William James " Count " Basie (August 21, 1904 - April 26, 1984) is an American jazz pianist, organist, band leader, and composer. Her mother taught her to play the piano and she started performing in her teenage years. After dropping out, he learned to operate lights for vaudeville and to improvise coaching for silent films at local cinemas in his hometown Red Bank, New Jersey. At the age of 16, he is increasingly playing jazz pianos at parties, resorts, and other places. In 1924, he went to Harlem, where his performance career was broadened; He toured with groups to major jazz cities in Chicago, St. Louis and Kansas City. In 1929 he joined the band Bennie Moten in Kansas City, and played with them until Moten's death in 1935.
In 1935, Basie formed his own jazz orchestra, Count Basie Orchestra, and in 1936 took them to Chicago for their long engagement and their first recording. He has led the group for nearly 50 years, creating innovations such as the use of two separate "tenor" tenor saxos, emphasizing rhythm parts, riffing with big bands, using arranger to broaden their voices, and more. Many musicians became famous under his direction, including tenor saxophonists Lester Young and Herschel Evans, guitarist Freddie Green, Buck Clayton trumpet and Harry "Sweets" Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter and Joe Williams.
Video Count Basie
Biography
Early life and education
William Basie was born from Harvey Lee and Lillian Basie in Red Bank, New Jersey. His father worked as a coachman and guardian for a wealthy judge. After the car replaced the horse, his father became a keeper and carpenter for several wealthy families in the area. Both parents have some kind of background music. Her father played mellophone, and her mother played the piano; actually, he gave Basie his first piano lesson. He picked up laundry and baked cookies for sale to earn a living. He paid 25 cents lesson for his piano instruction.
Not much of a student at school, Basie dreams of a journey of life, inspired by a carnival tour coming to town. He finished high school but spent much of his time at the Palace Theater at Red Bank, where performing occasional tasks made him free to enter the show. He quickly learned to improvise music according to the action and silent film.
Although natural in the piano, Basie prefers drums. Driven by the obvious talent of Sonny Greer, who also lived in Red Bank and became drummer Duke Ellington in 1919, Basie at the age of 15 turned to exclusive piano. Greer and Basie played together in various places until Greer began his professional career. At that time, Basie played with pick-up groups for amateur dances, resorts and performances, including Harry Richardson's "Kings of Syncopation." When not playing a gig, she hangs out in a local billiard room with another musician, where she picks up play dates and upcoming gossip. He got a job at Asbury Park on the Jersey Shore, and played at the Hong Kong Inn until a better player replaced him.
Initial career
Around 1920, Basie went to Harlem, a jazz nest, where he lived on the block from the Alhambra Theater. Early after his arrival, he met Sonny Greer, who was then the drummer for the Washington band, the early band Duke Ellington. Soon, Basie met many Harlem musicians who "made the scene," including Willie "the Lion" Smith and James P. Johnson.
Basie toured in several actions between 1925 and 1927, including Katie Krippen and His Kiddies as part of the Hippity Hop show; in Keith, Columbia Burlesque, and the Theater Owners Bookers Association (T.O.B.A.) vaudeville circuit; and as a solo singer and blues singer Katie Krippen and Gonzelle White. His journey took him to Kansas City, St. Louis, New Orleans, and Chicago. Along the way, Basie met many jazz musicians, including Louis Armstrong. Before the age of 20, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers and comedians. This provides a proven initial training in his career in the future.
Back in Harlem in 1925, Basie got his first permanent job at Leroy's, a place known for pianist and "cutting contest". This place caters to "celebrity downtown," and usually bands wing every number without sheet music using "head settings." He met Fats Waller, who was playing organ at the Lincoln Theater accompanying a silent film, and Waller taught him how to play the instrument. (Basie then played organ at Eblon Theater in Kansas City). As he did with Duke Ellington, Willie "The Lion" Smith helped Basie out during a famine by arranging performances at "house rental parties," introducing them to other prominent musicians, and teaching him some piano techniques.
In 1928, Basie was in Tulsa and heard of Walter Page and his Famous Blue Devils, one of the first major bands, featuring Jimmy Rushing on vocals. A few months later, he was invited to join the band, who mostly played in Texas and Oklahoma. It was at this point that he became known as the "Count" of Basie (see Jazz royalty).
