The comprehensive boxed set Count Basie and his Orchestra: America’s # 1 Band (Columbia/Legacy) has been out for a couple of years during which I have played it so often that if it was on vinyl LPs, I’d have worn them out. Its four CDs contain the most important Columbia recordings of the Basie band from late 1936 through the end of 1940. It was some of the most influential music of the period—indeed, of any period. Lester Young’s other-worldly tenor saxophone solos were one reason (in the notes, Sonny Rollins is quoted as wondering what planet Young appeared from).
There were plenty of other reasons: the ball-bearing propulsion of the celebrated all-American rhythm section, Harry Edison’s eliptical trumpet solos, Buck Clayton’s glittering ones, the speaking-laughing trombone solos of Dickie Wells, the spare perfection of Basie’s piano interjections, spare arrangements that swung off the paper or out of the collective heads of the band.
The set also has a selection of superior Basie tracks made after Young left the band in December of 1940, through the spring of 1951, when bebop had changed the landscape and the big band era had declined but not quite fallen. In the last of them, the band had important transitional swing-to-bop players, among them tenor saxophonists Wardell Gray and Lucky Thompson and trumpeter Clark Terry. The book of arrangements had works by Dizzy Gillespie, Tadd Dameron and Neal Hefti, hinting at Basie’s coming transition from the loose, swinging outfit he had led for twenty years to a machine-tooled juggernaut oriented more toward arrangers than soloists.
All of the music on the first three CDs in the set has been previously issued to a faretheewell, though never before in so comprehensive a fashion or with such clear sound. What makes the box indispensable is the inclusion of a fourth CD of previously unavailable air checks of the 1939-1941 band in broadcasts from the Famous Door, the Savoy Ballroom, the Meadowbrook Lounge and the Café Society Uptown. To hear the Basieites playing in their workaday world for audiences that came to dance and listen is a revelation. The radio microphones captured an element that virtually never exists in a studio, the human connection between performers and their audience. There is a sense that, sixty-five years apart, we and the musicians and those appreciative audiences are sharing the same space. The soloists are not necessarily playing better than they did in the studio, although the solos are full of surprises simply because they are different from the ones on the same tunes in the studio versions. But the sense of their engagement is palpable. There is lots of “new†Lester Young, and lots of young Harry Edison telling silver truths through his muted horn, and there are rides on carpets of rhythm launched by Basie, Freddie Green, Walter Page and Jo Jones.
There is someone else: Billie Holiday. She sang with Basie for a year, but had a contract with a different record company and was not allowed to record with him. Three 1937 pieces from the air checks let us, at last, understand why so many people who heard her with Basie have written and talked about it as the ultimate Holiday experience. Her use of rhythm, her time sense, allows her to float above the ensemble much as Young did, taking the same kinds of chances with phrasing, stretching without effort across the bar lines. She has transformed her Louis Armstrong inspiration into a marvel of individual artistry. Her way with lyrics is unlike that of any singer at the time other than Armstrong’s. My guess is that her example had a profound effect on Bing Crosby, who was the country’s star vocalist when she emerged.
If you want to know who was influencing the young Frank Sinatra, if you have any doubt where Peggy Lee came from, listen to Holiday on “I Can’t Get Started†and “They Can’t Take That Away From Me.†Hear her turn the silly “Swing, Brother, Swing†into a triumph. The delightful Helen Humes does some of her best singing with Basie on these air checks, but Billie Holiday is transcendent.