Tag Archives: Count Basie

Johnny Pate(2)

June 07.2017

In 1946 Johnny Pate was discharged and moved to New York City.

Oscar Pettiford helped him get started in NYC.

Johnny Pate played with Coleridge Davis’ big band from 1947 to 1949.

Photo above of Coleridge Davis & his Hardy Brothers Washingtonians

Although Coleridge Davis’ big band was not famous in those days, I found an interesting talking by Count Basie.

Count Basie’s band and Coleridge Davis & his Hardy Brothers Washingtonians seem to have been rivalry over the appearance at Atlantic City.

Then he worked with the innovative pre-bop jazz violinist Stuff Smith.

Please refer to my previous post about Stuff Smith.Go here

1946年、Johnny Pateは軍隊を退役しニューヨークに移りました。
ニューヨークではOscar Pettifordが彼の仕事の面倒を見てくれました。
1947年から1949年の間、Coleridge Davisのバンドに加入しました。
Coleridge Davisバンドについては詳しい資料は見当たりませんが、Count Basieによる興味深い話を一つ見つけました。
Count BasieバンドとColeridge Davis & his Hardy Brothers Washingtonians はAtlantic Cityの出演を競ったライバル関係だったそうです。
その後、ジャズバイオリニストのStuff Smithと仕事をしました。
Stuff Smithに関しては、過去の投稿を参照して下さい。

Here is Stuff Smith and his Onyx Club Boys play “Here comes the man with the jive” (1936).

Here is Oscar Pettiford and Attila Zoller play “The Gentle Art of Love”.
June 15, 1959( Austrian TV )

Here is Johnny Pate Trio play “Huff’s Bluff.
Willie Huff(p),Johnny Pate(b),Walter Grant(ds)
Chicago, October 16, 17, 1958

The initial story of Oscar Peterson(1)

May 29.2017

Photo by courtesy of OKMusic

Yesterday I joined a jazz meeting in Kobe(神戸ジャズ愛好会5月例会).

An old member of the club introduced Oscar Peterson’s first recording.

Oscar Peterson – I Got Rhythm

Canada, April 30, 1945

Then Oscar Peterson made him one of the most popular jazz artists in history.

It’s embarrassing, but I have not heard eagerly about his recordings until now.

After going home from Kobe(神戸) I found an interesting clip by CBC Television.

It has been made in detail his life in this clip.

For example I do not know about his parents’ birthplace.

Ad by Toronto Star, November 5, 1945.

It will be ten years since his death in December.

There are huge numbers of his recordings.

I would like to investigate his music activities little by little until December.

So this week I will post about his early activity.

メンバーの方がOscar Petersonのファーストレコーディングを紹介しました。
『I Got Rhythm』 1945年4月30日録音
ご存知の通りOscar Petersonはその後、最も人気のあるジャズピアニストの一人になりました。
今年の12月にはOscar Peterson没後10年になります。
Oscar Petersonの録音は膨大な数がありますので、12月まで少しずつ彼の音楽活動を楽しみたいと思っています。

Here is Oscar Peterson Trio play “I Got Rhythm.”
Oscar Peterson (p) Bert Brown (b) Frank Gariepy (ds)
Montreal, April 30, 1945 RCA Masters (Canadian)

Here is Oscar Peterson trio with Count Basie in Prague 1974 .
Oscar Peterson (p), Count Basie (p), Niels-Henning Ørsted Pedersen (b), Butch Miles (ds) at International Jazz Festival Prague, 1974.

Good Time Jazz Record(1)

May 15.2017

Yesterday I bought “Lu Watters’ Yerba Buena Jazz Band” by Good Time Jazz Record.

Lu Watters contributed to the world-wide revival of classic jazz during the 1940s.

Watters and his fellows in the late ’30s took a second look at the origins of jazz.

Photo above of Turk Murphy, Lu Watters on left by courtesy of Riverwalk Jazz – Stanford University Libraries

They spearheaded an international movement which brought the traditional New Orleans style.

Good Time Jazz Record had contributed greatly to this movement.

Good Time Jazz Record was found by Lester Koening in 1949.

Generally he is famous as the founder of Contemporary Record.

Photo above of Lester Koening by Discos

So this week I would like to post about his contribution until establish Good Time jazz Record.