Kansas City years
The following year, in 1929, Basie became a pianist with the Kansas City-based band Bennie Moten, inspired by Moten's ambition to raise his band to Duke Ellington or Fletcher Henderson levels. Where the Blue Devils are "snappier" and more "bluesy," Moten's band is more refined and respected, playing in the "Kansas City stomp" style. In addition to playing the piano, Basie is a co-arranger with Eddie Durham, whose music notation. Their "Moten Swing", which Basie recognized as a tribute, was widely recognized and an invaluable contribution to the development of swing music, and at a performance at the Pearl Theater in Philadelphia in December 1932, the theater opened its doors to allow anyone to enter. who wanted to hear the band's performance. During his stay in Chicago, Basie recorded with the band. He sometimes plays a four-handed piano and a double piano with Moten, which is also done. The band increased with several personnel changes, including the addition of saxophonist tenor Ben Webster.
When the band chose Moten, Basie took over for several months, calling the group "Count Basie and Cherry Blossoms." When his band was folded, he rejoined the newly reorganized band. A year later, Basie joined the band Bennie Moten, and played with them until Moten's death in 1935 from a failed tonsillectomy. When Moten died, the band tried to stay together but to no avail. Basie then formed his own nine band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals).
The Barons of Rhythm remains at the Reno Club and often performs for live radio broadcasts. During the broadcast, the announcer wants to give Basie's style of name, so he calls her "Count." Little did Basie know this royalty touch would give her the right status and position her with the likes of Duke Ellington and Earl Hines.
Basie's new band includes many of Moten's alumni, with an important addition from tenor Lester Young. They play at the Reno Club and are sometimes broadcast on local radio. Late one night with time to fill up, the band started improvising. Basie liked the results and named the work "One O'Clock Jump." According to Basie, "we hit him with the rhythm section and went to the riff, and the riff just stuck.We set it up front in D-flat, and then we continued playing in F." This became his distinctive tone. John Hammond's
In late 1936, Basie and his band, now referred to as "Count Basie and Barons of Rhythm," moved from Kansas City to Chicago, where they honed their repertoire on a long engagement at the Grand Terrace Ballroom. From the beginning, the band Basie is famous for its rhythm section. Another Basie innovation is the use of two tenor sax players; at the time, most bands had only one. When Young complains about Herschel Evans's vibrato, Basie puts them on both sides of the alto player, and soon has a tenor player involved in a "duel". Many other bands then adjusted separate tenor arrangements.
In the city in October 1936, the band held a recording session that producer John Hammond later described as "the only perfect perfect recording session I've ever done". Hammond had heard of Basie's band on the radio and gone to Kansas City to check it out. He invited them to record, in a show that was an early recording of Lester Young. The four parties were released on Vocalion Records under the band name Jones-Smith Incorporated; sides are "Shine Boy Shoes", "Evening", "Boogie Woogie", and "Lady Be Good". After Vocalion became a subsidiary of Columbia Records in 1938, "Boogie Woogie" was released in 1941 as part of a four-record compilation album titled Boogie Woogie (Columbia C44 album). When he made the Vocalion recording, Basie had signed a contract with Decca Records, but did not have his first recording sessions with them until January 1937.
At that time, Basie's voice was characterized by a "leap" and a contraption accent from his own piano. Personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone). Lester Young, known as "Prez" by the band, came up with a nickname for all the other band members. He calls Basie "Holy Man", "Holy Main", and simply "Holy".
Basie loves the blues, and he will feature some of the most famous blues singers of that era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. He also hired arranger who knows how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy.
New York City and swinging years
When Basie took his orchestra to New York in 1937, they made Woodside Hotel in their Harlem base (they often practice in their basement). Soon, they were booked at the Roseland Ballroom for Christmas. Basie recalls a review, saying something like, "We caught a big Count Basie band that was supposed to be so hot he'd come here and burn Roseland Well, Roseland still stands". Compared to the band that ruled Fletcher Henderson, the band Basie lacked polishing and presentation.
Producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer, more solo, more standard play. They paced to keep their hottest number for later on the show, to give the audience a chance to warm up. His first official record for Decca followed, under contract for MCA agents, including "Pennies from Heaven" and "Honeysuckle Rose".
Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. (Holidays do not take note with Basie, since she has her own recording contract and would rather work with a small combo). The band's first appearance at Apollo Theater followed, with Holiday vocalist and Jimmy Rushing getting the most attention. Durham returns to help organize and organize, but for the most part, the orchestra keeps the numbers in practice, with Basie guiding the process. Often no music notation is made. Once the musicians discover what they like, they can usually repeat it using the "head arrangement" and their collective memory.
Furthermore, Basie plays at the Savoy, which is noted for more lindy-hopping, while Roseland is the place for fox-trot and congas. In early 1938, Savoy was the meeting place for "band battles" with Chick Webb's group. Basie got the Holiday, and Webb hit back with singer Ella Fitzgerald. As Metronome magazine says, "Basie's Brilliant Band Conquers Chick's"; article describes the evening:
Throughout the fight, which never disappoints in intensity during the fray, Girls takes aggressive, with Count playing along easily and, on the whole, more musically scientific. Unpopular by Chick's powerful beating drum, which sends viewers to shouts of encouragement and awards and beads of sweat to fall from Chick's eyebrows to brass cymbals, the Count maintains a calm and self-assured attitude. He constantly fends Haymaker thundering Chick with tantalizing runs and arpeggios that tempt more power than his enemies ".
Publicity over the battle of the big bands, before and after, gave Basie a bigger boost and recognition. Soon after, Benny Goodman recorded their signature "One O'Clock Jump" with his band.
A few months later, Holiday went to the band Artie Shaw. Hammond introduced Helen Humes, whom Basie hired; he lived with Basie for four years. When Eddie Durham went to the Glenn Miller orchestra, he was replaced by Dicky Wells. The 14-member Basie Group began playing at Famous Door, a downtown nightclub with CBS and AC network feeds, which Hammond said had bought the club in return for their Basie bookings steady throughout the summer of 1938. Their fame took a big leap. Adding to their playbook, Basie received arrangements from Jimmy Mundy (who also worked with Benny Goodman and Earl Hines), especially for "Cherokee", "Easy Does It", and "Super Chief". In 1939, Basie and his band toured across the country, including their first date on the West Coast. A few months later, Basie quit the MCA and signed a contract with William Morris Agency, which gave them a better fee.
On 19 February 1940, Comte Basie and Orchestra opened a four-week engagement in Southland in Boston, and they broadcast by radio on February 20. On the West Coast, in 1942 the band performed a place in Reveille With Beverly, a musical film starring Ann Miller, and a "Command Performance" for Armed Forces Radio, with Hollywood star Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and singer Dinah Shore. Other small movie venues followed, including Choo Choo Swing , Crazy House , Top Man , Stage Door Diner , and Hit Parade 1943 . They also continued to record for OKE Records and Columbia Records. The war years caused many members to turn around, and the band worked a lot to play with lower salaries. Booking the dance room decreased sharply as the swings began to fade, the effects of the 1942-44 and 1948 strike musicians began to be felt, and public tastes flourished for the singers.
Basie occasionally lost some of the key solo players. However, throughout the 1940s, he maintained a great band that had an infectious rhythm beat, an enthusiastic team spirit, and a long list of talented and talented jazz soloists.
The postwar years and subsequent years
The big band era seems to have ended after the war, and Basie disbanded the group. For a while, she appeared in a combo, sometimes stretched into an orchestra. In 1950, he became the title of Universal-International's "Sugar Chile" short film Robinson, Billie Holiday, His Basie Count and Sextet. He reformed his group as a 16-piece orchestra in 1952. Basie praised Billy Eckstine, a male vocalist at the time, to push his comeback to the Big Band. He said that Norman Granz took them to the Birdland club and promoted the new band through recordings on Mercury, Clef, and Verve labels. The jukebox era has started, and Basie shares exposure with the early rock'n'roll and rhythm and blues artists. Basie's new band is more of an ensemble group, with less solo turns, and less relying on "head" and more on written arrangements.
