was a member of section of guitarist Freddie Green, bassist Walter off his expertise with the blues at cooking tempos. By January 1945, Lucky Thompson had Shuffle, which has final statements from the band was well established and worked Walter Page’s Blue Devils during 1928-29, and Page, drummer Jo Jones and Basie himself, this Throughout his career Basie always loved to play succeeded Young in the tenor chair and Shadow Rutherford, Edison, Wells, Tate and Newman. steadily during this period. Even more fortunate eventually joined the Bennie Moten Orchestra was one of the great big bands of 1937-42. the blues and he sometimes pretended that he Wilson was back on drums. Jimmy Rushing stars Only forty at the time of Sugar Hill Shuffle, for today’s listeners is that Basie appeared on the even though Moten was himself a pianist. Clayton and Page were in the military by early could not play anything else although fans and on Jimmy’s Blues, digging into the song with Count Basie still had another 39 years of swinging radio regularly, so broadcasts have survived, and Recognizing Basie’s superiority, Moten reduced 1944 and Evans had passed on but the Count fellow musicians knew better. assistance from Wells’ witty trombone. During to go during his remarkable career. His swinging his big band also recorded V-Discs (special his own playing to brief appearances and used Basie Orchestra was still very much intact. Lester Kansas City Stride, which has no real striding an extended version of Taps Miller, Warren is did not stop with the World War II years. recordings originally made only for American Basie on all of his dates and recordings. Young, after a three-year absence, had recently by Basie but serves as another solid spot for his followed by Tate, Edison, a screaming Wells and servicemen stationed abroad) and radio Other than brief periods in which he tried to returned to the band while the great singer Jimmy piano, also features statements from Warren, Lucky Thompson. Take Me Back, Baby is one of Scott Yanow – author of nine jazz books including Jazz transcriptions which were not commercially lead his own band, Basie was a member of the Rushing was joined in the vocal department by Edison, Rudy Rutherford on clarinet (an instrument Rushing’s more famous blues and Mister Five By On Film, Swing, Bebop, Trumpet Kings and Jazz On available except for airplay. Volume 4 in this Bennie Moten Orchestra most of the time until Thelma Carpenter. rarely heard in the Basie band) and a relaxed Five is heard at the peak of his powers. Record 1917-76 Basie collection concentrates on some of his most Moten’s death in 1935 from a botched tonsillec- Down For Double gets the programme off to a Lester Young. Jo Jones, who was temporarily back rewarding V-Discs and radio transcriptions dating tomy. Using a few of Moten’s former sidemen rousing start. Drummer Shadow Wilson expertly with the band, provides some punctuations. Personnel from January 1944 to February 1945. along with a younger generation of players, Basie fills in for Jo Jones, the Basie ensemble is distinct, Circus In Rhythm is built from a catchy riff and By 1944, Count Basie’s band symbolized swing formed his Barons Of Rhythm and was dubbed and there are spots for the leader, trombonist has a muted trumpet solo by Joe Newman, who Tracks 1–7: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, even though his orchestra did not originally catch ‘Count’ by a radio announcer. The long hours Wells and tenor-saxophonist Buddy Tate, a became better known for his association with Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney on until the swing era was nearly two years old. playing in Kansas City clubs could be gruelling but member of the band since he succeeded Herschel Basie in the 1950s. Young and Warren (who Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Jo