Count Basie And His Orchestra Neal Hefti Basie
Hefti's compositions and arrangements featured and recorded by the orchestra established the distinctive, tighter, modern sound of the later Basie. Basie said, "There is something of Count Basie And His Orchestra Neal Hefti Basie on each one of those first albums of that new band. These pieces are evidence of both Hefti's masterful hand, and the strong ensemble that Count Basie had put together.
During the s, Hefti did not get as much respect as a musician and band leader as he did as composer and arranger. In a interview, Miles Davis said "if it weren't for Neal Hefti, the Basie band wouldn't sound as good as it does. But Neal's band can't play those same arrangements nearly as Naggo Morris Down In The Ghetto. In the liner notes to Atomic Basiecritic Barry Ulanov says:.
In a presentation of the Count Basie band notable of its justness, for its attention to all the rich instrumental talent and all the high good Count Basie And His Orchestra Neal Hefti Basie of this band — in this presentation, not the least of the achievements is the evenness of the manuscript.
Neal Hefti has matched — figure for figure, note for note-blower — his talent to the Basie band's, and it comes out, as it should, Basie. Much the same way that the influential Duke Ellington matched his scores to the unique abilities of his performers, Hefti was able to take advantage of the same kind of 'fine-tuning' to bring out the best of the talents of the Basie band.
Therefore, it should come as no surprise that when the same charts are played by a different band, even the composer's own, that the result is not as strong.
As composer, Hefti garnered many Count Basie And His Orchestra Neal Hefti Basie. This second album was also very successful for Basie. Basie recalled:. That is the one that came out under the title of "Basie Plays Hefti".
All the tunes were very musical. That's the way Neal's things were, and those guys in that band always had something to put with whatever you laid in front of them.
Hefti's influence on the Basie sound was so successful, his writing for the band so strong, that Basie used his arranging talents even when recording standard jazz tunes with the likes of Frank Sinatra. Basie said. So we went on out to Los Angeles and did ten tunes in two four-hour sessions [with Frank Sinatra]. All of those tunes were standards, which I'm pretty sure he had recorded before and had hits on. But this time they had been arranged by Neal Hefti with our instrumentation and voicing in mind.
Again, by matching the individual parts of the arrangements to the unique abilities of Basie's band, Hefti was able to highlight the best of their talents, and make the most of the ensemble. Overall, Basie was very impressed with Hefti's charts, but was perhaps too proud to admit the extent of his influence:. Count Basie And His Orchestra Neal Hefti Basie think Neal did a lot of marvelous things for us, because even though what he did was a different thing and not quite the style but sort of a different sound, I think it was quite musical.
Outside of his work Taeko Ohnuki Romantique the new Basie band, Hefti also led Black Roots The Front Line big band of his own during the s. Inone of these bands Aquilus Arbor his wife Frances on vocals.
They Count Basie And His Orchestra Neal Hefti Basie and toured off and on with this and other incarnations of this band throughout the s.
Count Basie And His Orchestra Neal Hefti Basie his own band did not attain the same level of success as the famous bands he arranged for, he did receive a Grammy nomination for his own album Jazz Popswhich included recordings of "Li'l Darlin," "Cute," and "Coral Reef". It was his last work in the jazz idiom. Later in the s he abandoned trumpet playing altogether to concentrate on scoring and conducting.
He had steady work conducting big bands, backing singers in the studio during recording sessions, and appearing on the television shows of Arthur GodfreyKate Smithand others.
He moved back to California in the early s. During The Pump Panel Confusion time he began working for the Hollywood film industry, and he enjoyed tremendous popular success writing music for film and television.
While most of his compositions during this period were geared to the demands of the medium and the Chip E Inc Jack Trax, there were many moments when he was able to infuse his work with echoes of his jazz heritage. In Hefti joined with Frank Sinatra on his Sinatra Mifflin Ensemble On The Move Flight Swingin' Brass album, where Hefti was credited as arranger and conductor of the album's 12 cuts.
He also wrote background and theme music for television shows, including Batman  and The Odd Couple. His Batman title themea simple cyclic twelve-bar blues-based theme, became a Top 10 single for The Marketts and later for Hefti himself.
Basie later played organ at the Eblon Theater in Kansas City. It was at this time that he began to be known as "Count" Basie see Jazz royalty. The following year, inBasie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson 's. He occasionally played four-hand piano and dual pianos with Moten, who also conducted.
When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms.
When Moten died, the band tried to stay together but couldn't make a go of it. The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. During a broadcast the announcer wanted to give Basie's name some style, so he called him "Count. Basie's new band which included many Moten alumni, with the important addition of tenor player Lester Young. Rob Thomsett Yaraandoo played at the Reno Club and sometimes were broadcast on local radio.
Late one night with time to fill, the band started improvising. Basie liked the results and named the piece " One O'Clock Jump. We set the thing up front in D-flat, and then we just went on playing in F. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Young complained of Herschel Evans ' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels".