I referred to Jazz Profiles by Steven A. Cerra,”Lester Koenig: Good Time Jazz and Contemporary Records [May 2, 2017]”.

Lester Koening was born December 3 1917 in New York City and developed a passion for jazz as a teenager.

He had listening to the 78rpm record of Duke Ellington, Bessie Smith, Louis Armstrong and others.

In those days almost of jazz devotees visited Doc Doctorow’s record store.

This store was a well-known haunt for collectors.

Hammond at a recording session with Buck Clayton, Lester Young, Charlie Christian, Benny Goodman and Count Basie. Photo courtesy Frank Driggs Collection.(by Riverwalk Jazz)

Also John Hammond, who was the legendary producer, had came to Doc Doctorow’s.

Then John Hammond invited Lester to the Basie’s session.

At that time Count Basie had recorded “One O’clock Jump”.

So Lester had first inspired in him the desire to own a jazz label.

Photo above of Count Basie Keith and his band from Pinterst

昨日、Good Time Jazz Record “Lu Watters ‘Yerba Buena Jazz Band”(再発)を購入しました。
Lu Watters達は30年代後半にジャズの起源を再演することで、伝統的なニューオーリンズスタイルジャズを世界中に復活する運動を先導しました。
Good Time Jazz RecordはLester Koeningによって創設され、ニューオーリンズリバイバル運動に大きく貢献しました。
又、Lester KoeningはContemporary Recordの創設者としても有名です。
今週はGood Time Jazz Recordを創設(1949年)するまでのLester Koeningの足跡について投稿します。
以下の文章はSteven A. Cerra氏による「Jazz Profiles(2017年5月2日)を参考にしました。
Lester Koeningは1917年12月3日、ニューヨークで生まれ10代でジャズの虜になりました。
彼はDuke Ellington、Bessie Smith、Louis ArmstrongなどのSPレコードを聞いていました。
当時のほとんどのジャズ愛好家はDoc Doctorowというレコードストアを訪れていました。
伝説のジャズプロデューサーであったJohn HammondもDoc Doctorowによく来ていたそうです。
その後、Lester KoeningはJohn Hammondの招きでCount Basieのレコーディング現場に立ち会うこともできました。
その時Count Basieは 歴史的録音である”One O’clock Jump”をレコーディングしました。
その録音現場にいたLester Koeningは自らのジャズレーベルを立ち上げたいという欲望が湧き出てきました。

Here is Lu Watters’ Yerba Buena Jazz Band play “Irish Black Bottom”.
Bob Scobey, Lu Watters (cornet) Turk Murphy (trombone) Ellis Horne (clarinet) Wally Rose (piano) Russ Bennett, Clancy Hayes (banjo) Dick Lammi (tuba) Bill Dart (drums) San Francisco, CA, December 19, 1941

Here is Count Basie and his band play “One O’Clock Jump”.
Count Basie(piano); Buck Clayton, Joe Keyes, Carl Smith, (trumpets); George Hunt, Dan Minor, (trombones); Caughey Roberts, (alto sax),Jack Washington, (alto and baritone sax); Herschel Evans, Lester Young, (clarinet and tenor sax); Claude Williams, (guitar); Walter Page, (bass); Joe Jones, (drums);  Jimmy Rushing, (vocal) November 3, 1937

Jazz Club in Boston(6)

February 04.2017


In 1950 George Wein opened a club in Boston called Storyville.

I am not going to post about Storyville.

I recommend JazzWax interview with George Wein. Go here and here

I will introduce a topic that is impressive for me.


Wednesday,March 9, Charlie Parker started for Boston, where he was to play a weekend engagement at Storyville.

Unfortunately his cabaret card had been revoked in 1951.

So between 1951 and 1954, Parker appeared five times as a leader at the Hi-Hat and twice more at Storyville.

He worked as a single, usually playing with house trios and an added trumpeter.

George Wein added a second band to the bill for March 10-16 because he predicted Parker’s absence.


Lee Konitz had prepared as the second band for Parker’s absence.

He died in the New York apartment of Baroness Nica in March 12.

It took several days for the news to make it to Boston.

Then Konitz had moved on, and Count Basie’s band was at Storyville.