Jones, drums; Jimmy Born Bill Basie on 21 August 1904 in Red Bank, it allowed Basie and his men to form a new and Evans in 1939. The riff piece Rockabye Basie was soloed infrequently and was content to lead the trombones; Earl Warren, Jimmy Powell, altos; Rushing, Thelma Carpenter, vocals New Jersey, he was originally inspired on piano by swinging group sound. Basie pared down his always a feature for Tate who displays his tough saxophone section) are also heard from. Lester Young, Buddy Tate, tenors; Rudy Tracks 14–19: Harry ‘Sweets’ Edison, Ed Lewis, the masterful Fats Waller. Basie initially emulated own playing to the bare essentials, having the Texas tenor sound, sounding a little reminiscent Jimmy Rushing, Basie’s vocalist during 1936-49 Rutherford, baritone sax, clarinet; Count Basie, Al Killian, Joe Newman, trumpets; Dickie Wells, Waller’s virtuosic stride style even though he was guitarist and string bassist keep the rhythm steady of Illinois Jacquet whom he actually preceded to and a veteran of the Moten band, was the finest piano; Freddie Green, guitar; Rodney Eli Robinson, Ted Donnelly, Louis Taylor, never on his technical level or as much of an and encouraging his drummer to have a lighter the jazz major leagues. Altoist Earl Warren gets a male singer to be heard regularly with a big band Richardson, bass; Shadow Wilson, drums; trombones; Earl Warren, Jimmy Powell, altos; extrovert, and gradually over time he emerged touch. With Lester Young starring on tenor, the brief spot and Harry ‘Sweets’ Edison takes the during the Swing era. Unlike most of the Jimmy Rushing, Thelma Carpenter, vocals Lucky Thompson, Buddy Tate, tenors; Rudy with what he needed to form his own approach. band had a hard-driving but floating feel that expressive trumpet solo. crooners who stuck to ballads, Rushing was a Tracks 8–13: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, After playing locally in New Jersey and New differed greatly from all of the other swing bands. Rockin’ The Blues lives up to its name with master at blues, rhythm tunes and standards. He Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney York, Basie worked with travelling revues, most John Hammond, one of the swing era’s top some shouting ensembles, a touch of Basie’s is in fine form on Don Redman’s Gee, Baby, Ain’t Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Shadow Wilson, drums; notably two years with the Gonzelle White Show. talent scouts and record producers, discovered the piano and solos by Edison, Warren, Lester Young I Good To You, even singing the rarely-heard trombones; Earl Warren, Jimmy Powell, altos; Jimmy Rushing, Thelma Carpenter, vocals Although it looked like a bad break when the Basie Orchestra on a radio broadcast from the and Wells. The then-recent Duke Ellington hit Do verse. Basie Strides Again is actually Buck Lester Young, Buddy Tate, tenors; Rudy
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COUNT BASIE Reno Club. He flew out to Kansas City and Nothing Till You Hear From Me puts the Clayton’s “Avenue C” taken at an exciting pace. The catchy Just An Old Manuscript was Vol.4 persuaded Count to bring his band East to New spotlight on Thelma Carpenter. Wiggle Woogie It features all of the key principals with solos regularly performed by the Basie band during ‘Circus in Rhythm’ Radio Transcriptions and V-Discs 1944-1945 York. Although the orchestra was not an immed- is back to the blues with fine stretching out from from Basie, Wells, Tate, Edison and Young along 1944-45 although rarely afterwards. Playhouse iate success, by mid-1937 it was on its way to the Basie with a chorus from Tate. Basie Boogie and with some stirring ensembles. While Let’s Jump No. 2 Stomp is really “I Got Rhythm”. Basie Due to a musicians union strike that was initially show ran out of money