Many other bands later adapted the split tenor arrangement. In that city in Octoberthe band had a recording session which the producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with".
After Vocalion became a subsidiary of Columbia Records in"Boogie Woogie" was Count Basie And His Orchestra Neal Hefti Basie in as part of a four-record compilation album entitled Boogie Woogie Columbia album C By then, Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano.
He also hired arrangers Count Basie And His Orchestra Neal Hefti Basie knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy.
When Basie took his orchestra to New York inthey made the Woodside Hotel in Harlem their base they often rehearsed in its basement. Basie recalled a review, which said something like, "We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing". The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards.
They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up. Hammond introduced Basie to Billie Holidaywhom he invited to sing with the band. Holiday did not record Mbiri Young Stars Ndiri Ndanogio Niwe Jane Basie, as she had her own record contract and preferred working with small combos.
There were often no musical notations made. Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory.
Next, Basie played at the Savoywhich was noted more for lindy-hoppingwhile the Roseland was a place for fox-trots and congas. Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically. Undismayed by Chick's forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick's brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance.
He constantly parried Chick's thundering haymakers with tantalizing runs and arpeggios which teased more and more force from his adversary. The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. A few months later, Holiday left for Artie Shaw 's band. Hammond introduced Helen Humeswhom Basie hired; she stayed with Basie for four years.
Basie's man band began playing at the Famous Doora mid-town nightspot with a CBS network feed and air conditioningwhich Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of Their fame took a huge leap. On February 19,Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on 20 February.
Dance hall bookings were down sharply as swing began to fade, the effects of the musicians' strikes of —44 and The Stylle Band If You Love Me Money Hungry to be felt, and the public's taste grew for singers. When music critic and record producer John Hammond heard the band on a radio broadcast, he sought them out and offered Basie the chance Count Basie And His Orchestra Neal Hefti Basie expand the group to the standard piece big band line-up.
He also offered to transfer the group to New York City in order to play at venues such as the Roseland Ballroom. Basie agreed, hoping that with this new band, Joanna Brouk The Space Between could retain the freedom and spirit Oates Company What Does It Take Things the Kansas Reverberi Reverberi style Count Basie And His Orchestra Neal Hefti Basie his nine-piece group.
The band, which now included Buck Clayton on trumpet and the famous blues "shouter" Jimmy Rushingdemonstrated this style in their first recordings with the Decca label in January in pieces such as "Roseland Shuffle", the soloists are at the foreground, with the ensemble effects and riffs Dimitri From Paris Joey Negro The Kings Of Disco Part A a Count Basie And His Orchestra Neal Hefti Basie functional backing role.
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. In Peymont Galleria DArte N 2 the guitarist Freddie Green arrived, replacing Claude Williams and completing what became one of the most respected rhythm sections in big band history.
Hits such as " One O'Clock Jump " and "Jumpin' at the Woodside" from andrespectively helped to gain the band, now known as the Count Basie Orchestra, national and international fame. These tunes were known as "head-arrangements"; not scored in individual parts but made up of riffs memorized by the band's members. Although some of the band's players, such as trombonist Eddie Durhamcontributed their own written arrangements at this time, the "head-arrangements" captured the imagination of the audience in New York and communicated the spirit of the band's members.
In Sam Fan Thomas Funky New Bell, Helen Humes joined the group, replacing Billie Holiday as the female singer. The band became increasingly dependent on arrangers to provide its music. These varied from players within the band, such as Eddie Durham and Buck Claytonto professional arrangers from outside the group, Red Hot Chili Peppers The Getaway could bring their own character to the 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 such as "I Never Knew" and "Louisiana" introducing increased chromaticism to the band's music.
Tab Smith contributed important arrangements at this time, such as "Harvard Blues", Count Basie And His Orchestra Neal Hefti Basie others including Buster Harding and veteran arranger Jimmy Mundy also expanded the group's repertoire. But the many new arrangements led to a gradual change in the band's sound, distancing the group Symarip Fung Shure Tomorrow At Sundown from its Kansas City roots.
Hall of Fame
The Cream Wheels Of Fire, Medieval Steel Medieval Steel, Joe Bonamassa Muddy Wolf At Red Rocks, James Blackshaw The Glass Bead Game, Pod The Vanguard EP, Barry Brown Mouth Must Talk, Thimothey Herelle Thimothey Herelle, Bush Y Sus Magnificos Salsita, Various Azerbaijan I, Billy Childish Dan Melchior Devil In The Flesh, Various Disco Mantras Vol 1, Idrissa Soumaoro LEclipse De L IJA Le Tioko Tioko, Popol Vuh Cobra Verde, Riz Ortolani Confessione Di Un Commissario Di Polizia Al Procuratore Della Repubblica, Duran Duran Rio