In the waning days of 1953, Count Basie walked into Fine Sound Studios in New York with a renewed sense of purpose. His orchestra had been reshaped, his sound modernized, and his partnership with Norman Granz was about to yield some of the most vital recordings of his postwar career. The sessions Basie led for Clef Records that December —one with his full orchestra, another with a stripped-down sextet— captured the perfect balance between swing tradition and the modern jazz vocabulary of the 1950s.
On December 12, 1953, Basie recorded the material that would later appear on the 12-inch LP Dance Session (Clef MG C-626). The orchestra featured what would soon become known as the "New Testament Band": Wendell Culley, Reunald Jones, Joe Newman, and Joe Wilder on trumpets; Henderson Chambers, Henry Coker, and Benny Powell on trombones; Marshall Royal (alto sax/clarinet), Frank Wess and Frank Foster (tenor saxes), Charlie Fowlkes (baritone), Freddie Green (guitar), Eddie Jones (bass), and Gus Johnson (drums). Basie alternated between piano and organ, bringing a fresh timbre to his already unmistakable swing.
The New York session yielded titles such as "Straight Life", "Basie Goes Wess", "Softly, With Feeling", "Peace Pipe", "Bubbles", "Right On", and "The Blues Done Come Back", with arrangements by Johnny Mandel, Frank Wess, Neal Hefti, and Ernie Wilkins.
Two additional tracks associated with Dance Session —"Blues Go Away!" and "Plymouth Rock"— had actually been recorded earlier that year, on August 13, 1953, in Los Angeles. These sessions, also produced by Granz, reveal the transitional phase of Basie's band just before it fully coalesced into the streamlined ensemble that would dominate his mid-1950s recordings.
Around the same time as the New York orchestra date, Basie also convened a sextet session for Clef, a relaxed and intimate date released on the 10-inch LP Count Basie Sextet (Clef MG C-146). With Joe Newman (trumpet), Paul Quinichette (tenor sax), Freddie Green (guitar), Gene Ramey (bass), and Buddy Rich (drums), the group tackled tunes such as "Basie Beat", "K.C. Organ Blues", "Blue and Sentimental" and "Count’s Organ Blues".
Taken together, these 1953 Clef sessions document a pivotal moment in Basie's evolution. His music regained the rhythmic drive and collective swing of the 1930s while embracing the cleaner, more sophisticated textures of the modern era. Dance Session and Count Basie Sextet stand as complementary portraits of a bandleader in transition —bridging tradition and innovation, reaffirming his roots while setting the course for the Basie sound that would define the following decade.
Down Beat reviewed these records as follows:
Count Basie
Dance Session
Every so often, like a dormant volcano, there will be an eruption on the jazz scene, during which one of the protagonists will insist (usually quite pedantically) that jazz was made to listen to and not to dance to. Like the volcanic eruptions which consist primarily of hot air and other gasses, these things subside, and we get back to normalcy and the clear, sweet air of swing, and we discover that it is quite simple to dance as well as listen to good jazz, because definitively jazz claims rhythm more as an ingredient of its composition than any other kind of music.
Today, if anyone were asked who swings more than anyone else, the chances are nine out of nine would reply Count Basie. They would mean either Basie individually, Basie with a small group of musicians, or Basie with his big band. Slice it any way you like, look at it upside down or standing on your head — Basie is still THE man of swing. It used to be in the olden days, various titles were handed to band leaders, such as "Mr. Rhythm", "Mr. Swing" and so on. Were that doubtful practice to be revived today, Basie would probably garner more crowns than any other leader playing jazz at this time.
That was reason then, for us to produce an album by the dance master of them all; but at the same time a man who preserves the identity of the soloists within his organization by giving them full rein to play as they choose when it comes their turn to stand up.
Basie also, years ago, and he has persisted today in that practice, saw the need for giving young, free-thinking arrangers full play to write as they thought the band should play. The best of these arrangers for Basie, and composers too, for they have written these pieces, are included in this album. They are: Johnny Mandel, Neal Hefti, Ernie Wilkins and Frank Wess. Johnny Mandel’s "Straight Life" is quite possibly, at least it is my nominee, the prettiest thing Basie has done in a decade. However, pressing it closely for second place beauty honors is the Hefti "Softly, With Feeling". There are the swinging, jumping, rollicking, happy tunes by Wilkins, Wess and some more by Hefti, but all in all it is the band that plays not only the blues, but plays with feeling, to paraphrase Neal Hefti, softly and/or loudly, but always tastefully. *Norman Granz (liner notes)*
Most of these have already been reviewed as singles and have received ratings ranging from three to five stars. Gathered together in one well-recorded 12'' LP, the cumulative impact of thgis, the greatest big band in jazz, is too much!
