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That Jazz - Monkey Max Music and File Download

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104<br />

Part II: <strong>Jazz</strong> Greats <strong>and</strong> Great <strong>Jazz</strong>: An Evolutionary Riff<br />

Figure 6-2:<br />

Count<br />

Basie’s<br />

swing b<strong>and</strong><br />

was one of<br />

the best<br />

around.<br />

Count Basie<br />

One of the greatest of the swing b<strong>and</strong>s belonged to Count Basie (1904–1984).<br />

Born in New Jersey, Basie (see Figure 6-2) spent his teens touring <strong>and</strong> getting<br />

a behind-the-scenes knowledge of the world of entertainment. He also served<br />

as an accompanist for silent films.<br />

Basie lived in Harlem during the 1920s, where he played a variety of venues<br />

<strong>and</strong> heard pianists James P. Johnson, Lucky Roberts, <strong>and</strong> Willie “The Lion”<br />

Smith. He also met Fats Waller, who accompanied a silent film on pipe organ<br />

at the Lincoln Theatre, <strong>and</strong> eventually Waller let Basie join him at the organ.<br />

Basie was traveling with a vaudeville company that broke up in Kansas City,<br />

<strong>and</strong> he decided to stay there.<br />

©William P. Gottlieb, www.jazzphotos.com<br />

In swing music, Basie rose to stardom through territory b<strong>and</strong>s: Walter Page’s<br />

Blue Devils <strong>and</strong> The Kansas City Orchestra, led by Bennie Moten (he served<br />

as both pianist <strong>and</strong> arranger). Members of Moten’s group formed the nucleus<br />

of Basie’s first b<strong>and</strong>, the 9-piece Barons of Rhythm. (I cover territory b<strong>and</strong>s<br />

earlier in this chapter.)

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