Basie adds a touch of bebop "as long as it makes sense", and he requires "it must have feelings". Basie Band shared Birdland with great people like Charlie Parker, Dizzy Gillespie, and Miles Davis. Behind the occasional soloist, he always keeps his rhythmic pulse tight, "so it does not matter what they do up front; the audience gets knocked". Basie also added a flute to some numbers, a novelty at that time that was widely copied. Soon, the band toured and recorded again. New bands include: Paul Campbell, Tommy Turrentine, Johnny Letman, Idrees Sulieman, and Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd "Candy" Johnson (tenor sax); Marshal Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax). Down Beat Magazine reported, "(Basie) has managed to put together an ensemble that can thrill both listeners who remember 1938 and young people who have never heard of such a big band." In 1957, Basie sued the Ball and Chain places in Miami for unpaid expenses, causing the closure of the venue.
In 1958, the band toured Europe first. Jazz was greatly appreciated in France, the Netherlands and Germany in the 1950s; these countries are the stomping ground for many American expatriate jazz stars who either awaken their careers or sit outside the racial segregation years in the United States. Neal Hefti started providing arrangements, especially "Lil Darlin '". In the mid-1950s, the band Basie had become one of the major supporting bands for some of the most prominent jazz vocalists of the time. They also toured the "Birdland Stars of 1955", whose ranks include Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz.
In 1957, Basie released a live album Count Basie at Newport . "April in Paris" (arrangement by Wild Bill Davis) is the best-selling instrumental and song title for the hit album. Band Basie made two tours in the British Isles and in the second, they wore a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza. He was a guest at ABC The Pat Boone Chevy Showroom, where also opened for some other black entertainers. In 1959, the band Basie recorded the greatest hits album The Count Basie Story (Frank Foster, arranger) and "Basie and Eckstine, Inc.": an album featuring Billy Eckstine, Quincy Jones (as arranger) and Count Basie Orchestra. It was released by Roulette Records, which was later reissued by Capitol Records.
Later that year, Basie appeared on a special television with Fred Astaire, featuring a dance solo for "Sweet Georgia Brown", followed in January 1961 by Basie performing at one of five John F. Kennedy Inauguration Balls. That summer, Basie and Duke Ellington combined the power for the First Time Recording! Count Meets the Duke , each providing four numbers of their play books.
During the balance of the 1960s, the band continued to be busy with tours, recordings, television shows, festivals, Las Vegas shows, and traveling abroad, including cruises. Some time around 1964, Basie adopted his unique belayar hat.
Through a steady change in personnel, Basie led the band into the 1980s. Basie made several film appearances, such as Jerry Lewis Cinderfella (1960) and Mel Brooks Blazing Saddles (1974), playing a revised setting "April in Paris".
During his heyday, The Gong Show (1976-80) used Basie's "Jumpin 'at the Woodside" for several episodes, while NBC's Eugene Patton performed on stage; Patten is known as "Gene Gene, the Dancing Machine".
Maps Count Basie
Marriage, family and death
Basie is a member of the Omega Psi Phi Brotherhood. On July 21, 1930, Basie married Vivian Lee Winn, in Kansas City, Missouri. They divorced some time before 1935. Some time in or before 1935, Basie who now returns to New York City, rents a house on 111 West 138th Street, Manhattan, as evidenced by the 1940 census. He married Catherine Morgan on July 13 1940 at the King County Courthouse in Seattle, Washington. In 1942, they moved to Queens. The Basies bought a white man's house in Addisleigh Park's new neighborhood in 1946 on Adelaide Road and 175th Street, St. Albans, Queens.
On April 11, 1983, Catherine Basie died of a heart attack at the couple's home in Freeport, Grand Bahama Island. He is 67 years old.
Count Basie died of pancreatic cancer in Hollywood, Florida on April 26, 1984 at the age of 79.
