JAM Magazine: October/November 1998 Issue: Folly Jazz News

by Doug Tatum

On Friday, October 23, the Folly Theater will have the distinct honor of presenting the great Count Basie Orchestra. Although "The Count" passed away in 1984, this great American institution continues on today under the musical direction of trombonist Grover Mitchell.

William Basie was born in Red Bank, New Jersey on August 21, 1904. He first studied music with his mother during his childhood, and as a young musician picked up rudiments of ragtime from early Harlem pianists. Basie also studied organ for a time with Thomas "Fats" Waller. He first performed professionally as an accompanist, replacing Waller in a vaudeville act.

While on the road as pianist and occasional actor with the Gonzelle White vaudeville show, Basie found himself stranded and broke when the troupe disbanded in Kansas City. Basie became ill with spinal meningitis, but made a speedy recovery and soon found work accompanying silent films at the Eblon Theater, located between 18th and 19th on Vine. (The front facade of the building is still there.) It was during this time that Basie gave himself a new nickname, "The Count."

In the summer of 1929, Basie was working at the Eblon and developing his skills as an arranger. He soon came to the notice of pianist/bandleader Bennie Moten, who hired Basie as staff arranger and substitute pianist. Before long, Basie became the regular pianist, a position he held for nearly four years. Upon Moten's untimely death, Basie went from pianist to bandleader.

Just down from the corner of 12th and Cherry in downtown Kansas City was a small club called The Reno. After first substituting for the regular band, Basie's group was asked to stay on as the house band. Basie later recalled, "It was very special. I looked forward to going to work. All we wanted to do was just play, have a little taste, just finish playing there at night and go somewhere else and play the rest of the morning."

When jazz impresario John Hammond heard the Basie band in 1935, he became a leading advocate. In a 1955 interview for Down Beat, Hammond recalled, "It seems almost incredible, but The Reno had a nightly radio wire over the local experimental station W9XBY. You had to have a set capable of receiving police calls to tune in the station properly, but the transmitter was powerful enough to be heard in Chicago and occasionally I was able to get it on my car radio in New York around 3 a.m. The first time I heard a Basie broadcast was in December, 1935, when I was in Chicago to attend the opening of Benny Goodman's new band at the Congress Hotel."

Hammond was so impressed that he arranged to bring the Basie Band to New York where they opened at the Roseland Ballroom for a month-long booking. A Decca recording contract soon followed, and the rest is history. Today, the band continues its great and swinging tradition under the skillful direction of Grover Mitchell. And the legacy of Count Basie lives on.

Alto saxophonist Charles McPherson and his Quartet will appear at the Folly on Saturday, November 14. McPherson has been described as being the closest living link to Charlie Parker's approach to the alto saxophone.

McPherson was born in Joplin, Missouri in 1939 and his family soon moved to Detroit. As a teenager he heard the sound of Charlie Parker and decided then and there to devote his life to the saxophone. A rich musical environment surrounded McPherson in Detroit, where he mastered the alto sax while studying with renowned pianist Barry Harris. At age 19, he started playing professionally and soon relocated to New York. His playing fully blossomed during his years of performing with Charles Mingus. McPherson has recorded numerous albums, not only with Mingus, but with Art Farmer, Barry Harris, Lionel Hampton, Kenny Drew, Toshiko Akiyoshi and Sam Jones, among many others. He also had the honor of recording Charlie Parker's alto parts on the soundtrack to Clint Eastwood's film, Bird.

While McPherson has worked steadily over the years, only recently has he enjoyed a heightened touring and recording schedule. Undoubtedly, Charles McPherson is a Jazz Master who is finally receiving the wider recognition that he deserves. Jazz writer and critic Stanley Crouch had this to say about the artist: "The craft and sincerity, the discipline and passion that Charles McPherson brings to the alto saxophone is a tribute to the beauty of jazz."

Each Folly concert is at 8:00 p.m. with a "Jazz Talk" pre-concert discussion with host Dick Wright at 7:00 p.m. Information about the Folly Jazz Series is available by calling (816) 474-4444 during regular business hours.

Doug Tatum is the Executive Director of the Folly Theater.

RETURN TO OCTOBER/NOVEMBER 1998 MAIN INDEX

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© Kansas City Jazz Ambassadors 1996-2001. All rights reserved.






