#alto saxophones on sale

[mcneelamusic01]

Alto Saxophone For Sale in Dublin | McNeela Music

McNeela Music Store is a well-known retailer of musical instruments. Browse their collection if you're seeking for an alto saxophone. They provide a diverse choice of instruments at reasonable costs. McNeela Music Store sells alto saxophones. Visit their website if you enjoy musical instruments. Visit to website - wwwmcneelamusic.com

[kvetchlandia]

Miles Davis Love for Sale 1958

Miles Davis: Trumpet

Cannonball Adderley: Alto Saxophone

John Coltrane: Tenor Saxophone

Bill Evans: Piano

Paul Chambers: Bass

Jimmy Cobb: Drums

[lboogie1906]

James Edward Heath (October 25, 1926 – January 19, 2020) nicknamed Little Bird, was a jazz saxophonist, composer, arranger, and big band leader.

He was born in Philadelphia. His father, an auto mechanic, played the clarinet. His mother sang in a church choir. The family played recordings of big band jazz groups around the house. His sister was a pianist, while his brothers were bassist Percy Heath and drummer Albert Heath.

He played alto saxophone. He earned the nickname “Little Bird” after his work for Howard McGhee and Dizzy Gillespie, and his playing displayed influences from Charlie Parker. He switched to tenor saxophone.

He performed with the Nat Towles band. He formed his band, which was a fixture on the Philadelphia jazz scene with John Coltrane, Benny Golson, Specs Wright, Cal Massey, Johnny Coles, Ray Bryant, and Nelson Boyd. Charlie Parker and Max Roach sat in on one occasion. He recalls that the band recorded a few demos on acetate, its arrangements were lost at a Chicago train station. He joined Dizzy Gillespie’s band.

He was arrested and convicted twice for the sale of heroin, he was an addict. He went cold turkey and was able to spend a lot of his time engaged in music. While in prison he composed most of the Chet Baker and Art Pepper album Playboys.

He joined Miles Davis’s group and worked with Kenny Dorham and Gil Evans. He was recorded as a leader and sideman. He worked with Milt Jackson and Art Farmer. He and his brothers formed the Heath Brothers, featuring pianist Stanley Cowell.

He composed “For Minors Only”, “Picture of Heath”, “Bruh’ Slim”, and “CTA” and recorded them on his album Picture of Heath.

He joined the faculty of the Aaron Copland School of Music at Queens College. He led the creation of the Jazz Program at Queens College and attracted prominent musicians such as Donald Byrd. He taught at Jazzmobile.

He married Mona Brown (1960), they had two children. He was the father of R&B songwriter/musician James Mtume.

In 2010 his autobiography I Walked With Giants was published. He played in a jazz concert at the White House when President Bill Clinton borrowed his saxophone for one number. #africanhistory365 #africanexcellence

[ozwinds123]

Shop Yamaha YAS-280 Student Alto Saxophone At Best Price

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[maisonnushi]

♪蓮華咲き乱れる丘［A hill where chinese milk vetch blooms in profusion］

"和らぐ…"

"Relaxing..."

ちょっと中国風のナンバー。銅鑼が入っています。

A slightly Chinese number. It has the sound of gongs.

【Instrumentation】

Flute

Clarinet

Alto Saxophone

Trumpet

Horn

Trombone

Piano

Marimba

Gong

Finger Bell

Bass

Drums

配信中♪Now on sale♪

[olddognewsaxophones]

Are you searching for the best quality and affordable Alto Saxophones On Sale? If so then you have to research online carefully for the best online store. Enquire today.

[narancias-headband]

Golden Wind - Band AU

This is a long one... Here we go!

Conductor:

Doppio/Diavolo - Sweet and excited... Until you miss the new key signature... Then he's a whole other person. Literally.

Oboe:

Giorno - The new kid. Has been thrust into the role of partial leadership over the band. Talented and quiet. Makes his own reeds.

Bassoon:

Prosciutto - Flaunts how expensive his instrument is. Very classically trained and snobby. Will glare at you if you're out of tune.

Flute:

Trish (covers piccolo when needed) - Quiet, reserved, high-maintenance flute girl. Constantly fighting with the conductor. Polishes her flute every spare second she has.

Melone - How does he see his music when his hair is always in his face? He shows up to rehearsal either looking like he's ready to hit the club or like he just rolled out of bed.

Clarinet:

Bucciarati - Outgoing and friendly. Would be happy to practice with you. Looks angry when he's playing. Lowkey happy that Giorno took over as the unofficial head of the woodwinds.

Abbacchio - Only here because Bucciarati convinced him to join. He won't help you figure out notes, fingerings, or rhythms - don't ask. Counts out loud, quietly, but you can still hear if you're close enough.

Tiziano - Loves trills too much. Hates playing low. His clarinet is probably the cleanest instrument in the whole band.

Bass Clarinet:

Cioccolata - Sorry, but I've never met a bass clarinetist that wasn't creepy. Science person who's just in the band for fun. Doesn't understand music theory. Disgusting reed.

Saxophones:

Sale (Alto) - Plays too loud, but plays the right notes. Probably the source of the squeaks in the band.

Squalo (Alto, covers Soprano if needed) - Elitist saxophonist. Thinks he should always have the melody. Misses flats.

Formaggio (Tenor) - Hate to say it, but he's the epitome of "saxophone player (derogatory)". Obnoxious. Never stops with the conductor. Thinks saxophones are the best instrument and won't shut up about it. Never practices, but somehow always knows his part.

Secco (Bari) - Hates when he has any sort of melody part. Just wants to play the bassline. Keeps his reeds moist in his water bottle that he still drinks from.

Trumpet:

Narancia - Self-taught. Killer range; he just thinks playing high is fun. Plays an old beat up trumpet with nearly all the shine worn off.

Illuso - "Trumpet player (derogatory)" type. Overly cocky. Tries to steal every solo. Plays over everyone else. He's probably the best at double tonguing, though.

French Horn:

Fugo - Reserved and sophisticated. Plays too quiet, but knows his part. Afraid to write on his music. Is the person his friend group ends up surrounding during a break.

Trombone:

Risotto - Plays bass 'bone every chance he gets. Intimidating and skilled. He's probably played the whole repertoire a few times before. Corrects the conductor.

Gelato - Old friend of Risotto's, so he always gets a call to be in the band despite poor attendance. Can growl like a god, overdoes it.

Sorbet - Chose trombone just to sit with Gelato. Always asking about slide positions. Adds in accidental glissandos a lot.

Baritone:

Ghiaccio - Plays treble clef because he never learned bass. Used to be a trumpet player, decided he'd rather be in a smaller section. Most likely to mess up and yell "Fuck!" in the middle of a rest.

Tuba:

Pesci - Shy and quiet, until he gets playing. Can and will blow you away. Takes tuning very seriously. Organizes sectionals for all the low brass/woodwinds to work on their parts together.

