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blackkudos · 5 years ago

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Rufus Thomas

Rufus C. Thomas, Jr. (March 26, 1917 – December 15, 2001) was an American rhythm-and-blues, funk, soul and blues singer, songwriter, dancer, DJ and comic entertainer from Memphis, Tennessee. He recorded for several labels, including Chess Records and Sun Records in the 1950s, before becoming established in the 1960s and 1970s at Stax Records. He is best known for his novelty dance records, including "Walking the Dog" (1963), "Do the Funky Chicken" (1969) and "(Do the) Push and Pull" (1970). According to the Mississippi Blues Commission, "Rufus Thomas embodied the spirit of Memphis music perhaps more than any other artist, and from the early 1940s until his death . . . occupied many important roles in the local scene."

He began his career as a tap dancer, vaudeville performer, and master of ceremonies in the 1930s. He later worked as a disc jockey on radio station WDIA in Memphis, both before and after his recordings became successful. He remained active into the 1990s and as a performer and recording artist was often billed as "The World's Oldest Teenager". He was the father of the singers Carla Thomas (with whom he recorded duets) and Vaneese Thomas and the keyboard player Marvell Thomas.

Early life

Thomas was born in the rural community of Cayce, Mississippi, the son of a sharecropper. He moved with his family to Memphis, Tennessee, around 1920. His mother was a "church woman". Thomas made his debut as a performer at the age of six, playing a frog in a school theatrical production. By the age of 10, he was a tap dancer, performing on the streets and in amateur productions at Booker T. Washington High School, in Memphis. From the age of 13, he worked with Nat D. Williams, his high-school history teacher, who was also a pioneer black DJ at radio station WDIA and columnist for black newspapers, as a master of ceremonies at talent shows in the Palace Theater on Beale Street. After graduating from high school, Thomas attended Tennessee A&I University for one semester, but economic constraints led him to leave to pursue a career as a full-time entertainer.

Early career as a performer

Thomas began performing in traveling tent shows. In 1936 he joined the Rabbit Foot Minstrels, an all-black revue that toured the South, as a tap dancer and comedian, sometimes part of a duo, Rufus and Johnny. He married Cornelia Lorene Wilson in 1940, at a service officiated by Rev. C. L. Franklin, the father of Aretha Franklin, and the couple settled in Memphis. Thomas worked a day job in the American Finishing Company textile bleaching plant, which he continued to do for over 20 years. He also formed a comedy and dancing duo, Rufus and Bones, with Robert "Bones" Couch, and they took over as MCs at the Palace Theater, often presenting amateur hour shows. One early winner was B.B. King, and others discovered by Thomas later in the 1940s included Bobby Bland and Johnny Ace.

In the early 1940s, Thomas began writing and performing his own songs. He regarded Louis Armstrong, Fats Waller and Gatemouth Moore as musical influences. He made his professional singing debut at the Elks Club on Beale Street, filling in for another singer at the last minute, and during the 1940s became a regular performer in Memphis nightclubs, such as Currie's Club Tropicana. As an established performer in Memphis, aged 33 in 1950, Thomas recorded his first 78 rpm single, for Jesse Erickson's small Star Talent label in Dallas, Texas. Thomas said, "I just wanted to make a record. I never thought of getting rich. I just wanted to be known, be a recording artist. . . . [But] the record sold five copies and I bought four of them." The record, "I'll Be a Good Boy" backed with "I'm So Worried", gained a Billboard review, which stated that "Thomas shows first class style on a slow blues". He also recorded for the Bullet label in Nashville, Tennessee, when he recorded with Bobby Plater's Orchestra and was credited as "Mr. Swing"; the recordings were not recognised by researchers as being by Thomas until 1996. In 1951 he made his first recordings at Sam Phillips's Sun Studio, for the Chess label, but they were not commercially successful.

He began working as a DJ at radio station WDIA in 1951, and hosted an afternoon R&B show called Hoot and Holler. WDIA, featuring an African-American format, was known as "the mother station of the Negroes" and became an important source of blues and R&B music for a generation, its audience consisting of white as well as black listeners. Thomas used to introduce his shows saying, "I'm young, I'm loose, I'm full of juice, I got the goose so what's the use. We're feeling gay though we ain't got a dollar, Rufus is here, so hoot and holler." He also used to lead tours of white teenagers on "midnight rambles" around Beale Street.

His celebrity in the South was such that in 1953, at Sam Phillips's suggestion, he recorded "Bear Cat" for Sun Records, an "answer record" to Big Mama Thornton's R&B hit "Hound Dog". The record became the label's first national chart hit, reaching number 3 on the Billboard R&B chart. However, a copyright-infringement suit brought by Don Robey, the original publisher of "Hound Dog", nearly bankrupted the record label. After only one recording there, Thomas was one of the African-American artists released by Phillips, as he oriented his label more toward white audiences and signed Elvis Presley, who later recorded Thomas's song "Tiger Man". Thomas did not record again until 1956, when he made a single, "I'm Steady Holdin' On", for the Bihari brothers' Meteor label; musicians on the record included Lewie Steinberg, later a founding member of Booker T and the MGs.

Stax Records

In 1960 he made his first recordings with his 17-year-old daughter Carla, for the Satellite label in Memphis, which changed its name to Stax the following year. The song, "Cause I Love You", featuring a rhythm borrowed from Jesse Hill's "Ooh Poo Pa Doo", was a regional hit; the musicians included Thomas' son Marvell on keyboards, Steinberg, and the 16-year-old Booker T. Jones. The record's success led to Stax gaining production and distribution deal with the much larger Atlantic Records.