and broke up in Kansas top. With such soloists as tenors Lester Young Red Bank Boogie really do not feature that much uses some familiar riffs, has a classic chorus by even states the theme very briefly during the first against all record labels, the Count Basie City, it actually turned out very well for Basie who and Herschel Evans, trumpeters Buck Clayton and boogie-woogie from Basie (his left hand was far Young and an explosive spot for Joe Newman, chorus while Edison quotes “The Jeep Is Jumpin’” Orchestra, which was signed to Columbia, was noticed that Kansas City had a great music scene Harry ‘Sweets’ Edison, and trombonist Dickie too sparse to play with the locomotive power of Dickie Wells’ Tush gives the composer and Young before Tate and Rutherford take over. The unable to make any commercial recordings from and decided to stay. He worked for a time as an Wells, not to mention the influential rhythm Albert Ammons and Pete Johnson) but they show opportunities to interact with the ensembles. swinging programme concludes with Sugar Hill August 1942 until 6 December 1944. Fortunately accompanist to silent movies, was a member of section of guitarist Freddie Green, bassist Walter off his expertise with the blues at cooking tempos. By January 1945, Lucky Thompson had Shuffle, which has final statements from the band was well established and worked Walter Page’s Blue Devils during 1928-29, and Page, drummer Jo Jones and Basie himself, this Throughout his career Basie always loved to play succeeded Young in the tenor chair and Shadow Rutherford, Edison, Wells, Tate and Newman. steadily during this period. Even more fortunate eventually joined the Bennie Moten Orchestra was one of the great big bands of 1937-42. the blues and he sometimes pretended that he Wilson was back on drums. Jimmy Rushing stars Only forty at the time of Sugar Hill Shuffle, for today’s listeners is that Basie appeared on the even though Moten was himself a pianist. Clayton and Page were in the military by early could not play anything else although fans and on Jimmy’s Blues, digging into the song with Count Basie still had another 39 years of swinging radio regularly, so broadcasts have survived, and Recognizing Basie’s superiority, Moten reduced 1944 and Evans had passed on but the Count fellow musicians knew better. assistance from Wells’ witty trombone. During to go during his remarkable career. His swinging his big band also recorded V-Discs (special his own playing to brief appearances and used Basie Orchestra was still very much intact. Lester Kansas City Stride, which has no real striding an extended version of Taps Miller, Warren is did not stop with the World War II years. recordings originally made only for American Basie on all of his dates and recordings. Young, after a three-year absence, had recently by Basie but serves as another solid spot for his followed by Tate, Edison, a screaming Wells and servicemen stationed abroad) and radio Other than brief periods in which he tried to returned to the band while the great singer Jimmy piano, also features statements from Warren, Lucky Thompson. Take Me Back, Baby is one of Scott Yanow – author of nine jazz books including Jazz transcriptions which were not commercially lead his own band, Basie was a member of the Rushing was joined in the vocal department by Edison, Rudy Rutherford on clarinet (an instrument Rushing’s more famous blues and Mister Five By On Film, Swing, Bebop, Trumpet Kings and Jazz On available except for airplay. Volume 4 in this Bennie Moten Orchestra most of the time until Thelma Carpenter. rarely heard in the Basie band) and a relaxed Five is heard at the peak of his powers. Record 1917-76 Basie collection concentrates on some of his most Moten’s death in 1935 from a botched tonsillec- Down For Double gets the programme off to a Lester