# The Basie-ites: 1956 and ’60: Basie let them record as leaders or behind other artists: Videos

- Link: https://jazzblues.eu/2018/02/04/the-basie-ites-1956-and-60-basie-let-them-record-as-leaders-or-behind-other-artists-videos/
- Published: 2018-02-04T12:34:08+01:00
- Author: https://JazzBlues.EU

**Count Basie held onto his band throughout the 1950s and into the ’60s because 
he didn’t hold on tight. Rather than insist his musicians play only with him, Basie
let them record as leaders or behind other artists whenever the band had extended
time off. As a result, virtually all of his bandmembers recorded alone and together
during this period. [Photo above of Basie guitarist Freddie Green]**

![Freddie-green-albums](http://marcmyers.typepad.com/.a/6a00e008dca1f0883401b7c94a886c970b-
500wi)

One of these groups that splintered off from the band to record was known commercially
as The Basie-ites. This ad-hoc ensemble recorded two smart albums – one accompanying
singer Beverly Kenney in 1956 and the other with pianist Barry Harris on piano in
1960. Both are interesting albums for different reasons.

[⌊3450bfac9c0082f482c0⌉⌊3450bfac9c0082f482c0⌉[
 In 1956, Kenney recorded _Beverly
Kenney Sings with Jimmy Jones and the Basie-ites_ for Roost. The band featured Beverly
Kenney (vcl), Joe Newman (tp), Frank Wess (ts,fl), Jimmy Jones (p,arr), Freddie 
Green (g), Eddie Jones (b) and Jo Jones (d). It was her third and final album for
Roost before moving on to Decca. Kenney’s voice here is absolutely gorgeous, with
Newman’s muted trumpet playing behind her and Wess’s commanding but eel-y tenor 
saxophone soloing. Wess also plays flute on the album.

[⌊70d335301defdcb471d7d127636cf39a⌉⌊70d335301defdcb471d7d127636cf39a⌉[
 Interesting
how Jones arranged _Old Buttermilk Sky_ to open with the same introduction Miles
Davis used on _Walkin’_ two years earlier. Other gems include _Nobody Else But Me,
A Fine Romance, Who Cares What People Say, Isn’t It a Lovely Day,_ _My Kind of Love_
and _Makin’ Whoopie._ Kenney’s voice had a joyous child-like innocence and fragility,
and she always made fascinating and bold on-the-fly note choices.

[⌊E0042361_2393683⌉⌊E0042361_2393683⌉[
 I wish someone would report the story of
her emotional decline and why she attempted suicide several times before succeeding
in 1960. Meds for depression today simply didn’t exist then, leaving people with
mental illness to fend for themselves, often with disastrous results. Knowing Kenney’s
fate four years later brings a special urgency to her rendition here of _Can’t Get
Out of This Mood._

[⌊S-l1600-1⌉⌊S-l1600-1⌉[
 The second Basie-ites album, with Barry Harris on piano
in 1960, is _The Basie-ites: How High the Moon,_ for Jubilee. It’s less tightly 
arranged and the songs are a bit old fashioned for the date, though we do get to
hear some spirited Harris with the Basie rhythm section, which is a treat. The Basie-
ites this time around included Joe Newman and Thad Jones (tp), Al Grey (tb), Billy
Mitchell and Frank Foster (ts), Frank Wess (ts,fl), Barry Harris (p), Freddie Green(
g), Eddie Jones (b) and Sonny Payne (d).

_[⌊How-high-the-moon-2-lp-on-1-cd-feat-beverly-kenney⌉⌊How-high-the-moon-2-lp-on-
1-cd-feat-beverly-kenney⌉[
 How High the Moon
 works splendidly, with a terrific
bop solo by Harris and then each member of the band takes a turn. Poor Butterfly
and Stairway to the Stars feature powerful trumpet solos by Joe Newman, the latter
with a mute and a solo by Harris. Al Grey solos on When I Think About Lovin’ You,
doing so with an It’s Easy to Remember (And So Hard to Forget) feel. Newman is back
on My Old Flame and Grey returns on September Song. Sometimes I Feel Like a Motherless
Child once again belongs to Newman and Grey is on Blue Moon, with Harris adding 
yet another tasty bop solo. Newman and Grey play so beautifully throughout that 
the album has a vocal feel. [Photo above, from left, of Freddie Green, Frank Wess
and Al Grey]

[⌊Sarah+Vaughan+After+Hours+At+The+London+Hous-475556⌉⌊Sarah+Vaughan+After+Hours
+At+The+London+Hous-475556⌉[
 Of course, many more Basie-band configurations flourished
in the 1950s and early ’60s. They just didn’t call themselves the Basie-ites. For
example, on Sarah Vaughan’s _After Hours at the London House_, the signer was backed
by a Basie-band ensemble. For fun, someone should create a list of all the Basie-
ite sessions, whether they went by that name or not. It would be a long list.

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