Percussion:

Mista - Mainly plays snare. Loves marches. Unofficial leader of the section. Loud and excited. Tends to rush.

Carne - Mainly plays bass drum/tympani. There has to be a metronome in his brain. He can keep time like no other.

Zucchero - Mainly plays mallets, marimba is his favorite. Loves to show off with pieces that require 4 mallets.

[supercunninglinguist]

Excuse my premature ejazzulation but saxophone accomplished!!

Its a Sax Dakota 505; bought it used from an old saxophonist named Gerald. Its only a few years old and in excellent condition. He basically sold me a professional-level saxophone at student-level price.. which is good cause I wasn't expecting the price of tenors it be so high. It took me almost a month of searching to find this one. Its really a sellers market for quality tenor saxophones. Specifically tenors - theres plenty of altos and sopranos for sale in good condition at reasonable prices

It sounds awesome, has a nice mellow sound and it's really loud - definitely made for performing. I love how solid it feels too. Sax Dakota definitely makes an incredibly high-quality saxophone.

Said he was selling it so low because of a "senior moment", but he also mentioned giving a saxophone to his grandson a while back and having it returned earlier this year, so maybe this is that saxophone.

Either way, this is totally a lifelong dream finally done. But I need to buy some cleaning stuff and accessories before I can really start practicing. I want it to stay in top condition for, essentially, the rest of my life.. so just getting acquainted with it for now and breaking in the new reed.

Thanks, Gerald.

[musqis]

"Phantom Of Liberty"2021/8/6/16:00 RELEASE

MITOHOS II by MUSQIS

突然にリリースのお知らせ ーーー今まで何をやっていたかというとーーー 頑張ってブッキングしたUSツアーの中止は私にかなりの精神的ダメージを与え 「結構疲れた」状態になってしまった。 なんにも無いなりにライブハウス支援コンピ、 WildSideTokyoとnepo其々に参加。 未発表曲を提供。 そしてスピード感のないバンド運営に拍車をかけ 4ヶ月メンバーとも一度も顔を合わさず急にライブを行うのである。 (ちなみにこの後8ヶ月ライブがなかった、週に4本とかライブしていた時代は何だったんだ) その時の映像がこれ

サボっていないと言ったら嘘になってしま��が、発信したいものがわからなかったという方が正しいと思う。 そうこうしながらも2020年が終わってしまい、 無理矢理制作に取り掛かるも相変わらずスランプ続きで牛歩牛歩。 何故かHome is a fireだけはコンスタントにライブがあったのでTsubaticsと、安藤裕子の家で子供に遊ばれたりしていたのでそれぞれ2人には度々会っていた。 知らぬ間に我が家から徒歩5分圏内のご近所に引っ越していたアライくんには本当に8ヶ月あっていなかった。 この間、LOOLOWNINGEN & THE FAR EAST IDIOTSの非常勤ドラマーになったり、 (ルロウズ、8/13大阪、8/14静岡公演あります。) TOKYO SAPIENSは1音半下げになったりして弦のゲージで迷走。 XU/XUもたまにやったり、珍しくVJ案件、DJ案件があったりしたので無難にこなす。 あとpandagolffのリリパでゲスト参加。 何故かmicrokorgデビューした。 そしてとある日オサベ(VAU!)がOOO!をやりたいと言い出したので重い腰を上げイベントを組む。 運営2人でコロナ下最大限のイベントを目指した結果「とても疲れた」の一言に尽きるのだが、 これが私に良い方に働き「バンドする(英:Do band)」という感覚を取り戻させたのである。 その様子はこちら 約8時間のコンパクトな動画(費用対効果)に収まっています。

そんな中ルロウズのアカクラ氏にコンピのお誘いを頂き頓挫していたレコーディング音源を半ば無理矢理完成させる。 それが今回のこれである。 "The Phamtom of Liberty" 元々はEdgar K.C.というプロジェクトでやっていた自由の幻想という曲なので、Idiot copと同じくかれこれ10年以上前に作った曲。 元ネタはルイスブニュエルのアレです。 ベーシックは5年くらい前に今は亡き荻窪リンキーで録り終わっていたのだが、 今年に入って録音したテイクもあったり時系列は2012-2021を跨ぐ滅茶苦茶っぷり。 方針定まらす放置してしまった時期もあったがなんとか完成した。 当時MUMU(植村昌弘さんのバンド)をやっていた本間太郎君(key)が「僕はまだ加入して6年くらい」と言っていたので、 その時そういう時間の感覚って素晴らしいなと思った。 本当によかった。 参加メンバーは 野口英律 Hidenori Noguchi Drums / Electric Guitar / Compose アライカズヒロ Kazuhiro Arai Electric Guitar キシノジュンヤ Junya Kishino (HOPI) Electric Guitar 澤本元 Gen Sawamoto Electric Guitar 2016 Tsubatics Electric Bass 安藤裕子 Yuko Ando Soprano Saxophone 遠藤里美 Satomi Endo Alto Saxophone ムラカミダイスケ Daisuke Murakami Tenor Saxophone 桑原渉 Wataru Kuwabara Trumpet 本間"兄貴"智教 Tomonori "ANIKI" Honma Trumpet 武田理沙 Risa Takeda Electric Piano 石原雄治 Yuji Ishihara Drums エリヲ Eriwo Percussion 堀田壮一郎 Souichirow Horita Drums 2012 けふ山本 Kyo Yamamoto Electric Nylon Guitar 2012 山下大輔 Daisuke Yamashita Record 永田健太郎 Kentaro Nagata Record / Mix / Master Record at RinkyDinkStudio Ogikubo (R.I.P) Mannish Recording Studio StudioPenta moonside StudioNoah Takadanobaba Sound Studio DOM OTOlab Studio PACKS MinaniUrawa Bar Isshee Studio24 Machida(R.I.P) Thanx Tetsuya Anzai Satsuki Kameoka(ymss) ShinjukuJAM(R.I.P) SuperYano Yuji Numata(Home is a fire / heavenphetamine) ロサンゼルスの新進気鋭レーベルDEAF TOUCHからLOOLOWNINGENキュレーションのコンピ『MITOHOS』第二弾、 全体的に素晴らしいのでとりあえずこちらのリンクから1周聴いてもらいたい で、2周めも。。 今更ながら"GALAPAGOSIZED"だから我々もいつもやってる未完の曲"GARAPAGOTIQA"を提供すればよかったなと思ったりしたけどそれはまた別の機会に。 V.A.『MITOHOS II : A GUIDE TO JAPANESE GALAPAGOSIZED MUSIC』 https://deaftouch.bandcamp.com/album/mitohos-ii-3 DEAF TOUCH (DT-004) 2021.8.6 ON SALE FREE DOWNLOAD (TIPS ARE WELCOME!) 1. chikyunokiki / Shinkyo (札幌) 2. ユウレカ / AntiBody (徳島) 3. z/nz / DAYS (福岡) 4. EXTRUDERS / kaori (横浜) 5. ノイエサンスーシ / Alesis (長崎) 6. GROUNDCOVER. / io (Retake) (東京) 7. THE RATEL / 十字路 (東京) 8. MUSQIS / The Phantom Of Liberty (東京) 9. YOLZ IN THE SKY / Ooh (大阪) 10. 堀嵜菜那 / 崩落 (名古屋) 11. 仮説 / 三月の蛙 (静岡) 12. Furate / Never Let It Go (山口) 13. olololop / a five (札幌) 14. Waikiki Champions feat. misz / 魅せられて (仙台) 15. 倉地久美夫 / 水道のメーターを量り売りに来た (福岡) 16. LOOLOWNINGEN&THE FAR EAST IDIOTS / ねむり/めざめ (東京) 17. moools / 古い歩道橋 (東京) 18. AYNIW TEPO / Tori (奈良) Mastered By Kentaro Nagata (elect-low, Team Frasco) 永田くん大活躍。 リリースしたもののMUSQIS本丸のライブの予定は未定である。 野口