Young. Jo Jones, who was temporarily back rewarding V-Discs and radio transcriptions dating tomy. Using a few of Moten’s former sidemen rousing start. Drummer Shadow Wilson expertly with the band, provides some punctuations. Personnel from January 1944 to February 1945. along with a younger generation of players, Basie fills in for Jo Jones, the Basie ensemble is distinct, Circus In Rhythm is built from a catchy riff and By 1944, Count Basie’s band symbolized swing formed his Barons Of Rhythm and was dubbed and there are spots for the leader, trombonist has a muted trumpet solo by Joe Newman, who Tracks 1–7: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, even though his orchestra did not originally catch ‘Count’ by a radio announcer. The long hours Wells and tenor-saxophonist Buddy Tate, a became better known for his association with Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney on until the swing era was nearly two years old. playing in Kansas City clubs could be gruelling but member of the band since he succeeded Herschel Basie in the 1950s. Young and Warren (who Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Jo Jones, drums; Jimmy Born Bill Basie on 21 August 1904 in Red Bank, it allowed Basie and his men to form a new and Evans in 1939. The riff piece Rockabye Basie was soloed infrequently and was content to lead the trombones; Earl Warren, Jimmy Powell, altos; Rushing, Thelma Carpenter, vocals New Jersey, he was originally inspired on piano by swinging group sound. Basie pared down his always a feature for Tate who displays his tough saxophone section) are also heard from. Lester Young, Buddy Tate, tenors; Rudy Tracks 14–19: Harry ‘Sweets’ Edison, Ed Lewis, the masterful Fats Waller. Basie initially emulated own playing to the bare essentials, having the Texas tenor sound, sounding a little reminiscent Jimmy Rushing, Basie’s vocalist during 1936-49 Rutherford, baritone sax, clarinet; Count Basie, Al Killian, Joe Newman, trumpets; Dickie Wells, Waller’s virtuosic stride style even though he was guitarist and string bassist keep the rhythm steady of Illinois Jacquet whom he actually preceded to and a veteran of the Moten band, was the finest piano; Freddie Green, guitar; Rodney Eli Robinson, Ted Donnelly, Louis Taylor, never on his technical level or as much of an and encouraging his drummer to have a lighter the jazz major leagues. Altoist Earl Warren gets a male singer to be heard regularly with a big band Richardson, bass; Shadow Wilson, drums; trombones; Earl Warren, Jimmy Powell, altos; extrovert, and gradually over time he emerged touch. With Lester Young starring on tenor, the brief spot and Harry ‘Sweets’ Edison takes the during the Swing era. Unlike most of the Jimmy Rushing, Thelma Carpenter, vocals Lucky Thompson, Buddy Tate, tenors; Rudy with what he needed to form his own approach. band had a hard-driving but floating feel that expressive trumpet solo. crooners who stuck to ballads, Rushing was a Tracks 8–13: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, After playing locally in New Jersey and New differed greatly from all of the other swing bands. Rockin’ The Blues lives up to its name with master at blues, rhythm tunes and standards. He Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney York, Basie worked with travelling revues, most John Hammond, one of the swing era’s top some shouting ensembles, a touch of Basie’s is in fine form on Don Redman’s Gee, Baby, Ain’t Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Shadow Wilson, drums; notably two years with the Gonzelle White Show. talent scouts and record producers, discovered the piano and solos by Edison, Warren, Lester Young I Good To You, even singing the rarely-heard trombones; Earl Warren, Jimmy Powell, altos; Jimmy Rushing, Thelma Carpenter, vocals Although it looked like a bad break when the Basie Orchestra on a radio broadcast from the and Wells. The then-recent Duke Ellington hit Do verse. Basie Strides Again is actually Buck Lester Young, Buddy Tate, tenors; Rudy