Photo above of Count Basie


According to Bird’s Diaries by KEN VAIL, Bird received $650 from George Wein for the week plus $186 for 2 extra days.

Here is Charlie Parker and Red Garland together play “I’ll Walk Alone”.March 1953 at Storyville

Here is Lee Konitz Quartet at the Storyville Club play “Hi Beck”.

Here is Chet Baker plays “Maid In Mexico”(1954)

Here is George Wein plays “Blues for Storyville”
George Wein(P),Warren Vache(Cornet),White Browne(b),Alan Dawson(ds)
December 6, 1985

Phineas Newborn Jr.(2)

October 19, 2016

Phineas Newborn, Jr. recorded steadily as a leader and sideman throughout the 1950s and into the 1960s.

In 1952 in Memphis, Count Basie heard Newborn’s playing.

Basie brought him to the legendary producer John Hammond.

Then he moved to the East Coast by Hammond’s encouragement.

From 1956 he began to perform in New York City, making his first album as a leader in that year.


“Here Is Phineas” was the debut album which recorded in 1956 and released on the Atlantic label.

He was transferred to RCA Victor label from his second work.

Unfortunately RCA Victor recordings were a complete failure.

So he went to work as a solo pianist in Stockholm and Rome.


In 1958 he joined a legend recording Roy Haynes’ “We Three”.

Here is Phineas Newborn Jr. plays “Barbados” (1956) 

Here is Phineas Newborn Jr Quartet play “Overtime”(1956).

Here is Phineas Newborn Jr. plays “My Ship” in Stockholm(1958) .

Here is Roy Haynes plays “Reflection” with Phineas Newborn Jr. and Paul Chambers(1958).

Sir Charles Thompson and Jeremy Steig(1)

October 11, 2016

Charles Thompson in 1950. Photograph: Gilles Petard/Redferns

Charles Thompson in 1950. Photograph: Gilles Petard/Redferns

JEREMY STEIG :Photo from www.jeremysteig.info

Jeremy Steig:Photo from http://www.jeremysteig.info

Two jazz musicians died in Japan in this year.

“Sir Charles Thompson” and “Jeremy Steig.”

I want to post jazz musician who loved Japan this week.

Sir Charles Thompson died June 16 in a hospital near Tokyo. He was 98.

He was born in Springfield, Ohio, on March 21, 1918.

His father was a Methodist minister, on church assignments.

Then their family settled in Colorado Springs and he began to train as a pianist at about age 6.

He mostly learned by listening to jazz records and was soon earning good wages at house parties.


Bennie Moten’s Kansas City Orchestra

In 1930 the Bennie Moten jazz band with Count Basie came to Colorado Springs.

Count Basie summoned him up on stage during a break( he was only 12).

Also he met Buck Clayton in Parsons, Kansas.

So I guess he became more likely to play with Basie’s members on his musical life.

Here is Sir Charles Thompson plays “What’s New” (1964)

Teddy Reig(3)


Birdland (New York jazz club)

Roost Records was acquired by Morris Levy in 1958 and incorporated into Roulette Records.

In addition Morris Levy was owner of the Birdland jazz club,and it was a jazz club started in

New York City on December 15, 1949.


Photo above, from left Joe Newman, Dick Katz, Teddy Reig and Count Basie

Teddy Reig produced the Count Basie orchestra through its most prolific and popular period.

He extensively recorded the Count Basie Orchestra and other jazz musicians and singers.

I found an interesting story about the relationship between Basie and Teddy.

Producer friend Bob Porter noted that “Reig was a real master with Basie. The Count Basie

band that Teddy produced on Roulette never sounded better anywhere, before or after.

Teddy really knew what that band was supposed to sound like and he always got it.”


Photo:Jazz Cafe ‘Basie’


Photo:Owner Mr.Sugawara

Last year, all Basie’s works of Roulette era has been re-released in Japan.Go Here 

This series was supervised by Shouji Sugawara ‘菅原正二’.

Mr.Sugawara is most famous jazz cafe ‘Basie’s owner.

I went to ‘Basie’ about three years ago in Ichinoseki in Iwate Prefecture.

I guess ‘Basie’ is a sacred place of jazz cafe in Japan.