[haitilegends]

Haïti Legends ''Sa Nou Dwe Konnen''

Jean Emmanuel Jabouin '' Premier Trompettiste du Compas Direct''

Biographie

Louis Carl St-Jean.

De son vrai nom Jean Emmanuel Jabouin, Talès a vu le jour à la Croix-des Bouquets le 24 juin 1930. Il est le fils du Cayen Emmanuel Jabouin, ancien fonctionnaire de l’administration publique, et d’Indiana Victor, originaire de la Croix-des-Bouquets. À l’âge de 3 ans, Talès est frappé par la fièvre typhoïde, qui le laisse avec une légère paralysie des jambes. Peu après sa guérison (vers quatre ou cinq ans), il commence à manifester un intérêt pour la musique. Non sans rire, il raconte: « Je prenais plaisir à m’asseoir sur la « manoumba » lorsque les troubadours qui venaient se produire presque toutes les fins de semaine dans la cour de la maison de mes parents prenaient leur pause… Ces exécutants eux-mêmes prenaient plaisir à me regarder pincer les lames de cet instrument qui était plus grand que moi. »

En 1937, la mère de Talès déménage et s’installe avec son fils à la rue du Champ-de-Mars, presque au coin de la rue de l’Enterrement, au cœur du Morne-à-Tuf. La maison voisine est celle des époux Augustin Baron où se produit souvent le légendaire pianiste et musicien François Alexis Guignard (dit Père Guignard). En cours de semaine, il fabrique, avec des tiges de papaye, des saxophones qu’il joue, assure-t-il, avec la plus grande joie pour les voisins. En octobre 1941, Talès est admis à l’Ecole Centrale des Arts et Métiers où il apprend la musique et la trompette sous la direction du maestro Augustin Bruno.

En juillet 1947, Talès, frais émoulu de la Centrale, fait ses débuts avec l’Ensemble Anilus Cadet, dont le QG se trouve à la rue de l’Enterrement, en face de l’Hospice Saint François de Sales. Il joue alors à côté de Fritz Ferrier, d’Issalem « Sonson » Bastien et d’autres exécutants qu’Anilus recrutait au besoin. En septembre 1949, Talès occupe l’un des dix pupitres du Jazz des Caraïbes. C’est cet orchestre, monté par Issa El Saieh, qui, en février 1950, accompagne Daniel Santos, Estela « Tete » Martinez et d’autres stars latinoaméricaines de passage au « Simbie Night Club », au « Vodou Night Club » et dans d’autres boîtes de nuit port-au-princiennes. Nous tenons de lui cette confidence pour le moins étonnante: « C’est au sein de l’Orchestre des Caraïbes que je peux retracer mes meilleurs souvenirs sur la scène musicale… » Après la dislocation de ce dixtuor, Talès s’associe de nouveau au groupe d’Anilus Cadet, qui obtient le deuxième prix du carnaval de 1951 pour la méringue « Bèl carnaval ». (Le premier prix a été décerné à TI-TA-TO.)

À la même époque, Talès, Emmanuel Duroseau fils (piano), Montfort Jean-Baptiste (contrebasse), Louis Denis (batterie) et Marcel Jean (tambour) vont prêter leurs talents à Guy Durosier, qui, sur la recommandation d’Issa El Saieh, dirige l’Ensemble Tabou, le sextette de l’Hôtel Rivoli (Pétionville). Au cours de la même période, Talès accompagne dans les quatre coins du pays le troubadour Nicolas « Candio » Duverseau, grand chantre du magloirisme. Il joue aussi dans d’autres groupements d’occasion qui animent des pique-niques dominicaux et des soirées dansantes organisées le plus souvent par Stanislas Henry et Antoine Dextra à Carrefour Marin, commune de la Croix des Bouquets.

À la fin de 1951, Talès adhère à l’Orchestre Atomique Junior, monté par Nemours Jean-Baptiste après sa séparation de l’Orchestre Atomique. Au cours de l’année 1952, le groupe de Nemours est dissous. Immédiatement le bouillant maestro est appelé à diriger l’Orchestre Citadelle. Lorsqu’Hector Lominy se sépare de cet orchestre, Talès y est engagé pour seconder Jean Moïse. Véritable bûcheur, Nemours met sur pied parallèlement un petit groupement pour « faire la côte », selon l’expression de l’époque. Avec Dérico (chanteur), Webert Sicot (saxophone alto), Gérard Dupervil (trompette), son frère Montfort Jean-Baptiste ou parfois Augustin Fontaine (contrebasse), Hilaire ou parfois « Bibiche » (batterie) et d’autres musiciens, il sillonne par monts et par vaux les coins et recoins de la République, spécialement pour animer des fêtes champêtres.

En novembre 1953, Talès prend le chemin du Casino International et s’associe au Conjunto Panamerican dirigé par le trompettiste Emile D. Dugué. Il évolue alors aux côtés d’Ulysse Cabral (chanteur), Julien Paul (contrebasse), Charles Dessalines (saxophone alto), Gabriel Dasque (tambour), etc. Environ six mois plus tard, Talès s’écarte de ce groupe pour aller remplacer Kesnel Hall dans l’Orchestre Atomique, placé alors sous la baguette du pianiste Robert Camille. Il y passe moins de six mois et regagne l’Orchestre Citadelle pour succéder à Gesner Domingue.

Vers la fin de 1954, Nemours Jean-Baptiste, toujours maestro de l’Orchestre Citadelle, fonde le Conjunto International. Pour l’aider à égayer les clients des restaurants dansants de Jean Lumarque, dont l’un à Kenscoff, l’autre à Carrefour, il invite plusieurs musiciens, dont Talès à la trompette, à participer dans cette merveilleuse aventure : Dérico (chanteur), Mozart Duroseau (accordéon), Montfort Jean-Baptiste (contrebasse), Webert Sicot (saxophone alto), parfois Gary Labidou (saxophone alto) et Kreutzer Duroseau (tambour). Le 22 mars 1955, après les travaux d’agrandissement et d’aménagement du night club « Aux Calebasses » à Carrefour, « Le Conjunto » devient officiellement « Ensemble Aux Calebasses ». Il convient de rappeler que la date du 26 juillet 1955 a été symboliquement retenue comme celle de la fondation de la formation musicale de Nemours Jean-Baptiste, ancêtre, donc, du compas direct. Talès en sera le premier et unique trompettiste jusqu’à l’arrivée de Walter Tadal en 1956.