Rufus Thomas continued to record for the label after Carla's record "Gee Whiz (Look at His Eyes)" reached the national R&B chart in 1961. He had his own hit with "The Dog", a song he had originally improvised in performance based on a Willie Mitchell bass line, complete with imitations of a barking dog. The 1963 follow-up, "Walking the Dog", engineered by Tom Dowd of Atlantic, became one of his most successful records, reaching #10 on the Billboard pop chart. He became the first, and still the only, father to debut in the Top 10 after his daughter had first appeared there. The song was recorded in early 1964 by the Rolling Stones on their debut album, and was a minor UK chart hit for Merseybeat group the Dennisons later that year.

As well as recording and appearing on radio and in clubs, Thomas continued to work as a boiler operator in the textile plant, where he claimed the noises sometimes suggested musical rhythms and lyrics to him, before he finally gave up the job in 1963, to focus on his role as a singer and entertainer. He recorded a series of novelty dance tracks, including "Can Your Monkey Do the Dog'" and '"Somebody Stole My Dog" for Stax, where he was often backed by Booker T. & the MGs or the Bar-Kays. He also became a mentor to younger Stax stars, giving advice on stage moves to performers like Otis Redding, who partnered daughter Carla on record.

After "Jump Back" in 1964, the hits dried up for several years, as Stax gave more attention to younger artists and musicians. However, in 1970 he had another big hit with "Do the Funky Chicken", which reached #5 on the R&B chart, #28 on the pop chart, and #18 in Britain where it was his only chart hit. Thomas improvised the song while performing with Willie Mitchell's band at a club in Covington, Tennessee, including a spoken word section that he regularly used as a shtick as a radio DJ: "Oh I feel so unnecessary - this is the kind of stuff that makes you feel like you wanna do something nasty, like waste some chicken gravy on your white shirt right down front." The recording was produced by Al Bell and Tom Nixon, and used the Bar-Kays, featuring guitarist Michael Toles. Thomas continued to work with Bell and Nixon as producers, and later in 1970 had his only number 1 R&B hit [and his second-highest pop charting record] with another dance song, "Do the Push and Pull". A further dance-oriented release in 1971, "The Breakdown", climbed to number 2 R&B and number 31 Pop. In 1972, he featured in the Wattstax concert, and he had several further, less successful, hits before Stax collapsed in 1976.

Later career

Thomas continued to record and toured internationally, billing himself as "The World's Oldest Teenager" and describing himself as "the funkiest man alive". He "drew upon his vaudeville background to put [his songs] over on stage with fancy footwork that displayed remarkable agility for a man well into his fifties", and usually performed "while clothed in a wardrobe of hot pants, boots and capes, all in wild colors."

He continued as a DJ at WDIA until 1974, and worked for a period at WLOK before returning to WDIA in the mid 1980s to co-host a blues show. He appeared regularly on television and recorded albums for various labels. Thomas performed regularly at the Porretta Soul Festival in Italy; the outdoor amphitheater in which he performed was later renamed Rufus Thomas Park.

He played an important part in the Stax reunion of 1988, and appeared in Jim Jarmusch's 1989 film Mystery Train, Robert Altman's 1999 film Cookie's Fortune, and D. A. Pennebaker’s documentary Only the Strong Survive. Thomas released an album of straight-ahead blues, That Woman is Poison!, with Alligator Records in 1990, featuring saxophonist Noble "Thin Man" Watts. In 1996, he and William Bell headlined at the Olympics in Atlanta, Georgia. In 1997, he released an album, Rufus Live!, on Ecko Records. In 1998, he hosted two New Year's Eve shows on Beale Street.

In 1997, to commemorate his 80th birthday, the City of Memphis renamed a road off Beale Street, close to the old Palace Theater, as Rufus Thomas Boulevard. He received a Pioneer Award from the Rhythm and Blues Foundation in 1992, and a lifetime achievement award from ASCAP in 1997. He was inducted into the Blues Hall of Fame in 2001.

Death and legacy

He died of heart failure in 2001, at the age of 84, at St. Francis Hospital in Memphis. He is buried next to his wife Lorene, who pre-deceased him in 2000, at the New Park Cemetery in Memphis.

Writer Peter Guralnick said of him:

His music... brought a great deal of joy to the world, but his personality brought even more, conveying a message of grit, determination, indomitability, above all a bottomless appreciation for the human comedy that left little room for the drab or the dreary in his presence.

Thomas was honored with a marker on the Mississippi Blues Trail in Byhalia.

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

In popular culture

Bobby Brown portrays Thomas in the BET television series American Soul.