The singers
Basie put his star into some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band live and added a lot to his record catalog. Jimmy Rushing sang with Basie in the late 1930s. Joe Williams toured with the band and featured on 1957's One O'Clock Jump , and 1956 Count Basie Swings, Joe Williams Sings , with "Every Day (I Have the Blues ) "became a big hit. With Billy Eckstine on the album Basie/Eckstine Incorporated , in 1959. Ella Fitzgerald made some impressive footage with Basie, including the 1963 album Ella and Basie! . With Basie's 'New Testament' band in full swing, and arrangements written by young Quincy Jones, the album proves the swinging leeway of the Songbook recordings and tours he made during this period. He even toured with Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on 1979's album A Classy Pair, Digital III in Montreux and A Perfect Match , the last two are also recorded live in Montreux. In addition to Quincy Jones, Basie uses arranger like Benny Carter, Kansas City Suite, Neal Hefti (The Atomic Mr Basie) , and Sammy Nestico (Basie-Straight to Home) .
Frank Sinatra was recorded for the first time with Basie in 1962's Sinatra-Basie and for the second studio album in 1964's This Might as Well Be Swing , governed by Quincy Jones. Jones also arranged and performed a live in 1966 Sinatra at the Sands featuring Sinatra with Count Basie and his orchestra at the Sands Hotel in Las Vegas. In May 1970, Sinatra performed at the Royal Festival Hall in London with the Basie orchestra, in a charitable donation to the National Society for the Prevention of Cruelty to Children. Sinatra then said about the concert "I have a funny feeling that those two nights might be my best time, really, it's going really well, it's very exciting and exciting."
Basie was also recorded with Tony Bennett in the late 1950s. Their albums together include In Person and Strike Up the Band. Basie also toured with Bennett, including a date at Carnegie Hall. Other notable recordings are with Sammy Davis Jr., Bing Crosby, and Sarah Vaughan. One of Basie's greatest regrets was never recorded with Louis Armstrong, even though they shared the same bill several times. In 1968 Basie and his band recorded an album with Jackie Wilson entitled "Mind Manufacturers" .
Inheritance and honor
Count Basie introduced several generations of listeners with Big Band sound and left an influential catalog. Basie is remembered by many people who work for him as musicians' attention and their opinions, simple, relaxed, cheerful, cheerful, and always enthusiastic with his music. In his autobiography, he writes, "I think the band can really swing when the swing is easy , when it can play together like you cut butter."
- In Red Bank, New Jersey, Count Basie Theater, the property on Monmouth Street is rebuilt for live performances, and Count Basie Field is named in his honor.
- Received an honorary doctorate from Berklee College of Music in 1974.
- Mechanic Street, where she grew up with her family, has the honor of Count Basie Way.
- In 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, renamed Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson House, a National Historic Landmark where Count Basie also lives.
- In 2010, Basie was inducted into the New Jersey Hall of Fame.
- In October 2013, version 3.7 WordPress was coded as Count Basie.
Representation in other media
- Jerry Lewis uses "Blues in Hoss' Flat" from Basie's Chairman of the Board album, as the basis for his own "Chairman of the Board" routine in The Errand Boy.
- "Blues in Hoss' Flat," composed by Basie band member Frank Foster, is used by DJ Al "Jazzbeaux" Collins radio as a theme song in San Francisco and New York. In 1992, Brenda Fricker's character "Pigeon Lady" claimed to have heard of Basie at Carnegie Hall.
- Neil Peart drummer from Canadian rock band Rush recorded the "One O'Clock Jump" version with Buddy Rich Big Band, and has used it at the end of his drum solo on the 2002 Vapor Trails Tour and Rush's 30th Birthday Tour.