Lorsque, en septembre 1958, Nemours quitte « Aux Calebasses » pour aller se produire au « Palladium Night Club », de Sénatus Lafleur, il baptise son groupe de son nom: Super Ensemble Nemours Jean-Baptiste. « Alors, affirme Talès, prendra naissance le compas direct », genre musical dont il a été l’un des grands artisans, de concert avec Walter Tadal, Raymond Gaspard, Julien Paul, Louis Lahens, André Boston et de bien d’autres musiciens. Là-dessus, il sied d’entendre la voix de Talès pour mieux nous renseigner: « Quand on parle de compas direct, il faut avouer que Kreutzer Duroseau a été le véritable catalyseur de ce mouvement … Richard Duroseau représente l’âme même du compas direct… » (Entrevue avec Louis Carl Saint Jean, 22 octobre 2005.)

Le 5 juillet 1964, le Super Ensemble Nemours Jean-Baptiste entame une tournée aux Etats-Unis. Le 22 septembre, date du retour du groupe en Haïti, notre trompettiste, en parfait accord avec Nemours, fait ses adieux au compas direct. Il est remplacé par le brillant trompettiste jérémien Emilio Gay. Dès le début de l’année 1965, Talès entame sa carrière aux Etats-Unis. Sur la recommandation de l’excellent saxophoniste Charles Dessalines, il intègre « Los Ases del Sesenta » qui jouent à Broadway Cafe, Myrtle Avenue, Brooklyn. Il y restera jusqu’en mars – avril 1977. Moins d’un mois plus tard, il entre au Conjuto du chanteur cubain Monguito Guillan (dit « El Unico ») où évolue également le contrebassiste Fritz Grand-Pierre. Par la suite, Talès et Raymond Marcel jouent tantôt avec ''Enrique Rosa y La Sabrosa'' tantôt avec Johnny Dupre y su Orquesta Internacional. En 1980, Talès met fin à sa carrière musicale après avoir passé deux merveilleuses années au sein du groupe du chanteur dominicain Rafael Batista.

À part d’avoir été un talentueux trompettiste, Talès a également été un analyste fin et lucide de la question musicale haïtienne. S’il reconnaît en Nemours Jean-Baptiste « un maestro extraordinaire et un grand visionnaire », ses musiciens préférés ont toujours été : Antalcidas O. Murat, Guy Durosier, Murat Pierre, Michel Desgrottes, Raoul Guillaume, Richard Duroseau et Webert Sicot. D’ailleurs, comme Nemours Jean-Baptiste lui-même, Talès a toujours vu en Antalcidas Murat « un maître ». En outre, il n’a jamais passé par quatre chemins pour affirmer : « Je suis Haïtien avant d’être musicien […] C’était un honneur pour moi d’avoir joué dans le groupe de Nemours pendant près de quinze ans. Cependant, je dois avouer que le Jazz des Jeunes était, de loin, le plus grand ensemble musical du pays… C’est le Jazz des Jeunes qui jouait la vraie musique du pays... » (Entrevue avec LCSJ, 25 octobre 2005). Hubert François, Jean Moïse, Alphonse Simon, Raymond Sicot et André Déjean ont été ses idoles parmi nos trompettistes.

Si Talès était connu comme un très bon musicien, il jouissait aussi de la réputation d’un excellent père de famille. Tandis qu’il menait sa carrière de musicien, il a travaillé comme barbier pendant plus de deux décennies dans un salon de coiffure situé à Sterling Place, à Brooklyn. Il a ainsi assuré l’éducation de quatre merveilleux enfants que lui a donnés sa femme Denise Frédéric Jabouin qu’il a épousé en 1953: Reynald Jabouin, docteur en médecine (décédé à New York en janvier 2015); Patrick Jabouin, agent immobilier et docteur en Théologie; Fanya Jabouin Monnay, docteur en thérapie conjugale et familiale et Jean Emmanuel Jabouin, Jr., MBA en Marketing.

Après avoir parcouru sans naufrage notre espace immense, Talès se repose de ses œuvres merveilleuses depuis le 3 octobre 2015 au Forest Lawn Cemetery, à Fort Lauderdale, en Floride. Pour son émule Raymond Marcel: « Talès repésentait le modèle de l’ami fidèle... La sonorité suave de son jeu avait fait de lui l’un de nos meilleurs trompettistes. » De son côté, son ancien camarade Serge Simpson, deuxième accordéoniste et premier et unique vibraphoniste du Super Ensemble Nemours Jean-Baptiste, a salué en lui: « Un homme d’un comportement exemplaire. Le jeu de Talès à la trompette, poursuit Simpson, reflétait deux qualités rarement réunis chez une seule personne: la discipline et la bonne humeur. J'ai toujours gardé un grand respect pour ce musicien... » Puisse le nom de Jean Emmanuel Jabouin rester gravé à jamais dans la mémoire de tous ceux qui ont aimé la musique haïtienne en général, le compas direct en particulier. Ce n’est qu’un au revoir, Talès! Ce n’est qu’un au revoir!

Auteur:

Louis Carl Saint Jean

louiscarlsj@yahoo.com

4 octobre 2015

#JeanEmmanuelJabouin

#Talès

#TompettisteCompasDirect

#Biographie

#LouisCarlStJean

#HugoValcin

[doubutsu-no-hayashi]

Another storage clean-out sale!

Because I collected too much stuff again!

Everything below the cut is for sale. Offer whatever bells or NMT you think is appropriate. It doesn’t have to be a lot, so long as it’s not less than what I would get for selling it to the Nooks, which is what I’ll do with anything not claimed within a few days.