#12/15 #03/26

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mfmagazine · 6 years ago

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Hunting Club

Article by Monica Alvarez

Photo by Matt Mead

The Midwest. I want it. Whatever is in their water. Or maybe it's something in the air. Doesn't matter. I want in. From the music I hear coming out of their neck of the woods, to the people I meet who were born and raised out there, there is always something good to be said. Here is Minnesota's own Hunting Club. Is there a theme or concept for this album? What was going on in your personal lives while the album was being written and recorded? What are these songs about? Eric: This album to me has classic man vs. self overtones. The plaid album is apt because the crossing patterns and textured layers represent struggle. The songs are about understanding, that understanding isn't absolute. There are things that we'll probably never know and should be content in not knowing. Fortune Machine is an analogy for fatalism. The "Raising Arizona" title came from our unhealthy love for Nicolas Cage. "Cactai" was nice imagery about finding happiness in the middle of desolation. It's got some cool 6th chords which give it this island feel, being from Hawaii, it’s a message and a flavor that really connected. Justin: Saucy Banana is our sassiest song… there is no arguing this point. So, what's the story behind "How'd It Get Burned?" and "How'd It Get Burned Again?" How DID it get burned? Justin: The opening track “How’d It Get Burned?” is actually a recording straight from the bedroom and started off as an organ sound and bass progression that Kyle came up with. The other elements of the song are my initial reactions to hearing it and recording some guitar and piano on the spot. It ended up having a really cool feel to it because it sounds a bit unsure, and in that way it is sort of posing a question I suppose. Anyways, since we’re constantly recording new ideas without really knowing what the point of the song is or what the lyrical content will be, we’re tasked with giving the home recording a file name that we’ll be able to remember and associate with the song. Enter Nic Cage. I guess I won’t gush too much over this all too curious thespian, but we like his work and we like the intensity that he delivers some of his lines with. Watch The Wicker Man and you’ll know the origin of this song title (or just watch the best of compilation of the movie on YouTube). Since the original song title seemed to fit the unsure nature of the song, it just stuck. “How’d It Get Burned Again?” is the demo recording of the song performed live in Eric’s basement, and there’s even a studio version that didn’t make the album. I guess we felt like the song and its multiple iterations served as an overarching theme and musical palette cleanser to the album since the first and second halves are a bit different from one another. I've read about how you guys spend a lot of time perfecting the layered sound and progressions that are found on yourself titled album. How did the recording process of this album differ from recording your EP? Justin: Well, we recorded both the EP and full length with Jeff Halland at both our home studio and his studio (Vaudeville) in St. Paul. Jeff didn’t really know us all that well when we set out to do our EP, but after recording it he wanted to be a part of the next project and record it in a manner where there were no time constraints or pressure to get it done. He really wanted to work with us to help make the album we wanted to make, and knew how meticulous we were about the sounds we wanted and the overall mixing and production. So, outside of taking a lot more time to make the album with someone we now felt comfortable with, I think the main differences were just being together for another year as a group, adding in a new member (Nate Dykstra - bass), and hopefully traveling a bit further down our musical rabbit hole. If the band was stranded a la "Alive" who would die and get eaten first? Bob: I would eat myself. Nate: Probably me. My survival skills are pretty weak. Other wise, Eric Pasi. I'm sure the Wisconsin born members have the best chance of survival for obvious reasons. Eric: Kyle because he's skinny as shit and needs insulin to live (okay that's a lie). Kyle: Nate Dykstra. He looks most edible. Justin: I would eat my brother so that I would have the power of two Steen’s. Then I would yell “Anything’s possible!” like Kevin Garnett might. What's the music scene in your community like? How's the local vibe? What is it missing, if anything at all? What do you feel you are contributing to the community and industry? Justin: I think that with Minnesota and the Twin Cities, there’s really a good representation of a lot of styles and genres of music (there’s definitely a pretty large hip-hop community too with the Rhymesayers Label being in Minnesota). It also helps that there are some pretty good radio stations like Minnesota Public Radio – The Current and Radio K playing eclectic mixes of music. As a whole, I think that Minnesota is well represented with all types of artists, and there is no shortage of venues and people that will come out and support shows. More in our realm of music though, I think we do represent something that’s missing from the both the local, and to some degree the national scene. I’m really proud that I think our debut is a sort of indie rock album that isn’t afraid to be aggressive, ambitious, sad, happy, experimental, poppy, droning, or whatever we wanted it to be. I think far too often artists get a bit too influenced with what seems to be getting popular, and by the time they trade in their instrumentation for whatever’s popular at the moment, and get their image makeover, music has already gone somewhere else…that’s not saying that trying new things and experimentation isn’t what being an artist is all about, but more that it’s better to be inspired by what’s happening around you than only trying to duplicate it. At our core, I think we’re completely dedicated to making good songs that are infused with a sense of curiosity in where our music can go. We’re completely cognizant and inspired by what’s going on around us, but we’re not giving into being a band that we think will get local attention at the cost of being just another version of something happening at the national level. Do you guys have a favorite venue to play at? Where would you like to play? What would be your dream gig's line up and venue setting? Justin: There’s a local venue called the 331 Club that has a stage we barely fit on, but the place is usually packed and we usually have a great time there. I would love to play Lollapalooza or Coachella someday… or any overseas festival tour type thing. Dream gig lineup? Hunting Club playing before Radiohead at Lollapalooza. Do you guys watch television? What are your favorite shows? Bob: Room Raiders, Legends of the Hidden Temple and the 700 Club. Nate: Current Shows: Breaking Bad, Dexter, True Blood, Community, Treme, The Pacific -- Old Shows: The Wire - best show ever made in my opinion. Eric: Just recently got into the Bachelorette for the absurdity of it all. Almost all reality television, to me, reflects the worst things in our culture. Lost was also huge in our lives. Kyle: The life and times of Tim, The Ricky Gervais Show, and MST3K. Justin: It’s Always Sunny in Philadelphia, Top Chef, Survivor, Lost. Twins? You think they'll go far this season? Bob: No, no I don’t. Nate: Big Twins fan and hope they go far, but realistically I think they will make the playoffs and hopefully win a series or two. Obviously I hope they go all the way though! Eric: Nate and I are big fans (got half season tickets); went to the 91 series and have been hooked ever since. Do I think they have as good of a team this year? You betcha! Power throughout the lineup, solid D, and decent pitching; they have issues with leaving runners on and unfamiliar pitchers. If they stay healthy and don't let the Yankees get in their heads, they got the best shot in years. Kyle: Only if Chuck Knoblauch returns to the team. Justin: I’m with Bob; I hope they lose every game. Have you prepared anything in case PETA tries to start beef for the whole antlers/hunting thing? Just wondering. Nate: I've never hunted once in my life and don't ever really plan to. Just not something I'm interested in. Plus, being that my girlfriend is a vegetarian I think I would get shot if I even though about it. Eric: If they got beef they can talk to our Smith & Wesson's. We hunt for sport, not practicality; it's the American way. Kyle: We have already created a video apology stating that we killed the innocent deer merely for its antlers, and not to eat it. They should be cool with that. Justin: As long as we were attacked by some blowhard celebrity pretending to care about anything on behalf of PETA, I’d be okay with it. Plus, for the record, none of us have anything to do with the mistreatment of animals. Are you already working on new material for the next album? When you have the urge/need/whatever to get something new made, what's the process like? Justin: Yeah, we’ve already got some new material that’s in the works. I think we’re like a lot of artists now that are reaping the benefits of technology and being able to record right from our basements or bedrooms. The core of a lot of our songs start out as recordings submitted by myself or Kyle, with everyone else adding in and helping the song come to life in a more live setting. Whether something sounds good recorded or not, I think our test for any song being good enough is figured out by playing the stuff over and over together. Typically if we can jam to the same thing for twenty minutes straight and enjoy it, we know we’ve got something that has potential. After that, it’s all about the details and trying to make interesting structures, sounds and beats. Then we might re-record the songs or parts of them to work on additional vocals and other percussion parts. It’s really nice to be able to live with the songs for some time prior to the album recording so that you can tell whether you’ll hate them in a couple months or not. What are you currently listening to? New and old... Bob: The National, Future Islands, Kurt Vatland. Nate: New: Local Natives - Gorilla Manor, Sleigh Bells - Treats, The National - High Violet, Frightened Rabbit - Winter of Mixes Drinks, Broken Social Scene - Forgiveness Rock Record, The Black Keys - Brothers, Besnard Lakes - Roaring Night. Old: Failure - Fantastic Planet - still one of my favorite albums of all time, Menomena - Friend and Foe, Snowden - Anti Anti, Besnard Lakes - Dark Horse. Eric: Besnard Lakes - Roaring Night, Sondre Lerche - Phantom Punch, Beach House - Teen Dream, Camera Obscura - Let's Get Out of This Country, Prince - Everything, The Clash - Black Market Clash. Kyle: Elliot Smith, Marky Mark and the Funky Bunch. Justin: Elliot Smith – Either/Or, Beach House – Teen Dream, Radiohead – Amnesiac, Deerhunter.