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COUNT BASIE Reno Club. He flew out to Kansas City and Nothing Till You Hear From Me puts the Clayton’s “Avenue C” taken at an exciting pace. The catchy Just An Old Manuscript was Vol.4 persuaded Count to bring his band East to New spotlight on Thelma Carpenter. Wiggle Woogie It features all of the key principals with solos regularly performed by the Basie band during ‘Circus in Rhythm’ Radio Transcriptions and V-Discs 1944-1945 York. Although the orchestra was not an immed- is back to the blues with fine stretching out from from Basie, Wells, Tate, Edison and Young along 1944-45 although rarely afterwards. Playhouse iate success, by mid-1937 it was on its way to the Basie with a chorus from Tate. Basie Boogie and with some stirring ensembles. While Let’s Jump No. 2 Stomp is really “I Got Rhythm”. Basie Due to a musicians union strike that was initially show ran out of money and broke up in Kansas top. With such soloists as tenors Lester Young Red Bank Boogie really do not feature that much uses some familiar riffs, has a classic chorus by even states the theme very briefly during the first against all record labels, the Count Basie City, it actually turned out very well for Basie who and Herschel Evans, trumpeters Buck Clayton and boogie-woogie from Basie (his left hand was far Young and an explosive spot for Joe Newman, chorus while Edison quotes “The Jeep Is Jumpin’” Orchestra, which was signed to Columbia, was noticed that Kansas City had a great music scene Harry ‘Sweets’ Edison, and trombonist Dickie too sparse to play with the locomotive power of Dickie Wells’ Tush gives the composer and Young before Tate and Rutherford take over. The unable to make any commercial recordings from and decided to stay. He worked for a time as an Wells, not to mention the influential rhythm Albert Ammons and Pete Johnson) but they show opportunities to interact with the ensembles. swinging programme concludes with Sugar Hill August 1942 until 6 December 1944. Fortunately accompanist to silent movies, was a member of section of guitarist Freddie Green, bassist Walter off his expertise with the blues at cooking tempos. By January 1945, Lucky Thompson had Shuffle, which has final statements from the band was well established and worked Walter Page’s Blue Devils during 1928-29, and Page, drummer Jo Jones and Basie himself, this Throughout his career Basie always loved to play succeeded Young in the tenor chair and Shadow Rutherford, Edison, Wells, Tate and Newman. steadily during this period. Even more fortunate eventually joined the Bennie Moten Orchestra was one of the great big bands of 1937-42. the blues and he sometimes pretended that he Wilson was back on drums. Jimmy Rushing stars Only forty at the time of Sugar Hill Shuffle, for today’s listeners is that Basie appeared on the even though Moten was himself a pianist. Clayton and Page were in the military by early could not play anything else although fans and on Jimmy’s Blues, digging into the song with Count Basie still had another 39 years of swinging radio regularly, so broadcasts have survived, and Recognizing Basie’s superiority, Moten reduced 1944 and Evans had passed on but the Count fellow musicians knew better. assistance from Wells’ witty trombone. During to go during his remarkable career. His swinging his big band also recorded V-Discs (special his own playing to brief appearances and used Basie Orchestra was still very much intact. Lester Kansas City Stride, which has no real striding an extended version of Taps Miller, Warren is did not stop with the World War II years. recordings originally