Oh, Lady Be Good Louis Blues Tattersfield Stomp Rug Cutter's Swing Moten Swing Tuesday 10 March Wednesday 11 March Thursday 12 March Friday 13 March Saturday 14 March Sunday 15 March Monday 16 March Tuesday 17 March Wednesday 18 March Thursday 19 March Friday 20 March Saturday 21 March Sunday 22 March Monday 23 March Tuesday 24 March Wednesday 25 March Thursday 26 March Friday 27 March Saturday 28 March Monday 30 March Tuesday 31 March Wednesday 1 April Thursday 2 April Friday 3 April Saturday 4 April Sunday 5 April Monday 6 April Tuesday 7 April Wednesday 8 April Thursday 9 April Friday 10 April Saturday 11 April Sunday 12 April Monday 13 April Tuesday 14 April Wednesday 15 April Friday 17 April Saturday 18 April Sunday 19 April Monday 20 April Tuesday 21 April When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms.
When Moten died, the band tried to stay together but couldn't make a go of it. The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. During a broadcast the announcer wanted to give Basie's name some style, so he called him "Count. Basie's new band which included many Moten alumni, with the important addition of tenor player Lester Young.
Rob Thomsett Yaraandoo played at the Reno Club and sometimes were broadcast on local radio. Late one night with time to fill, the band started improvising. Basie liked the results and named the piece " One O'Clock Jump.
We set the thing up front in D-flat, and then we just went on playing in F. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Young complained of Herschel Evans ' vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in "duels".
Many other bands later adapted the split tenor arrangement. In that city in Octoberthe band had a recording session which the producer John Hammond later described as "the only perfect, completely perfect recording session I've ever had anything to do with". When Basie took his orchestra to New York inthey made the Woodside Hotel in Harlem their base they often rehearsed in its basement.
Basie recalled a review, which said something like, "We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing". The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards.
They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up. LP Filter Applied.
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