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vrheadsets · 7 years ago

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Accessible XR Development After VRTK

As a developer moving from the web and app world into 3D and XR, I’ve had to constantly re-evaluate my platform and tool choices as the industry evolves at tweetstorm velocity. Today’s XR development pipeline is clogged by a glut of proprietary hardware and software APIs and SDKs by competing firms like Oculus, HTC Vive, Microsoft, Google, Apple, Sony and SteamVR — to say nothing of emerging third-party peripherals like Logitech’s VR-tracked keyboard, the new AR-enabling Zed Mini dual-eye camera for the Rift or Vive, or any other industry-disrupting Kickstarters that might’ve sprung up since I started typing this paragraph.

Left to right: a bunch of cool stuff I want.

Each platform’s fine — even technologically stunning, one might argue — with respective strengths, weaknesses and use cases. But the distinctions force XR developers to ask hard questions: Where is the market going? How do I invest my skill-building time? What devices should my app support? What platform can I get a job working on? Developers must be business analysts as much as creative technologists to stay relevant. It’s easy to suffer choice paralysis with such a wide array of options, and easier still to bet on the wrong technology and lose.

Personally, I also face certain technical, logistic and financial realities as an independent XR developer in the Midwest (US), where the industry hasn’t proliferated as it has in major coastal cities. Thankfully, game engines like Unity and Unreal are rapidly democratizing this space. Both engines seek to bridge the gaps between the various XR SDKs, employing thousands of engineers to ensure their software plays nicely with just about any significant third-party API. For example, as I wrote about in August, the Oculus SDK integrates beautifully with Unity and comes equipped with many of the scripts and prefabs needed to quickly prototype, develop and deploy a custom Rift app.

I miss bossing around my hand-modeled #MadeWithBlocks BB-8. Check out my deep dive on this project, The Future of VR Creation Tools.

That’s fantastic, but it’s still non-standard. To port the same Unity app to the HTC Vive or a Windows HMD is non-trivial — not impossible or even terribly difficult, but non-trivial. Maintaining your app for multiple SDKs over the long haul is similarly non-trivial. Non-trivial costs money and time and we’re all short on both.

Instead imagine if XR practitioners had to worry less about betting on the right platform or device and could instead focus on creating unique and compelling experiences, content and UX. The first step down that path was VRTK — but sadly, one of the best tools to combat the VR SDK surplus will soon be hobbled by the loss of its founder.

VRTK: The Open Source Approach

This free, open source Unity toolkit aims to knit together a single workflow for a variety of VR APIs. It comes with the same stock prefabs and scripted mechanics you might find included in any single proprietary SDK, but makes each piece of functionality identical whether deployed to Oculus, SteamVR (read: Vive and, with v3.3.0, Windows HMDs) or Daydream — covering all major VR HMD manufacturers today.

It’s a boon to anyone wanting to dip their toes in the waters of VR development. Think of it: Want to implement teleportation locomotion over a Unity NavMesh? Just drop the component onto your player prefab. Want to test out grab mechanics, or a quick bezier pointer? VRTK’s demo scenes have you covered, and they’ll work easily on a variety of devices. Since it’s open source, you’re also free to dive in and customize the code. Struggling to get a feature working in your own project? Check out this implementation on a varieties of SDKs — not a bad way to grok new XR coding concepts.