made only for American Basie on all of his dates and recordings. Young, after a three-year absence, had recently by Basie but serves as another solid spot for his followed by Tate, Edison, a screaming Wells and servicemen stationed abroad) and radio Other than brief periods in which he tried to returned to the band while the great singer Jimmy piano, also features statements from Warren, Lucky Thompson. Take Me Back, Baby is one of Scott Yanow – author of nine jazz books including Jazz transcriptions which were not commercially lead his own band, Basie was a member of the Rushing was joined in the vocal department by Edison, Rudy Rutherford on clarinet (an instrument Rushing’s more famous blues and Mister Five By On Film, Swing, Bebop, Trumpet Kings and Jazz On available except for airplay. Volume 4 in this Bennie Moten Orchestra most of the time until Thelma Carpenter. rarely heard in the Basie band) and a relaxed Five is heard at the peak of his powers. Record 1917-76 Basie collection concentrates on some of his most Moten’s death in 1935 from a botched tonsillec- Down For Double gets the programme off to a Lester Young. Jo Jones, who was temporarily back rewarding V-Discs and radio transcriptions dating tomy. Using a few of Moten’s former sidemen rousing start. Drummer Shadow Wilson expertly with the band, provides some punctuations. Personnel from January 1944 to February 1945. along with a younger generation of players, Basie fills in for Jo Jones, the Basie ensemble is distinct, Circus In Rhythm is built from a catchy riff and By 1944, Count Basie’s band symbolized swing formed his Barons Of Rhythm and was dubbed and there are spots for the leader, trombonist has a muted trumpet solo by Joe Newman, who Tracks 1–7: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, even though his orchestra did not originally catch ‘Count’ by a radio announcer. The long hours Wells and tenor-saxophonist Buddy Tate, a became better known for his association with Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney on until the swing era was nearly two years old. playing in Kansas City clubs could be gruelling but member of the band since he succeeded Herschel Basie in the 1950s. Young and Warren (who Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Jo Jones, drums; Jimmy Born Bill Basie on 21 August 1904 in Red Bank, it allowed Basie and his men to form a new and Evans in 1939. The riff piece Rockabye Basie was soloed infrequently and was content to lead the trombones; Earl Warren, Jimmy Powell, altos; Rushing, Thelma Carpenter, vocals New Jersey, he was originally inspired on piano by swinging group sound. Basie pared down his always a feature for Tate who displays his tough saxophone section) are also heard from. Lester Young, Buddy Tate, tenors; Rudy Tracks 14–19: Harry ‘Sweets’ Edison, Ed Lewis, the masterful Fats Waller. Basie initially emulated own playing to the bare essentials, having the Texas tenor sound, sounding a little reminiscent Jimmy Rushing, Basie’s vocalist during 1936-49 Rutherford, baritone sax, clarinet; Count Basie, Al Killian, Joe Newman, trumpets; Dickie Wells, Waller’s virtuosic stride style even though he was guitarist and string bassist keep the rhythm steady of Illinois Jacquet whom he actually preceded to and a veteran of the Moten band, was the finest piano; Freddie Green, guitar; Rodney Eli Robinson, Ted Donnelly, Louis Taylor, never on his technical level or as much of an and encouraging his drummer to have a lighter the jazz major leagues. Altoist Earl Warren gets a male singer to be heard regularly with a big band Richardson, bass; Shadow Wilson, drums; trombones; Earl Warren, Jimmy Powell, altos; extrovert, and gradually over time he emerged touch. With Lester Young starring on tenor, the brief spot and Harry ‘Sweets’ Edison takes the during the Swing era. Unlike