Count Basie And His Orchestra


Basie Swings Standards

  • Release Date: 31 Mar 2009
  • PAB-31240-02
A collection of jazz standards from Count Basie and his Orchestra courtesy of the Pablo Records vaults. MORE


Prime Time, Bundle o' Funk, Sweet Georgia Brown, Featherweight, Reachin' Out, Ja-Da, The Great Debate, Ya Gotta Try with… More

with Ray Brown, John Clayton, Sonny Cohn, Charlie Fowlkes, Freddie Green, Butch Miles, Pete Minger, Bobby Plater, Dennis Wilson, Mitchell… More

Hittin’ Twelve, Frankie and Johnnie, Summertime, Cherry Point, Cute, Light and Lovely, A Night in Tunisia, Sunset Glow, Magic Flea, Good… More

Recorded less than half a year before Count Basie died, this session has the zest, drive, humor, power, and magic that Basie put into every… More

One of the pieces on this album is called "The Blues Machine," which could stand as a description of the big band Count Basie operated… More

Virtually to the end, Count Basie was at the piano in front of the band that was his natural environment for more than half a century, inspiring… More

Here is one of the strongest statements from the final years of Count Basie's legendary career. It features the music of Sam Nestico, the… More

Any big jazz band that works steadily is on the road; it's a condition of employment. The Count Basie band was on the move from its beginnings in… More

"I was in awe of working with that band," Bill Holman says. "They had just had a two-week layoff, and I showed up with a bunch of… More



Count Basie's orchestras are remembered for several different things, from repertoire (“One O’clock Jump,” “April in Paris”) to singers (particularly James Rushing and Joe Williams), and one of his special virtues was his infallible good taste in picking tenor saxophonists, including Lester Young, Paul Gonsalves, Don Byas, and Eddie “Lockjaw” Davis. His piano playing was somewhat eclipsed by an excessive modesty, but he was the originator of a style remarkable for its melodic wit as well as for its stringent economy. This economy, however, was likely to spill over at any time into the muscularity of the Stride school, a habit he found invaluable in his role as a setter of tempos who was never known to make a mistake. Basie's great achievement was his uncanny success in bringing to the disciplines of a large group the ease and expansiveness which years ago might only have been found in the Kansas City joints of his youth.