Sadly, VRTK’s creator is sunsetting the woefully underfunded project. The UK-based developer TheStoneFox — who until recently was actively seeking contributors, partnerships and support — announced recently that he would will be stepping back from the project post-version 3.3.0. Though VRTK boasts an active Slack community, a growing list of “made with” titles and a recent Kickstarter, TheStoneFox was unable to attract the support necessary to sustain it for the long term.

Now, as the opportunity to contribute to and utilize a premier open-source VR development pipeline expediter will fade going forward, what if anything will replace it?

OpenXR: One API to Rule Them All

The VRTK approach —using Unity scripting to knit together similar mechanics across a spectrum of VR SDKs — is necessary in the current fragmented development landscape, but there are downsides. Some community still has to monitor the various proprietary SDK updates and your end-user VRTK app still has to be mindful of VRTK’s changes over time. In this way, VRTK treated the symptoms of the VR SDK overload, but was not equipped to address the root cause. Enter OpenXR, The Khronos Group’s upcoming industry standard:

The standard, announced December 2016, is being written now and is quickly gaining traction among industry players (with the notable exception of Magic Leap). Instead of forcing developers to grapple with variable propriety SDKs and all the accompanying business consequences, companies will instead tailor their hardware and software to comply with OpenXR’s spec. Khronos, the non-profit responsible for shepherding the Vulkan, OpenGL, OpenGL ES and WebGL standards, is leading the charge. Cue the infographics!

On the left, the problem — on the right, the solution:

Images courtesy of https://www.khronos.org/openxr.

“Each VR device can only run the apps that have been ported to its SDK. The result is high development costs and confused customers — limiting market growth,” reads some fairly accurate marketing copy on their website. “The cross-platform VR standard eliminates industry fragmentation by enabling applications to be written once to run on any VR system, and to access VR devices integrated into those VR systems to be used by applications.”

A working group of industry heavyweights have agreed the standards be extensible to allow for future innovation and should support a range of experiences — anything from a 3-DoF controller all the way to a high-end, room-scale devices.

The only thing missing is a realistic timetable before this standard has an impact on the development community and its day-to-day workflow. Until the market-movers get their act together, we’ll be left scrambling (and patching up VRTK projects, in many cases).

OpenXR supporters: everyone except Magic Leap.

The Cinema of Attractions: Slow Your Reel

But should we so quickly welcome industry standardization while the technology is still so new and full of possibilities? That’s the question asked in a recent Voices of VR podcast by Kent Bye and Rebecca Rouse. The two discussed the early days of cinema — when exploration and experimentation were the status quo — and Rouse drew striking parallels between that era and the current period in XR production and development.

Pure spectacle then and now. Left: a Cinema of Attractions-era still. Right: Chocolate VR.

“[Scholars of early film] came up with this term ‘cinema of attractions’ because they saw an incredible wealth of diversity and kind of range of exuberant experimentation in those early pieces, so they were very hard to sort of clump them together — there was such diversity — but this ‘attraction’ idea was a large enough umbrella, because all of those early pieces are in some way showing off the technology’s capabilities and generate this experience of wonder or amazement for the viewer. And the context in which they were shown is that of attractions, so they were shown at world’s fairs and as a part of vaudeville shows with other kinds of performances and displays.”

— Rebecca Rouse, assistant professor of communication & media at Rensselaer Polytechnic Institute

Sounds eerily familiar, huh? The whole podcast is well worth a listen, but tldr: while there are obvious consumer and market advantages to XR standards, Rouse argues that perhaps we shouldn’t jump the gun here— not during this era of frenetic, often avant garde XRexperimentation across art, science, cinema and gaming. Looking around the industry, it’s hard to disagree.

EditorXR

One man-eating-the-camera-brilliant new application of XR technology is Unity Labs’ EditorXR. Created by Unity’s far-future R&D team (whose roles often find them working on projects and products five-to-ten years away from consumer adoption), EditorXR offers you an interface to create custom XR Unity scenes entirely within virtual reality.

Oh! And there’s flying, among other superpowers — soar through your scene like Superman or scale the whole thing down to a pinhole. They’ve literally ported the Unity inspector, hierarchy and project windows (again among others) to an increasingly user-friendly VR UI pane on your wrist. With the latest update, you’re able to:

hook into Google’s Poly asset database web API in real-time inside VR

create multiplayer EditorXR sessions for editing Unity scenes with friends and collaborators

run EditorXR with Unity’s primary version 2017.x editor

It’s still new and I’ve encountered bugs, but it’s a foregone conclusion that this tech will become a standard feature of Unity’s scene creation process as XR technology matures and proliferates. Even their alpha and beta efforts evoke the same sense of wonder and possibility that early Cinema of Attractions-era moviegoers must have felt.

For more insight on the design side, check out this deep dive on the future of XR UX design by Unity Lab’s Dylan Urquidi or the Twitter feed of Authoring Tools Group Lead, Timoni West.

ML-Agents

Another experimental Unity project, ML-Agents, explores one of the most promising avenues for the future of XR development, design and UX: machine learning. Using so-called “reinforcement learning” techniques which expressly don’t feed the AI model any sample data or rules for analysis, ML-Agents instead applies simple rewards and punishments (in the form of tiny float values) based on the outcomes to their [usually very narrowly defined set of] behaviors.

Stretched out over hundreds of thousands if not millions of trial-and-error training sessions, the computer experiments with its abilities and forms a model for how to best achieve the desired goal. In this way, your Agents become their own teacher s— you just write the rubric.

The original GitHub commit contained some basic demo scenes and the development community quickly took up the torch from there. Unity’s Alessia Nigretti followed up the original blog with one describing how to integrate ML-Agents into a 2D game. On Twitter, @PunchesBears has been demonstrating similar concepts — and showing that often enough, Agents respond to developers’ carefully calculated reward system in ways they don’t anticipate. Similar to actual gamers, no?