most of the Jimmy Rushing, Thelma Carpenter, vocals Lucky Thompson, Buddy Tate, tenors; Rudy with what he needed to form his own approach. band had a hard-driving but floating feel that expressive trumpet solo. crooners who stuck to ballads, Rushing was a Tracks 8–13: Harry ‘Sweets’ Edison, Ed Lewis, Rutherford, baritone sax, clarinet; Count Basie, After playing locally in New Jersey and New differed greatly from all of the other swing bands. Rockin’ The Blues lives up to its name with master at blues, rhythm tunes and standards. He Al Killian, Joe Newman, trumpets; Dickie Wells, piano; Freddie Green, guitar; Rodney York, Basie worked with travelling revues, most John Hammond, one of the swing era’s top some shouting ensembles, a touch of Basie’s is in fine form on Don Redman’s Gee, Baby, Ain’t Eli Robinson, Ted Donnelly, Louis Taylor, Richardson, bass; Shadow Wilson, drums; notably two years with the Gonzelle White Show. talent scouts and record producers, discovered the piano and solos by Edison, Warren, Lester Young I Good To You, even singing the rarely-heard trombones; Earl Warren, Jimmy Powell, altos; Jimmy Rushing, Thelma Carpenter, vocals Although it looked like a bad break when the Basie Orchestra on a radio broadcast from the and Wells. The then-recent Duke Ellington hit Do verse. Basie Strides Again is actually Buck Lester Young, Buddy Tate, tenors; Rudy
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1. Down for Double 3:03 9. Circus in Rhythm 2:56 17. Just an Old Manuscript 3:06 19. Sugar Hill Shuffle 3:45 (Freddie Green) (Earl Warren) (Don Redman) (Eli Robinson) Lang-Worth 982, mx YTNY 2542 Lang-Worth 1041, mx YTNY 3042 Lang-Worth AS 149, mx YTNY 4108 Lang-Worth AS 141, mx YTNY 4109-1 Recorded 10 January 1944 Recorded 27 May 1944 Recorded 13 February 1945 Recorded 13 February 1945 2. Rockabye Basie 3:47 10. Gee, Baby, Ain’t I Good To You? 4:06 18. Playhouse No.2 Stomp (I Got Rhythm) All selections recorded in New York (Shad Collins–Count Basie) (Don Redman–Andy Razaf) 4:55 Transfers & Production: David Lennick Lang-Worth AS 53, mx YTNY 2545 Jimmy Rushing, vocal (George Gershwin–Count Basie) Digital Restoration: Graham Newton Recorded 10 January 1944 V-Disc 552, mx XP 33599 V-Disc 439, mx VP 1120 Recorded 27 May 1944 Recorded 11 January 1945 Original monochrome photo of Count Basie 3. Rockin’ the Blues 2:50 from ABC RA/Lebrecht (Earl Warren) 11. Basie Strides Again 2:58 Lang-Worth 982, mx YTNY 2542 (Buck Clayton) Recorded 10 January 1944 V-Disc 813, mx ND 7TC 1412-1 4. Do Nothing Till You Hear From Me 3:02 Recorded 27 May 1944 (Duke Ellington–Bob Russell) 12. Let’s Jump 4:11 Thelma Carpenter, vocal (Al Killian) Lang-Worth AS 53, mx YTNY 2545 Lang-Worth AS 83, mx YTNY 3043 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded Recorded 10 January 1944 Recorded 25 May 1944 music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to 5. Wiggle Woogie 2:00 13. Tush 3:00 (Earl Warren) (Dicky Wells) produce restorations that have set new standards in the field of historical recordings. Lang-Worth 982, mx YTNY 2542; Lang-Worth 1041, mx YTNY 3042 Recorded 10 January 1944 Recorded 25 May 1944 Also available in the Naxos Jazz Legends series ... 6. Basie Boogie 2:12 14. Jimmy’s Blues 3:16 (Count Basie) (Jimmy Rushing) Lang-Worth AS 53, mx YTNY 2544 Jimmy Rushing, vocal Recorded 10 January 1944 V-Disc 460, mx XP 34117 7. Red Bank Boogie (G. I. Stomp) 2:16 Recorded 11 January 1945 (Count Basie–Buck Clayton) 15. Taps Miller 5:07 Lang-Worth AS 57, mx YTNY 2543 (Count Basie–Bob Russell) Recorded 10 January 1944 V-Disc 419, mx D5 TC 123 8. Kansas City Stride 4:14 Recorded 11 January 1945 (Dicky Wells) 16. Take Me Back, Baby 3:05 V-Disc 258, mx XP 33591 (Count Basie–Jimmy Rushing–Tab Smith) Recorded 27 May 1944 Jimmy Rushing, vocal 8.120764 8.120811 8.120819 V-Disc 460, mx XP 34117 Recorded 11 January 1945 These titles are not for retail sale in the USA