Housewares

Air circulator (green)

Alto saxophone

Arcade seat (red)

Basic teacher’s desk (standard)

Bunk bed (red)

Cacao tree

Champion’s pennant (red)

Champion’s pennant (green)

Climbing wall (blue)

Clothes closet (pink)

Clothesline pole (blue) x2

Cute DIY table (white)

Cypress plant (brown)

Cypress plant (blue)

Den chair (green)

Diner chair (yellow) (pending)

Diner counter chair (red) (pending)

Diner counter table (red)

Diner dining table (red) x2 (one pending, one still available)

Diner mini table (red) (pending)

Director’s chair (light brown)

Elephant slide (red)

Exercise ball (blue) x2

Fan palm (black)

Fan palm (brown)

Folding floor lamp (gray) x2

Imperial dining chair (brown)

Kimono stand

Loom

Mama panda

Menu chalkboard (blue)

Monstera (brown)

Mountain bike (yellow)

Mountain bike (white)

Mr. Flamingo (white)

Mrs Flamingo (natural) x2

Oil barrel (damaged)

Old sewing machine (silver)

Papa panda

Piano bench (red)

Plastic pool (blue)

Punching bag (blue)

Rattan armchair (brown)

Rattan bed (brown)

Rattan low table (white)

Retro gas pump (red)

Safe (silver)

Safe (black)

School chair (beige & green)

Serving cart (natural)

Shaded floor lamp (yellow)

Simple panel (white)

Spinning wheel

Stadiometer (gray)

Studio spotlight (white)

Study chair (light brown)

Study desk (natural)

Tatami bed (light brown)

Telescope

Throwback race-car bed (red)

Throwback race-car bed (yellow)

Throwback rocket (green)

Toilet (white)

TV camera (black)

Vacuum cleaner (red)

Wood-burning stove

Yucca (black)

Miscellaneous

Anthurium plant (black)

Board game (simple path game)

Digital alarm clock (lime)

Digital alarm clock (blue)

Dolly (red)

Dolly (blue)

Dolly (purple)

Floating-biotope planter (white)

Globe (standard)

Globe (sepia)

Metronome (natural)

Paper tiger

Plasma ball

Pop-up toaster (white)

Pro tape recorder (gray)

Protein shaker bottle (plain)

Rattan towel basket (white)

Ring (blue)

Sea globe

Toy box (green)

Typewriter (black)

Typewriter (silver)

Wall-mounted

Autograph cards (handprints)

Broom and dustpan (natural) x2 (one pending, one available)

Diner neon clock (purple) (pending)

Double-sided wall clock (yellow) (pending)

Imperial dining lantern (gold) (pending)

Party garland (colorful) (pending)

Pendulum clock x2  (one pending, one available)

Ventilation fan (orange) (pending)

Wall-mounted tool board (yellow) (pending)

Wallpaper

Blue heart-pattern wall

Blue two-toned tile wall

Crepe-design wall x2

Green playroom wall

Marine pop wall

Floors

Arabesque flooring

Blue dot flooring

Blue honeycomb tile

Blue rubber flooring

Floral mosaic-tile flooring

Light herringbone flooring

Marine pop flooring

Red-and-black vinyl flooring

Simple red flooring

Zebra-print flooring

Rugs

Botanical rug

Monochromatic dotted rug

Monochromatic wavy rug

Rubber mud mat

Simple medium avocado mat

simple medium brown mat

Fashion items

Ancient sashed robe (red)

Antique boots (black)

Balloon hat (rainbow)

Butterfly shades (red)

Cavalier shirt (green)

Chef’s outfit (black)

Concierge uniform (red)

Double-bridge glasses (blue)

Draped skirt (green)

Emblem blazer (navy blue)

Funny glasses (brown)

Jester’s cap (purple and yellow)

Kurta (green)

Long pleated skirt (cyan)

Loose fall dress (peacock blue)

Pink umbrella

Raglan shirt (green)

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Discover a wide selection of Ligatures For Woodwind Instrument at Ozwinds, including options for tenor, baritone, soprano, and alto saxophones and more. Whether you’re looking for tenor saxophone ligatures or baritone saxophone ligatures, our range has something for every player, ensuring optimal performance and sound. Visit us for more: https://www.ozwinds.com.au/accessories/ligatures.html

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Count Basie

William James "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. In 1935, Basie formed his own jazz orchestra, the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two "split" tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams.

Biography

Early life and education

William Basie was born to Lillian and Harvey Lee Basie in Red Bank, New Jersey. His father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area. Both of his parents had some type of musical background. His father played the mellophone, and his mother played the piano; in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for Count Basie's piano instruction.

The best student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. He finished junior high school but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies.

Though a natural at the piano, Basie preferred drums. Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington's drummer in 1919, Basie switched to piano exclusively at age 15. Greer and Basie played together in venues until Greer set out on his professional career. By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson's "Kings of Syncopation". When not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip. He got some jobs in Asbury Park at the Jersey Shore, and played at the Hong Kong Inn until a better player took his place.

Early career

Around 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington's early band. Soon, Basie met many of the Harlem musicians who were "making the scene," including Willie "the Lion" Smith and James P. Johnson.

Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies (featuring singer Katie Crippen) as part of the Hippity Hop show; on the Keith, the Columbia Burlesque, and the Theater Owners Bookers Association (T.O.B.A.) vaudeville circuits; and as a soloist and accompanist to blues singer Gonzelle White as well as Crippen. His touring took him to Kansas City, St. Louis, New Orleans, and Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong. Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. This provided an early training that was to prove significant in his later career.

Back in Harlem in 1925, Basie gained his first steady job at Leroy's, a place known for its piano players and its "cutting contests." The place catered to "uptown celebrities," and typically the band winged every number without sheet music using "head arrangements." He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument. (Basie later played organ at the Eblon Theater in Kansas City). As he did with Duke Ellington, Willie "the Lion" Smith helped Basie out during the lean times by arranging gigs at "house-rent parties," introducing him to other leading musicians, and teaching him some piano technique.

In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals. A few months later, he was invited to join the band, which played mostly in Texas and Oklahoma. It was at this time that he began to be known as "Count" Basie (see Jazz royalty).

Kansas City years

The following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten's ambition to raise his band to the level of Duke Ellington's or Fletcher Henderson's. Where the Blue Devils were "snappier" and more "bluesy," the Moten band was more refined and respected, playing in the "Kansas City stomp" style. In addition to playing piano, Basie was co-arranger with Eddie Durham, who notated the music.Their "Moten Swing", which Basie claimed credit for, was widely acclaimed and was an invaluable contribution to the development of swing music, and at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform. During a stay in Chicago, Basie recorded with the band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted. The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster.

When the band voted Moten out, Basie took over for several months, calling the group "Count Basie and his Cherry Blossoms. "When his own band folded, he rejoined Moten with a newly re-organized band. A year later, Basie joined Bennie Moten's band, and played with them until Moten's death in 1935 from a failed tonsillectomy. When Moten died, the band tried to stay together but couldn't make a go of it. Basie then formed his own nine-piece band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals).

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." Little did Basie know this touch of royalty would give him proper status and position him with the likes of Duke Ellington and Earl Hines.

Basie's new band which included many Moten alumni, with the important addition of tenor player Lester Young. They 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." According to Basie, "we hit it with the rhythm section and went into the riffs, and the riffs just stuck. We set the thing up front in D-flat, and then we just went on playing in F." It became his signature tune.