In one of my favorite applications of ML-Agents, the developer Blake Schreurs actually brings a 6-DoF robo-arm Agent trained to seek a moving point in space into virtual reality — with slightly terrifying results once he assigns that moving target to his face.

youtube

Imagine someone applying this training model to actual robotics and fat-fingering the wrong key. Or don’t, whatever.

He’s down for the count! I was immediately reminded of the audiences pouring out of theaters in 1895, afraid they’d be run down by the Lumière brothers’ Arrival of Train at La Ciotat. We’re still in the salad days of both machine learning and XR development compared to where we hope to be 10 or even 50 years from now. In that time, some combination of traditional or procedural AI with these new machine learning approaches will doubtless lead to great developments in gaming and XR at large — or even in the very design process and daily workflow of computing itself.

Rift OS Core 2.0

With Rift’s new Core 2.0 OS, your entire Windows PC is accessible from your right-hand menu button. Being able to view and use your desktop apps, as well as pin windows inside other VR apps, introduces new possibilities for XR workflows (and even for traditional computing workflows) in VR.

While working on my next project, entirely within VR, I can watch Danny Bittman’s great Unity rendering and lighting tutorial on YouTube in a pinned browser while messing with those same settings on my wrist in UnityXR. I can watch @_naam craft original assets in Google Blocks at the same time I do, or I could gather assets from the Poly database and deploy them to my Unity scene in real-time VR, pulling up Visual Studio to code some game logic as I please.

That sounds pretty goddamn metaversal to me — and before long, we likely won’t even need code.

The XR Developer of the Future Is Not a Developer

If XR technology is to go mainstream, the development process must be as efficient and accessible as possible — and likely even open to non-developers through content creation and machine learning applications. Spanning sciences and disciplines, there’s so much more to talk about and speculate over that this piece hasn’t even touched on (next time I’ll examine WebVR and A-Frame as viable XR development pathways). More and more pieces of this accessible, standardized XR development pipeline will fall into place as the immersive computing revolution rolls on, though I’m thankful the XR industry isn’t ready to ditch its Cinema of Attractions ethos quite yet.

from VRFocus http://ift.tt/2Bk9BIP

#VRFocus #vr #virtual reality #canada

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topinforma · 8 years ago

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New Post has been published on Mortgage News

New Post has been published on http://bit.ly/2imPbdx

jerome-b-trout-jr-real-estate-broker-dies

Jerome B. “Jerry” Trout Jr., who founded a real estate brokerage business and leased stores throughout Baltimore’s shopping malls, died of respiratory failure Jan. 4 at his Ruxton home. He was 88.

Born in Baltimore, he was the son of Jerome B. Trout, a Hutzler’s department store supervisor, and Olga Trout.

Raised on Mount Royal Terrace near Druid Hill Park, he was a 1946 graduate of Polytechnic Institute. He was a Baltimore Sun All-Metro lacrosse player that year.

He received a business administration degree at the University of Maryland, College Park, where he also played lacrosse.

Mr. Trout briefly joined an uncle, Leonard Trout, who ran a talent agency that booked vaudeville performers and dancers for local theaters, including venues on The Block along East Baltimore Street.

Marylanders who have died in January 2017.

Mr. Trout served in the Army during the Korean War. He was assigned to the military police patrolling an Army prison near Okinawa, Japan.

After his military service, he became a leasing agent for the B. Howard Richards real estate firm on Charles Street in downtown Baltimore.

Mr. Trout worked with developer Ralph DiChiaro to lease the Towson Plaza Shopping Center on Dulaney Valley Road. He worked with its original tenants, which included an S.S. Kresge variety store, Reads drugstore, a Food Fair market and a Tuerkes leather goods store.

“The Tuerkes store had been downtown for years but it really flourished when it opened a Towson location,” said Mr. Trout’s son, Jerome B. Trout III of Glen Arm.

“As a young man, he developed a rapport with downtown merchants,” said his son. “He had a knack for trying to understand what the retailer needed. He also had a good sense — it was by feel — of matching the retailer to the right demographic.”

He founded Trout & Fox Inc. in 1967. With his partner, Milton Fox, he set up a real estate brokerage specializing in retail work.

“Jerry was a creative guy who figured ingenious solutions to retail problems,” said Shale D. Stiller, his attorney for 45 years. “He was also fiercely loyal to those he followed.”

His son said Mr. Trout identified newcomers to the Baltimore retail scene. Among them were Giant Food, Baskin-Robbins ice cream and Amy Joy-Dunkin’ Donuts. He also worked with officials of Montgomery Ward to place their stores around the Baltimore Beltway.

“Baltimore was a tremendous market for Ward’s,” said his son. “He found them the right spots and they were dominant sellers.”

That work led to Mr. Trout’s becoming a real estate developer, his son said. He assisted in the development of Annapolis Mall [now Westfield Annapolis], Severna Park Mall and Dover Mall in Dover, Del. He also built neighborhood shopping centers throughout the Mid-Atlantic region.

Mr. Trout often did business from a table in the Cross Keys Deli or the old Roost Restaurant.

“My father had a real estate sense of vision,” said his son. “He could stand in a cornfield and make an accurate prediction.”

His son said Mr. Trout sized up trends in retailing.

“When the department stores were not comfortable selling jeans in the 1970s — even though they were selling well — he worked with the owners of Giant Foods to lease them their Pants Corral stores,” said his son. “The old-line stores did not deal well with a casual line of clothes that was not blue-collar work wear.”