- Since 1963 "The Kid From the Red Bank" has become the theme and music signature for Norway's most popular radio show, Reiseradioen, aired on NRK P1 every day during the summer. In the 2016 film "The Matchbreaker", Emily Atkins (Christina Grimmie) tells the story of how Count basie met his wife 3 times without speaking to her, saying that she would marry her someday in their first conversation, and then marry her 7 years later. Discussion
- Bennie Moten's Kansas City Orchestra (1929-1932)
- Awal Basie (1929-1932, RCA/Bluebird)
- The Swinging Count! , (Clef 1952)
- Menghitung Basie Mempersembahkan Eddie Davis Trio Joe Newman (Roulette, 1958)
- Atomic Swing (Roulette, 1958)
- Memories Ad-Lib (Roulette, 1958) dengan Joe Williams
- Hitung Basie & amp; Billy Eckstine - Basie & amp; Eckstine Incorporated (Roulette 1959)
- String Bersama dengan Basie (Roulette, 1960)
- Hitung Basie dan Kota Kansas 7 (Impuls !, 1962)
- Basie Swingin 'Voices Singin' (ABC-Paramount, 1966) bersama Alan Copeland Singers
- Berjalan Lepas dengan Roy Eldridge (Pablo, 1972)
- Basie Jam (Pablo, 1973)
- Bos dengan Big Joe Turner (1973)
- Untuk Pertama Kalinya (Pablo, 1974)
- Satch dan Josh dengan Oscar Peterson
- Basie & amp; Zoot dengan Zoot Sims (Pablo, 1975)
- Untuk Kedua Kalinya (Pablo, 1975)
- Basie Jam 2 (Pablo, 1976)
- Basie Jam 3 (Pablo, 1976)
- Kansas City 5 (Pablo, 1977)
- The Gifted Ones dengan Dizzy Gillespie (Pablo, 1977)
- Montreux '77 (Pablo, 1977)
- Basie Jam: Montreux '77 (Pablo, 1977)
- Satch dan Josh... Again dengan Oscar Peterson (Pablo, 1977)
- Night Rider dengan Oscar Peterson (Pablo, 1978)
- Hitung Basie Bertemu Oscar Peterson - The Timekeepers (Pablo, 1978)
- Yessir, Itu Bayi Saya dengan Oscar Peterson (Pablo, 1978)
- Kansas City 8: Bersama-sama (Pablo, 1979)
- Kansas City 7 (Pablo, 1980)
- Di Jalan (Pablo, 1980)
- Kansas City 6 (Pablo, 1981)
- Sebagian besar Blues... dan Beberapa Lainnya (Pablo, 1983)
- Hit Parade tahun 1943 (1943) - sebagai dirinya sendiri
- Top Man (1943) Â - sebagai dirinya sendiri
- Sugar Chile Robinson, Billie Holiday, Hitung Basie dan Sextet-Nya (1950) - sebagai dirinya sendiri
- Cinderfella (1960) Â - sebagai dirinya sendiri
- Sex and the Single Girl (film) (1964) Â - sebagai dirinya dengan orkestranya
- Blazing Saddles (1974) Â - sebagai dirinya dengan orkestranya
- Terakhir dari Blue Devils (1979) Â - wawancara dan konser oleh orkestra dalam film dokumenter di musik Kansas City
- Calculate Basie in EncyclopÃÆ'Â|dia Britannica
- Calculate Basie in Find Tombs
- The official website of Count Basie Orchestra
- Calculate Basie's discography at iMusic.am
- Jose Guillermo Carrillo International Foundation
- Biography of Basie at swingmusic.net
- BBC Profile from Count Basie
- Downbeat Magazine
- US. Post Service Biography
- Captions at the Presentation Ceremony for the Presidential Medal of Freedom - May 23, 1985
- Basie biography and album list
- MIDI Sequence from 1940s music sheets
Count Basie made most of his albums with his big band. See Count Basie Orchestra Discography.
Dari 1929-1932 Basie adalah bagian dari Bennie Moten's Kansas City Orchestra:
Filmografi
Penghargaan
Grammy Awards
Grammy Hall of Fame
In 2011, four Count Basie recordings have been inducted into the Grammy Hall of Fame, a special Grammy award founded in 1973 to honor recordings that are at least 25 years old, and who have "qualitative or historical significance."
Awards and inductions
On May 23, 1985, William "Count" Basie presented, posthumously, with the Presidential Medal of Freedom by President Ronald Reagan. The award was received by his son, Aaron Woodward.
On September 11, 1996, the US Post Office issued a 32 cents Count Basie stamp. Basie is part of the Big Band Leaders problem, which, in turn, is part of the Legends of American Music series.
In 2009, Basie was inducted into the New Jersey Hall of Fame.
National Recording Record
In 2005, Count Basie's "One O'Clock Jump" (1937) was included by the National Recording Preservation Council at the Library of Congress National Recording Registry. The council selects songs on an annual basis that are "culturally, historically, or aesthetically."
References
External links
Source of the article : Wikipedia
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