Here is that rare combimnation of section precision and relaxation, of functional simplicity and continuous freshness of feeling. It's also about time someone gave credit to the man largely responsible for the aforementioned prfecision — concert master Marshall Royal. At base, of course, this is a triumph belonging to everyone in this exultant band and to the swingingest bandbuilder of them all, William Basie. This is called, by the way, Count Basie Dance Session and it's a powerful reminder of what jazz began as in Storyville — music to dance and live with. This is one band you can't listen to as a detached observer; when you dig Basie, you become part of the beat.
*Nat Hentoff (Down Beat, September 8, 1954 [5 stars])*
1 - Straight Life
(Johnny Mandel)
2 - Basie Goes Wess
(Frank Wess)
3 - Softly, With Feeling
(Neal Hefti)
4 - Peace Pipe
(Ernie Wilkins)
5 - Blues Go Away!
(Ernie Wilkins)
6 - Cherry Point
(Neal Hefti)
7 - Bubbles
(Neal Hefti)
8 - Right On
(Freddie Green)
9 - The Blues Done Come Back
(Ernie Wilkins)
10 - Plymouth Rock
(Neal Hefti)
#1, #4, #5, #10:
Reunald Jones, Paul Campbell, Wendell Culley, Joe Newman (trumpets);
Johnny Mandel (bass trumpet [#5, #10]), Henry Coker, Benny Powell (trombones);
Marshall Royal (clarinet, alto sax); Ernie Wilkins (alto sax, tenor sax);
Frank Wess, Frank Foster (tenor saxes); Charlie Fowlkes (baritone sax);
Count Basie (piano); Freddie Green (guitar); Eddie Jones (bass); Gus Johnson (drums);
Neal Hefti (arrangements).
Recorded in Los Angeles, California, August 13 (#5, #10),
and at Fine Studio, New York City, December 12 (#1, #4), 1953
#2, #3, #6, #7, #8, #9:
Reunald Jones, Joe Wilder, Wendell Culley, Joe Newman (trumpets);
Henderson Chambers, Henry Coker, Benny Powell (trombones);
Marshall Royal (clarinet, alto sax);Ernie Wilkins (alto sax, tenor sax);
Frank Wess, Frank Foster (tenor saxes); Charlie Fowlkes (baritone sax);
Count Basie (piano, organ [#3]); Freddie Green (guitar); Eddie Jones (bass); Gus Johnson (drums);
Neal Hefti (arrangements).
Recorded at Fine Studio, New York City, December 12, 1953
✳✳✳
Count Basie
The Count Basie Sextet
I never seem to be able to make up my mind as to what musical setting I prefer Count Basie in — the big band or the small band. It seems that it is usually the last record that I hear that converts me to its cause. I think the reason, of course, is that Basie is equally adept and equally pleasing in both combinations. In the one you get the power and the drive that the big band gives you, and in the other you get all of the subtlety and relaxed swing that the small combination affords. In either case, though, Basie is always the motivation rhythmically for each group.
This latest album by Count Basie is a Sextet culled from members of his band, and a musician who happens to be Basie's closest musical friend. This "friend" is Buddy Rich. The other members of the band were: Gene Ramey, Freddie Greene, Joe Newman, and Paul Quinichette.
As with most of Basie's records, the tunes are originals penned by Basie or members of his band, and the blues predominate.
For a most swinging (or as the hipsters would probably say "swinging the most") evening, here is the Count and his Sextet. *Norman Granz (liner notes)*
If you put this on a hi-fi set at full room volume, it'll swing you through the window if you don't watch out. This is jazz at its most basic — direct, powerful, unpretentious. Paul Quinichette and Joe Newman are in the front line and ride on top of the rhythm section like it was a jet-engined carpet. With Count is the invaluable Freddie Greene together with Gene Ramey and Buddy Rich.
Basie is on organ on four sides and no one since Fats Waller comes close to Count in jazz organ touch. There's little point in selecting favorite bands — it all moves from Paul's simply expressive Blue and Sentimental to the rocking Royal Garden. One thing only — and this will probably get me read out of the Critics' Circle. There are times when Buddy Rich is somewhat too heavy, as on Count's Organ Blues. But why cavil in the face of a Basie tornado?
*Nat Hentoff (Down Beat, February 24, 1954 [5 stars])*
1 - Basie Beat
(Count Basie, Joe Newman)
2 - K.C. Organ Blues
(Count Basie, Joe Newman)
3 - She's Funny That Way
(Richard Whiting, Neil Moret)
4 - Royal Garden Blues
(Clarence Williams, Spencer Williams)
5 - Stan Shorthair
(Count Basie, Joe Newman)
6 - Blue And Sentimental
(Count Basie, Jerry Livingston, Mack David)
7 - Count's Organ Blues
(Count Basie, Joe Newman)
8 - As Long As I Live
(Ted Koehler, Harold Arlen)
Count Basie (piano, organ), Joe Newman (trumpet), Paul Quinichette (tenor sax),
Freddy Green (guitar), Gene Ramey (bass), Buddy Rich (drums).
Recorded at Fine Studio, New York City, December 15, 1953