Mr. Fox retired in 1985. Mr. Trout’s son joined the company, which was renamed Trout Segall & Doyle. The elder Mr. Trout remained active in Trout Development until his death.

Mr. Trout was a sports fan and served on the board of the Babe Ruth Birthplace and Museum.

He was a member of Oheb Shalom Congregation.

Services were held Friday at Sol Levinson and Bros.

In addition to his son, survivors include his wife of 26 years, Sallie Stewart, a former McCormick & Co. employee; a daughter, Sallie F. Trout of Austin, Texas; two stepdaughters, Ashley A. Chertkof of Baltimore and Hilary S. Trader of Ocean City; seven grandchildren; and two great-grandchildren.

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blackkudos · 5 years ago

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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."

#08/21 #04/26

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blackkudos · 8 years ago

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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. His mother taught him to play the piano and he started performing in his teens. Dropping out of school, he learned to operate lights for vaudeville and to improvise accompaniment for silent films at a local movie theater in his home town of Red Bank, New Jersey. By age 16, he increasingly played jazz piano at parties, resorts and other venues. In 1924, he went to Harlem, where his performing career expanded; he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. In 1929 he joined Bennie Moten's band in Kansas City, and played with them until Moten's death in 1935.

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 and Joe Williams.

Biography

Early life and education

William Basie was born to Harvey Lee and Lillian 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 piano instruction for him.

Not much of a 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 at age 15 switched to piano exclusively. 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

Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies 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 singers Katie Krippen and Gonzelle White. 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.

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.

Basie formed a new band that year, 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

New York City and the swing years

"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.

On 19 February 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.

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. Basie credits 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.

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 and Eckstine, Inc.": 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.

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; Patten became known as "Gene Gene, the Dancing Machine".

Marriage and family

Basie was a member of Omega Psi Phi Fraternity. On 21 July 1930, Basie married Vivian Lee Winn, in Kansas City, Jackson County, 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 13 July 1940 in the King County courthouse in Seattle, Washington. In 1942, they moved to Queens.The Basies bought a whites-only home in the new neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Albans.

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

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

The 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).

Basie also recorded with Tony Bennett in the early 1960s—their albums together included the live recording at Las Vegas and Strike Up the Band, a studio album. 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

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.

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

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

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.

Discography

The majority of Basie's recordings were made with his big band, see Count Basie Orchestra Discography.

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

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

Basie also made several small group recordings without his band:

The Swinging Count! (Clef 1952 [1956]) as The Count Basie Sextet

Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette, 1958) with Eddie "Lockjaw" Davis and Joe Newman

Atomic Swing (1958, Roulette Jazz)

Memories Ad-Lib (Roulette, 1958)

String Along with Basie (Roulette, 1960)

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

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

Loose Walk (with Roy Eldridge) (1972, Pablo)

Basie Jam (1973, Pablo)

The Bosses (with Big Joe Turner) (1973)

For the First Time (1974, Pablo)

Satch and Josh (with Oscar Peterson)

Basie & Zoot (with Zoot Sims) (1975, Pablo)

For the Second Time (1975, Pablo)

Basie Jam 2 (1976, Pablo)

Basie Jam 3 (1976, Pablo)

Kansas City 5 (1977, Pablo)

The Gifted Ones (with Dizzy Gillespie) (1977, Pablo)

Montreux '77 (Live) (1977 Pablo)

Basie Jam: Montreux '77 (Live) (1977, Pablo)

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

Night Rider (with Oscar Peterson) (1978, Pablo)

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

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

Kansas City 8: Get Together (1979, Pablo)

Kansas City 7 (1980, Pablo)

On The Road (1980, Pablo Today, Red Vinyl)

Kansas City 6 (1981, Pablo)

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

20 Golden Pieces of Count Basie (1993, Bulldog)

Jazz & blues (1995, Editions Atlas)

Count Basie [K-Tel] (1996, K-Tel)

Count Basie's Got Rhythm (1998, Emporio; 2001, MCI)

Jumpin' (2000, Columbia River Entertainment Group)

The Memorial Album (2012, AAO Music)

Filmography

Hit Parade of 1943 (1943) – as himself

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

Cinderfella (1960) – as himself

Sex and the Single Girl (film) (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 AwardsGrammy Hall of Fame

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.

National Recording Registry

Wikipedia

#Count Basie #08-21 #04-26

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Rufus Thomas

Rufus C. Thomas, Jr. (March 26, 1917 – December 15, 2001) was an American rhythm and blues, funk, soul and blues singer, songwriter, dancer, DJ and comic entertainer from Memphis, Tennessee. He recorded for several labels including Chess and Sun in the 1950s, before becoming established in the 1960s and 1970s at Stax Records. He is best known for his novelty dance records including "Walking the Dog" (1963), "Do the Funky Chicken" (1969) and "(Do the) Push and Pull" (1970). According to the Mississippi Blues Commission, "Rufus Thomas embodied the spirit of Memphis music perhaps more than any other artist, and from the early 1940s until his death... occupied many important roles in the local scene."

His career began as a tap dancer, vaudeville performer, and master of ceremonies in the 1930s, and he later also worked as a disc jockey on radio station WDIA in Memphis, both before and after his recordings became successful. He remained active into the 1990s, and as a performer and recording artist was often billed as "The World's Oldest Teenager". He was the father of singers Carla Thomas (with whom he recorded duets) and Vaneese Thomas, and keyboard player Marvell Thomas.

Early life

Born a sharecropper's son in the rural community of Cayce, Mississippi, Thomas moved to Memphis, Tennessee, with his family around 1920. His mother was "a church woman". Thomas made his debut as a performer at the age of six, playing a frog in a school theatrical production. By the age of 10, he was a tap dancer, performing on the streets as well as in amateur productions at Memphis' Booker T. Washington High School. From the age of 13, he worked with Nat D. Williams, his high school history teacher who was also a pioneer black DJ at WDIA and columnist for black newspapers, as a master of ceremonies at talent shows in the Palace Theater on Beale Street.