John Hammond and first recordings

At the end of 1936, Basie and his band, now billed as "Count Basie and His Barons of Rhythm," moved from Kansas City to Chicago, where they honed their repertoire at a long engagement at the Grand Terrace Ballroom. Right from the start, Basie's band was noted for its rhythm section. 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 October 1936, the 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". Hammond had heard Basie's band by radio and went to Kansas City to check them out. He invited them to record, in performances which were Lester Young's earliest recordings. Those four sides were released on Vocalion Records under the band name of Jones-Smith Incorporated; the sides were "Shoe Shine Boy", "Evening", "Boogie Woogie", and "Lady Be Good". After Vocalion became a subsidiary of Columbia Records in 1938, "Boogie Woogie" was released in 1941 as part of a four-record compilation album entitled Boogie Woogie (Columbia album C44). When he made the Vocalion recordings, Basie had already signed with Decca Records, but did not have his first recording session with them until January 1937.

By then, Basie's sound was characterized by a "jumping" beat and the contrapuntal accents of his own piano. His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone). Lester Young, known as "Prez" by the band, came up with nicknames for all the other band members. He called Basie "Holy Man", "Holy Main", and just plain "Holy".

Basie favored blues, and he would showcase some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. He also hired arrangers who knew how to maximize the band's abilities, such as Eddie Durham and Jimmy Mundy.

New York City and the swing years

When Basie took his orchestra to New York in 1937, they made the Woodside Hotel in Harlem their base (they often rehearsed in its basement). Soon, they were booked at the Roseland Ballroom for the Christmas show. 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". Compared to the reigning band of Fletcher Henderson, Basie's band lacked polish and presentation.

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. His first official recordings for Decca followed, under contract to agent MCA, including "Pennies from Heaven" and "Honeysuckle Rose".

Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. (Holiday did not record with Basie, as she had her own record contract and preferred working with small combos). The band's first appearance at the Apollo Theater followed, with the vocalists Holiday and Jimmy Rushing getting the most attention. Durham returned to help with arranging and composing, but for the most part, the orchestra worked out its numbers in rehearsal, with Basie guiding the proceedings. There were often no musical notations made. Once the musicians found what they liked, they usually were able to repeat it using their "head arrangements" and collective memory.

Next, Basie played at the Savoy, which was noted more for lindy-hopping, while the Roseland was a place for fox-trots and congas. In early 1938, the Savoy was the meeting ground for a "battle of the bands" with Chick Webb's group. Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. As Metronome magazine proclaimed, "Basie's Brilliant Band Conquers Chick's"; the article described the evening:

Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically. Undismayed by Chick's forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick's brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance. He constantly parried Chick's thundering haymakers with tantalizing runs and arpeggios which teased more and more force from his adversary.

The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Soon after, Benny Goodman recorded their signature "One O'Clock Jump" with his band.

A few months later, Holiday left for Artie Shaw's band. Hammond introduced Helen Humes, whom Basie hired; she stayed with Basie for four years. When Eddie Durham left for Glenn Miller's orchestra, he was replaced by Dicky Wells. Basie's 14-man band began playing at the Famous Door, a mid-town nightspot with a CBS network feed and air conditioning, which Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of 1938. Their fame took a huge leap. Adding to their play book, Basie received arrangements from Jimmy Mundy (who had also worked with Benny Goodman and Earl Hines), particularly for "Cherokee", "Easy Does It", and "Super Chief". In 1939, Basie and his band made a major cross-country tour, including their first West Coast dates. A few months later, Basie quit MCA and signed with the William Morris Agency, who got them better fees.

On February 19, 1940, Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on 20 February.On the West Coast, in 1942 the band did a spot in Reveille With Beverly, a musical film starring Ann Miller, and a "Command Performance" for Armed Forces Radio, with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and the singer Dinah Shore. Other minor movie spots followed, including Choo Choo Swing, Crazy House, Top Man, Stage Door Canteen, and Hit Parade of 1943. They also continued to record for OKeh Records and Columbia Records. The war years caused a lot of members turn over, and the band worked many play dates with lower pay. Dance hall bookings were down sharply as swing began to fade, the effects of the musicians' strikes of 1942–44 and 1948 began to be felt, and the public's taste grew for singers.

Basie occasionally lost some key soloists. However, throughout the 1940s, he maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists.

Los Angeles and the Cavalcade of Jazz concerts

Count Basie was the featured artist at the very first Cavalcade of Jazz concert held at Wrigley Field on September 23, 1945 which was produced by Leon Hefflin Sr. Al Jarvis was the Emcee and other artists to appear on stage were Joe Liggins and his Honeydrippers, The Peters Sisters, Slim and Bam, Valaida Snow, and Big Joe Turner. They played to a crowd of 15,000. Count Basie and his Orchestra played at the tenth Cavalcade of Jazz concert also at Wrigley Field on June 20, 1954. He played along with The Flairs, Christine Kittrell, Lamp Lighters, Louis Jordan and His Tympany Five, Ruth Brown, and Perez Prado and his Orchestra.

Post-war and later years

The big band era appeared to have ended after the war, and Basie disbanded the group. For a while, he performed in combos, sometimes stretched to an orchestra. In 1950, he headlined the Universal-International short film "Sugar Chile" Robinson, Billie Holiday, Count Basie and His Sextet. He reformed his group as a 16-piece orchestra in 1952. This group was eventually called the New Testament band. Basie credited Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band. He said that Norman Granz got them into the Birdland club and promoted the new band through recordings on the Mercury, Clef, and Verve labels. The jukebox era had begun, and Basie shared the exposure along with early rock'n'roll and rhythm and blues artists. Basie's new band was more of an ensemble group, with fewer solo turns, and relying less on "head" and more on written arrangements.

Basie added touches of bebop "so long as it made sense", and he required that "it all had to have feeling". Basie's band was sharing Birdland with such bebop greats as Charlie Parker, Dizzy Gillespie, and Miles Davis. Behind the occasional bebop solos, he always kept his strict rhythmic pulse, "so it doesn't matter what they do up front; the audience gets the beat". Basie also added flute to some numbers, a novelty at the time that became widely copied. Soon, his band was touring and recording again. The new band included: Paul Campbell, Tommy Turrentine, Johnny Letman, Idrees Sulieman, and Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd "Candy" Johnson (tenor sax); Marshal Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax). Down Beat magazine reported, "(Basie) has managed to assemble an ensemble that can thrill both the listener who remembers 1938 and the youngster who has never before heard a big band like this." In 1957, Basie sued the jazz venue Ball and Chain in Miami over outstanding fees, causing the closure of the venue.

In 1958, the band made its first European tour. Jazz was especially appreciated in France, The Netherlands, and Germany in the 1950s; these countries were the stomping grounds for many expatriate American jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Neal Hefti began to provide arrangements, notably "Lil Darlin'". By the mid-1950s, Basie's band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time. They also toured with the "Birdland Stars of 1955", whose lineup included Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz.

In 1957, Basie released the live album Count Basie at Newport. "April in Paris" (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album. The Basie band made two tours in the British Isles and on the second, they put on a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza. He was a guest on ABC's The Pat Boone Chevy Showroom, a venue also opened to several other black entertainers. In 1959, Basie's band recorded a "greatest hits" double album The Count Basie Story (Frank Foster, arranger), and Basie/Eckstine Incorporated, an album featuring Billy Eckstine, Quincy Jones (as arranger) and the Count Basie Orchestra. It was released by Roulette Records, then later reissued by Capitol Records.

Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to "Sweet Georgia Brown", followed in January 1961 by Basie performing at one of the five John F. Kennedy Inaugural Balls. That summer, Basie and Duke Ellington combined forces for the recording First Time! The Count Meets the Duke, each providing four numbers from their play books.

During the balance of the 1960s, the band kept busy with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. Some time around 1964, Basie adopted his trademark yachting cap.

Through steady changes in personnel, Basie led the band into the 1980s. Basie made a few more movie appearances, such as the Jerry Lewis film Cinderfella (1960) and the Mel Brooks movie Blazing Saddles (1974), playing a revised arrangement of "April in Paris".

During its heyday, The Gong Show (1976–80) used Basie's "Jumpin' at the Woodside" during some episodes, while an NBC stagehand named Eugene Patton would dance on stage; Patton became known as "Gene Gene, the Dancing Machine".

Marriage, family and death

Basie was a member of Omega Psi Phi fraternity. On July 21, 1930, Basie married Vivian Lee Winn, in Kansas City, Missouri. They were divorced sometime before 1935. Some time in or before 1935, the now single Basie returned to New York City, renting a house at 111 West 138th Street, Manhattan, as evidenced by the 1940 census. He married Catherine Morgan on July 13, 1940 in the King County courthouse in Seattle, Washington. In 1942, they moved to Queens. Their only child, Diane, was born February 6 1944. She was born with cerebral palsy and the doctors claimed she would never walk. The couple kept her and cared deeply for her, and especially through her mother's tutelage Diane learned not only to walk but to swim. The Basies bought a home in the new whites-only neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Albans, Queens.

On April 11, 1983, Catherine Basie died of heart disease at the couple's home in Freeport, Grand Bahama Island. She was 67 years old.

Count Basie died of pancreatic cancer in Hollywood, Florida on April 26, 1984 at the age of 79.

Singers

Basie hitched his star to some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Jimmy Rushing sang with Basie in the late 1930s. Joe Williams toured with the band and was featured on the 1957 album One O'Clock Jump, and 1956's Count Basie Swings, Joe Williams Sings, with "Every Day (I Have the Blues)" becoming a huge hit. With Billy Eckstine on the album Basie/Eckstine Incorporated, in 1959. Ella Fitzgerald made some memorable recordings with Basie, including the 1963 album Ella and Basie!. With the New Testament Basie band in full swing, and arrangements written by a youthful Quincy Jones, this album proved a swinging respite from her Songbook recordings and constant touring she did during this period. She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. In addition to Quincy Jones, Basie was using arrangers such as Benny Carter (Kansas City Suite), Neal Hefti (The Atomic Mr Basie), and Sammy Nestico (Basie-Straight Ahead).

Frank Sinatra recorded for the first time with Basie on 1962's Sinatra-Basie and for a second studio album on 1964's It Might as Well Be Swing, which was arranged by Quincy Jones. Jones also arranged and conducted 1966's live Sinatra at the Sands which featured Sinatra with Count Basie and his orchestra at the Sands Hotel in Las Vegas. In May 1970, Sinatra performed in London's Royal Festival Hall with the Basie orchestra, in a charity benefit for the National Society for the Prevention of Cruelty to Children. Sinatra later said of this concert "I have a funny feeling that those two nights could have been my finest hour, really. It went so well; it was so thrilling and exciting".

Basie also recorded with Tony Bennett in the late 1950s. Their albums together included In Person and Strike Up the Band. Basie also toured with Bennett, including a date at Carnegie Hall. Other notable recordings were with Sammy Davis Jr., Bing Crosby, and Sarah Vaughan. One of Basie's biggest regrets was never recording with Louis Armstrong, though they shared the same bill several times. In 1968 Basie and his Band recorded an album with Jackie Wilson titled Manufacturers of Soul.

Legacy and honors

Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music. In his autobiography, he wrote, "I think the band can really swing when it swings easy, when it can just play along like you are cutting butter."

In Red Bank, New Jersey, the Count Basie Theatre, a property on Monmouth Street redeveloped for live performances, and Count Basie Field were named in his honor.

Received an honorary doctorate from Berklee College of Music in 1974.

Mechanic Street, where he grew up with his family, has the honorary title of Count Basie Way.

In 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson Home, a National Historic Landmark where Count Basie had also lived.

In 2010, Basie was inducted into the New Jersey Hall of Fame.

In October 2013, version 3.7 of WordPress was code-named Count Basie.

In 2019, Basie was inducted into the Blues Hall of Fame.

On June 25, 2019, The New York Times Magazine listed Count Basie among hundreds of artists whose material was reportedly destroyed in the 2008 Universal fire.

Asteroid 35394 Countbasie, discovered by astronomers at Caussols in 1997, was named after him. The official naming citation was published by the Minor Planet Center on 8 November 2019 (M.P.C. 118220).

Representation in other media

Jerry Lewis used "Blues in Hoss' Flat" from Basie's Chairman of the Board album, as the basis for his own "Chairman of the Board" routine in the movie The Errand Boy.

"Blues in Hoss' Flat," composed by Basie band member Frank Foster, was used by the radio DJ Al "Jazzbeaux" Collins as his theme song in San Francisco and New York.

In Home Alone 2: Lost in New York (1992), Brenda Fricker's "Pigeon Lady" character claims to have heard Basie in Carnegie Hall.

Drummer Neil Peart of the Canadian rock band Rush recorded a version of "One O'Clock Jump" with the Buddy Rich Big Band, and has used it at the end of his drum solos on the 2002 Vapor Trails Tour and Rush's 30th Anniversary Tour.

Since 1963 "The Kid From the Red Bank" has been the theme and signature music for the most popular Norwegian radio show, Reiseradioen, aired at NRK P1 every day during the summer.

In the 2016 movie The Matchbreaker, Emily Atkins (Christina Grimmie) recounts the story of how Count Basie met his wife 3 times without speaking to her, telling her he'd marry her someday in their first conversation, and then marrying her 7 years later.

The post-hardcore band Dance Gavin Dance have a song titled "Count Bassy" that is included on their 2018 album Artificial Selection.

Discography

Count Basie made most of his albums with his big band. See the Count Basie Orchestra Discography.

