About this episode
The big band era died out in the post World War II years as musical tastes in both jazz and popular music changed in our culture. As another factor, the economics of the music industry were transformed, making it difficult to sustain the financial footing of a large touring ensemble. Yet Count Basie managed to stem this tide and not only survive, but thrive in this new milieu. First, in 1950 he trimmed his band to an octet for a couple of years, and soloists such as Clark Terry, Buddy DeFranco and Wardell Gray made him successful artistically and allowed him to stay alive financially. Next, Basie developed a different big band concept that was refined and elegant yet maintained the core values of “in the pocket” rhythm and an affinity for dancers It included arrangements by cultivated masters such as Neal Hefti and Ernie Wilkins and a revitalized ensemble of fine musicians and composers. This sound is exemplified by enduring pieces such as “April In Paris”, “Splanky” “Shiny Stockings” and “Corner Pocket”, to name a few. The emerging aggregation was termed the “New Testament” band, to distinguish it from the divine raw power of the original. Basie’s earlier “swinging-est band in the land” was now the “Old Testament”. With recordings for Norman Granz, lengthy engagements at the Birdland nightclub, and national concert tours, Basie gained a new level of popular appeal. The band continued to grow and evolve with the addition of musicians such as Joe Newman, Thad Jones, Al Grey, Frank Foster and Frank Wess. There also were intermittent stays by the robust Eddie Lockjaw Davis. Eventually, Basie further enhanced his presentation with the added flavor of the suave blues vocals of Joe Williams. The band took a further step forward in 1957 as it propelled itself to a more explosive sound while staying within its still graceful outlook and sophisticated arrangements. This was animated by its switch to Roulette Records and their first album there, starkly featuring the mushroom cloud cover photo and title E=MC2. Thus was ushered in what would be called Basie’s “Atomic Period”, lasting through the end of the decade and even into the early 1960s.. Our program surveys these themes and plays representative samples of Basie’s famous, and also less-famous, recordings of the period. originally broadcast March 16, 2025