Early career as a performer

Thomas also began performing in traveling tent shows. After graduating from high school, he attended one semester at Tennessee A&I University, but due to economic constraints left to pursue a career as a full-time entertainer. In 1936 he joined the Rabbit Foot Minstrels, an all-black revue that toured the South, as a tap dancer and comedian, sometimes part of a duo, Rufus and Johnny. He married Cornelia Lorene Wilson in 1940, at a service officiated by Aretha Franklin's father, Rev. C. L. Franklin, and the couple settled in Memphis. Thomas worked a day job in the American Finishing Company textile bleaching plant, which he continued to do for over 20 years. He also formed a comedy and dancing duo, Rufus and Bones, with Robert "Bones" Couch, and they took over as MCs at the Palace Theater, often presenting amateur hour shows. One early winner was B. B. King, and others first discovered by Thomas later in the 1940s included Bobby Bland and Johnny Ace.

In the early 1940s, Thomas began writing and performing his own songs. He regarded Louis Armstrong, Fats Waller and Gatemouth Moore as his musical influences. He made his professional singing debut at the Elks Club on Beale Street, filling in for another singer at the last minute, and during the 1940s became a regular performer in Memphis nightclubs such as Currie`s Club Tropicana. As an established performer in Memphis, aged 33 in 1950, Thomas recorded his first 78 rpm single, for Jesse Erickson's small Star Talent label in Dallas, Texas. Thomas said: "I just wanted to make a record. I never thought of getting rich. I just wanted to be known, be a recording artist..... [But] the record sold five copies and I bought four of them." The record, "I'll Be a Good Boy"/"I'm So Worried", gained a Billboard review stating: "Thomas shows first class style on a slow blues". He also recorded for the Bullet label in Nashville, Tennessee, when he recorded with Bobby Plater's Orchestra and was credited as "Mr. Swing"; the recordings were not recognised by researchers as being by Thomas until 1996. In 1951 he made his first recordings at Sam Phillips' Sun Studio, for the Chess label, but they were not commercially successful.

He began working as a DJ at radio station WDIA in 1951, and hosted an afternoon R&B show called Hoot and Holler. WDIA, featuring an African-American format, was known as "the mother station of the Negroes" and became an important source of blues and R&B music for a generation, its audience consisting of white as well as black listeners. Thomas used to introduce his shows saying: "I'm young, I'm loose, I'm full of juice, I got the goose so what's the use. We're feeling gay though we ain't got a dollar, Rufus is here, so hoot and holler." He also used to lead tours of white teenagers on "midnight rambles" around Beale Street.

His celebrity in the South was such that in 1953, at Sam Phillips' suggestion, he recorded an "answer record" to Big Mama Thornton's R&B hit, "Hound Dog", called "Bear Cat" released on Sun Records. The record became the label's first national chart hit, reaching #3 on the Billboard R&B chart. However, a copyright-infringement suit placed by Don Robey, the original publisher of "Hound Dog", nearly bankrupted the record label. After only one recording there, Thomas was one of the African-American artists released by Phillips, as he oriented his label more toward white audiences and signed Elvis Presley, who later recorded Thomas' song "Tiger Man". Thomas did not record again until 1956, when he made a single, "I'm Steady Holdin' On", for the Bihari brothers' Meteor label; musicians on the record included Lewie Steinberg, later a founding member of Booker T and the MGs.

Stax Records

Rufus Thomas continued to record for the label after Carla's record "Gee Whiz" reached the national R&B chart in 1961. He had his own hit with "The Dog", a song he had originally improvised in performance based on a Willie Mitchell bass line, complete with imitations of a barking dog. The 1963 follow-up, "Walking the Dog", engineered by Tom Dowd of Atlantic, became one of his most successful records, reaching #10 on the Billboard pop chart. He became the first, and still the only, father to debut in the Top 10 after his daughter had first appeared there. The song was recorded in early 1964 by the Rolling Stones on their debut album, and was a minor UK chart hit for Merseybeat group the Dennisons later that year.

After "Jump Back" in 1964, the hits dried up for several years, as Stax gave more attention to younger artists and musicians. However, in 1970 he had another big hit with "Do the Funky Chicken", which reached #5 on the R&B chart, #28 on the pop chart, and #18 in Britain where it was his only chart hit. Thomas improvised the song while performing with Willie Mitchell's band at a club in Covington, Tennessee, including a spoken word section that he regularly used as a shtick as a radio DJ: "Oh I feel so unnecessary - this is the kind of stuff that makes you feel like you wanna do something nasty, like waste some chicken gravy on your white shirt right down front." The recording was produced by Al Bell and Tom Nixon, and used the Bar-Kays, featuring guitarist Michael Toles. Thomas continued to work with Bell and Nixon as producers, and later in 1970 had his only number 1 R&B hit, and his highest pop charting record, with another dance song, "Do the Push and Pull". A further dance-oriented release in 1971, "The Breakdown", climbed to number 2 R&B and number 31 Pop. In 1972, he featured in the Wattstax concert, and he had several further, less successful, hits before Stax collapsed in 1976.

Later career

Death and legacy

He died of heart failure in 2001, at the age of 84, at St. Francis Hospital in Memphis. He is buried next to his wife Lorene, who pre-deceased him in 2000, at the New Park Cemetery in Memphis.

Writer Peter Guralnick said of him:

Wikipedia

#Rufus Thomas #03-26 #12-15

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