From 1929–1932, Basie was part of Bennie Moten's Kansas City Orchestra:

Count Basie in Kansas City: Bennie Moten's Great Band of 1930-1932 (RCA Victor, 1965)

Basie Beginnings: Bennie Moten's Kansas City Orchestra (1929–1932) (Bluebird/RCA, 1989)

The Swinging Count!, (Clef, 1952)

Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette, 1958)

The Atomic Mr. Basie (Roulette, 1958)

Memories Ad-Lib with Joe Williams (Roulette, 1958)

Basie/Eckstine Incorporated with Billy Eckstine ( Roulette 1959)

String Along with Basie (Roulette, 1960)

Count Basie and the Kansas City 7 (Impulse!, 1962)

Basie Swingin' Voices Singin' with the Alan Copeland Singers (ABC-Paramount, 1966)

Basie Meets Bond (United Artists, 1966)

Loose Walk with Roy Eldridge (Pablo, 1972)

Basie Jam (Pablo, 1973)

The Bosses with Big Joe Turner (1973)

For the First Time (Pablo, 1974)

Satch and Josh with Oscar Peterson (Pablo, 1974)

Basie & Zoot with Zoot Sims (Pablo, 1975)

Count Basie Jam Session at the Montreux Jazz Festival 1975 (Pablo, 1975)

For the Second Time (Pablo, 1975)

Basie Jam 2 (Pablo, 1976)

Basie Jam 3 (Pablo, 1976)

Kansas City 5 (Pablo, 1977)

The Gifted Ones with Dizzy Gillespie (Pablo, 1977)

Montreux '77 (Pablo, 1977)

Basie Jam: Montreux '77 (Pablo, 1977)

Satch and Josh...Again with Oscar Peterson (Pablo, 1977)

Night Rider with Oscar Peterson (Pablo, 1978)

Count Basie Meets Oscar Peterson – The Timekeepers (Pablo, 1978)

Yessir, That's My Baby with Oscar Peterson (Pablo, 1978)

Kansas City 8: Get Together (Pablo, 1979)

Kansas City 7 (Pablo, 1980)

On the Road (Pablo, 1980)

Kansas City 6 (Pablo, 1981)

Mostly Blues...and Some Others (Pablo, 1983)

As sideman

With Harry Edison

Edison's Lights (Pablo, 1976)

Filmography

Hit Parade of 1943 (1943) – as himself

Top Man (1943) – as himself

Sugar Chile Robinson, Billie Holiday, Count Basie and His Sextet (1950) – as himself

Jamboree (1957)

Cinderfella (1960) – as himself

Sex and the Single Girl (1964) – as himself with his orchestra

Blazing Saddles (1974) – as himself with his orchestra

Last of the Blue Devils (1979) – interview and concert by the orchestra in documentary on Kansas City music

Awards

Grammy Awards

In 1958, Basie became the first African-American to win a Grammy Award.

Grammy Hall of Fame

By 2011, four recordings of Count Basie had been inducted into the Grammy Hall of Fame, a special Grammy award established in 1973 to honor recordings that are at least 25 years old, and that have "qualitative or historical significance."

Honors and inductions

On May 23, 1985, William "Count" Basie was presented, posthumously, with the Presidential Medal of Freedom by President Ronald Reagan. The award was received by his son, Aaron Woodward.

On September 11, 1996 the U.S. Post Office issued a Count Basie 32 cents postage stamp. Basie is a part of the Big Band Leaders issue, which, is in turn, part of the Legends of American Music series.

In 2009, Basie was inducted into the New Jersey Hall of Fame.

In May 2019, Basie was inducted into the Blues Hall of Fame at a ceremony in Memphis, TN, presented by The Blues Foundation.

National Recording Registry

In 2005, Count Basie's song "One O'Clock Jump" (1937) was included by the National Recording Preservation Board in the Library of Congress National Recording Registry. The board selects songs in an annual basis that are "culturally, historically, or aesthetically significant."

[maisonnushi]

♪風に舞うシラサギ［Egret Dancing in the Wind］

"優雅に…"

"Elegant..."

流れるようなメロディーが美しい管楽器イージーリスニングナンバーです。

This is a wind instrumental easy listening number with a beautiful flowing melody.

【Instrumentation】

Flute

Clarinet

Alto Saxophone

Cornet

Ftrnch Horn

Euphonium

Piano

Bass

Glockenspiel

Vibraphone

Drums

配信中♪Now on sale♪

[baxternorthup]

YES Baxter is Open!

Yes Baxter Music is STILL OPEN for walk in shopping. YES! We are here 7 days from 11-6 for your musical needs. Instrument Rentals-We got em. Reeds and Strings-Yep. Books and Sheet Music-Of course. And always lots of Musical Instruments for Sale. So YES Baxter is here for you.

Just In! Yamaha Model 62 Pro Alto Saxophone. Beautiful!

[music2liveby]

DAY 139: Baker Street by Gerry Rafferty

Album: City to City Release: January 20th, 1978 Genre: Rock

One phenomenon in music that always polarizes my interest is the one-hit wonder. A song by one artist that is preposterously popular, but is never matched by any other performance in their catalog. This can be due to a short career, extensive departure from the overarching genre, or just sheer luck that a song catches fire. As long as it’s a well-known song by an unknown artist, it’s a one-hit wonder. Every case is different when it comes to the origins in popularity, but Gerry Rafferty’s beginnings start in 1972 as a lead vocalist with the little known band Stealers Wheel. While some may already be familiar with the name, Stealers Wheel is behind the classic rock tune Stuck in the Middle with You which gained notoriety early by charting well internationally and earned a boost from a feature in a defining scene in Quentin Tarantino’s theatrical debut Reservoir Dogs (it’s a little graphic by the way). Stealers Wheel was only active for three years before folding, and Rafferty was already gone from the band by the time their first album was released. Contractual disputes from the split unfortunately prevented Rafferty from releasing any solo material for those three years of Stealers Wheel’s activity. Naturally, his return to the limelight would be a grandiose display with all the bells and whistles included to avoid the label of one-hit wonder. City to City was Gerry Rafferty’s second album as a solo artist, but his first in seven years and following the breakup from Stealers Wheel. The album was highly anticipated and well-received upon its release, certified platinum in the United States. A large reason for that was the track that proceeds the country folk style of opening track The Ark, which is unlike anything in today’s featured song. Baker Street is an iconic jazz rock ballad best known for its triumphant saxophone riff that carries through the chorus. This important addition was not always planned to be, as Rafferty recalls in a 1988 interview, "When I wrote the song, I saw that bit as an instrumental part, but I didn't know what. We tried electric guitar, but it sounded weak and we tried other things. I think it was Hugh Murphy's (Rafferty’s producer) suggestion that we try saxophone." Rafael Ravenscroft was handed the honors to record the line originally intended to be played on soprano saxophone before Ravenscroft suggested he use the alto sax he had in his car at the time. The influence of this saxophone part was so strong it has since been known as the Baker Street phenomenon, where immediately following the release of Baker Street, sales of saxophones went up and its usage within the mainstream surged to an all time high. Although I could praise the saxophone part all day, the guitar solo toward the end of the song seems to touch my soul in such a way that makes its minimalism so much more impacting. It’s a stark contrast to the somewhat jarring effect of the sax, instead providing a wailing interlude after building pace from the drums. City to City did include another successful single Right Down the Line, but other than that, Gerry Rafferty didn’t have much else to show for in his career. That didn’t matter a whole lot after contributing to two magnificent songs over the course of the 70′s.