	Search our site:		by Doug Tatum On Friday, October 23, the Folly Theater will have the distinct honor of presenting the great Count Basie Orchestra. Although "The Count" passed away in 1984, this great American institution continues on today under the musical direction of trombonist Grover Mitchell. William Basie was born in Red Bank, New Jersey on August 21, 1904. He first studied music with his mother during his childhood, and as a young musician picked up rudiments of ragtime from early Harlem pianists. Basie also studied organ for a time with Thomas "Fats" Waller. He first performed professionally as an accompanist, replacing Waller in a vaudeville act. While on the road as pianist and occasional actor with the Gonzelle White vaudeville show, Basie found himself stranded and broke when the troupe disbanded in Kansas City. Basie became ill with spinal meningitis, but made a speedy recovery and soon found work accompanying silent films at the Eblon Theater, located between 18th and 19th on Vine. (The front facade of the building is still there.) It was during this time that Basie gave himself a new nickname, "The Count." In the summer of 1929, Basie was working at the Eblon and developing his skills as an arranger. He soon came to the notice of pianist/bandleader Bennie Moten, who hired Basie as staff arranger and substitute pianist. Before long, Basie became the regular pianist, a position he held for nearly four years. Upon Moten's untimely death, Basie went from pianist to bandleader. Just down from the corner of 12th and Cherry in downtown Kansas City was a small club called The Reno. After first substituting for the regular band, Basie's group was asked to stay on as the house band. Basie later recalled, "It was very special. I looked forward to going to work. All we wanted to do was just play, have a little taste, just finish playing there at night and go somewhere else and play the rest of the morning." When jazz impresario John Hammond heard the Basie band in 1935, he became a leading advocate. In a 1955 interview for Down Beat, Hammond recalled, "It seems almost incredible, but The Reno had a nightly radio wire over the local experimental station W9XBY. You had to have a set capable of receiving police calls to tune in the station properly, but the transmitter was powerful enough to be heard in Chicago and occasionally I was able to get it on my car radio in New York around 3 a.m. The first time I heard a Basie broadcast was in December, 1935, when I was in Chicago to attend the opening of Benny Goodman's new band at the Congress Hotel." Hammond was so impressed that he arranged to bring the Basie Band to New York where they opened at the Roseland Ballroom for a month-long booking. A Decca recording contract soon followed, and the rest is history. Today, the band continues its great and swinging tradition under the skillful direction of Grover Mitchell. And the legacy of Count Basie lives on. Alto saxophonist Charles McPherson and his Quartet will appear at the Folly on Saturday, November 14. McPherson has been described as being the closest living link to Charlie Parker's approach to the alto saxophone. McPherson was born in Joplin, Missouri in 1939 and his family soon moved to Detroit. As a teenager he heard the sound of Charlie Parker and decided then and there to devote his life to the saxophone. A rich musical environment surrounded McPherson in Detroit, where he mastered the alto sax while studying with renowned pianist Barry Harris. At age 19, he started playing professionally and soon relocated to New York. His playing fully blossomed during his years of performing with Charles Mingus. McPherson has recorded numerous albums, not only with Mingus, but with Art Farmer, Barry Harris, Lionel Hampton, Kenny Drew, Toshiko Akiyoshi and Sam Jones, among many others. He also had the honor of recording Charlie Parker's alto parts on the soundtrack to Clint Eastwood's film, Bird. While McPherson has worked steadily over the years, only recently has he enjoyed a heightened touring and recording schedule. Undoubtedly, Charles McPherson is a Jazz Master who is finally receiving the wider recognition that he deserves. Jazz writer and critic Stanley Crouch had this to say about the artist: "The craft and sincerity, the discipline and passion that Charles McPherson brings to the alto saxophone is a tribute to the beauty of jazz." Each Folly concert is at 8:00 p.m. with a "Jazz Talk" pre-concert discussion with host Dick Wright at 7:00 p.m. Information about the Folly Jazz Series is available by calling (816) 474-4444 during regular business hours. Doug Tatum is the Executive Director of the Folly Theater. RETURN TO OCTOBER/NOVEMBER 1998 MAIN INDEX ------------------------------------------------------------------------ © Kansas City Jazz Ambassadors 1996-2001. All rights reserved.