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1. Down for Double 3:03 9. Circus in Rhythm 2:56 17. Just an Old Manuscript 3:06 19. Sugar Hill Shuffle 3:45 (Freddie Green) (Earl Warren) (Don Redman) (Eli Robinson) Lang-Worth 982, mx YTNY 2542 Lang-Worth 1041, mx YTNY 3042 Lang-Worth AS 149, mx YTNY 4108 Lang-Worth AS 141, mx YTNY 4109-1 Recorded 10 January 1944 Recorded 27 May 1944 Recorded 13 February 1945 Recorded 13 February 1945 2. Rockabye Basie 3:47 10. Gee, Baby, Ain’t I Good To You? 4:06 18. Playhouse No.2 Stomp (I Got Rhythm) All selections recorded in New York (Shad Collins–Count Basie) (Don Redman–Andy Razaf) 4:55 Transfers & Production: David Lennick Lang-Worth AS 53, mx YTNY 2545 Jimmy Rushing, vocal (George Gershwin–Count Basie) Digital Restoration: Graham Newton Recorded 10 January 1944 V-Disc 552, mx XP 33599 V-Disc 439, mx VP 1120 Recorded 27 May 1944 Recorded 11 January 1945 Original monochrome photo of Count Basie 3. Rockin’ the Blues 2:50 from ABC RA/Lebrecht (Earl Warren) 11. Basie Strides Again 2:58 Lang-Worth 982, mx YTNY 2542 (Buck Clayton) Recorded 10 January 1944 V-Disc 813, mx ND 7TC 1412-1 4. Do Nothing Till You Hear From Me 3:02 Recorded 27 May 1944 (Duke Ellington–Bob Russell) 12. Let’s Jump 4:11 Thelma Carpenter, vocal (Al Killian) Lang-Worth AS 53, mx YTNY 2545 Lang-Worth AS 83, mx YTNY 3043 The Naxos Historical labels aim to make available the greatest recordings of the history of recorded Recorded 10 January 1944 Recorded 25 May 1944 music, in the best and truest sound that contemporary technology can provide. To achieve this aim, Naxos has engaged a number of respected restorers who have the dedication, skill and experience to 5. Wiggle Woogie 2:00 13. Tush 3:00 (Earl Warren) (Dicky Wells) produce restorations that have set new standards in the field of historical recordings. Lang-Worth 982, mx YTNY 2542; Lang-Worth 1041, mx YTNY 3042 Recorded 10 January 1944 Recorded 25 May 1944 Also available in the Naxos Jazz Legends series ... 6. Basie Boogie 2:12 14. Jimmy’s Blues 3:16 (Count Basie) (Jimmy Rushing) Lang-Worth AS 53, mx YTNY 2544 Jimmy Rushing, vocal Recorded 10 January 1944 V-Disc 460, mx XP 34117 7. Red Bank Boogie (G. I. Stomp) 2:16 Recorded 11 January 1945 (Count Basie–Buck Clayton) 15. Taps Miller 5:07 Lang-Worth AS 57, mx YTNY 2543 (Count Basie–Bob Russell) Recorded 10 January 1944 V-Disc 419, mx D5 TC 123 8. Kansas City Stride 4:14 Recorded 11 January 1945 (Dicky Wells) 16. Take Me Back, Baby 3:05 V-Disc 258, mx XP 33591 (Count Basie–Jimmy Rushing–Tab Smith) Recorded 27 May 1944 Jimmy Rushing, vocal 8.120764 8.120811 8.120819 V-Disc 460, mx XP 34117 Recorded 11 January 1945 These titles are not for retail sale in the USA
5 8.120820 6 8.120820 COUNT BASIE Circus in Rhythm 8.120820 Radio Transcriptions and Service V-Discs TranscriptionsRadio 1944-1945 andService “CIRCUS INRHYTHM” BASIE COUNT Not for SaleintheUnited States Not for h www. NOTES ANDFULLRECORDING DETAILS INCLUDED Transfers Newton Graham Restoration: &Production: David Lennick •Digital 19. Sugar Hill Shuffle SugarHillShuffle 19. 2Stomp Playhouse No. 18. JustAnOldManuscript 17. Take Baby MeBack, 16. Taps Miller 15. Jimmy’sBlues 14. Tush 13. Let’sJump 12. Gee,Baby, Ain’tIGoodTo You? 10. 1 BasieStridesAgain 11. .CircusInRhythm 9. CityStride Kansas 8. RedBankBoogie 7. BasieBoogie 6. WiggleWoogie 5. You DoNothingTill HearFrom Me 4. Rockin’TheBlues 3. Rockabye Basie 2. .DownForDouble 1. & g 06NxsRgt nentoa t Design:RonHoares 2006 NaxosRightsInternationalLtd naxos.com 3:00 4:11 5:07 2:12 3:16 2:00 3:47 2:56 2:16 3:45 2:50 3:03 4:14 2:58 3:05 4:55 3:06 Made intheEU 4:06 3:02 o.4 Vol. 61:32 Total Time ADD
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COUNT BASIE Circus in Rhythm in Circus BASIE COUNT 8.120820