Just Jazz; Count Basie's Band: 1930s-40s, Pt. 1

Mae f inspirationi? Mae f inspirationi? Mae'r Clifft o Yn fni ddim.

Mae ol dar hyn yn gallwaithiftu, ond fe enuw lle, Bashlijk F wam et Mae'r Clifft o Yn fni ddim. Mae'r Clifft o Yn fni ddim.

Mae'r Clifft o Yn fni ddim. Mae'r Clifft o Yn fni ddim. Mae'r Clifft o Yn fni ddim.

Mae'r Clifft o Yn fni ddim. Pelly o'n gfeut diag und把 gan'n gweith eto.

A mynd waeth lola iawn medbwyl. Ryw yn Caedol-Bir%. A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl.

A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl. A mynd waeth lola iawn medbwyl.

A mynd waeth lola iawn medbwyl. A mynd waeth lights at night. A mynd waeth lights at night. A mynd waeth lights at night. Yeah, let's wager though. Dog and a round in verse 11's, 1938. The succession of solos there too. Including the composer, Herschel. It was first up, aside from Bass's introduction there. Yeah, and a bit of alto on that first chorus on the bridge. And then Buck Clayton crackling while there. And Jack Washington, a double on alto and baratone in a rare solo. Bassy and the rhythm. And Leicester, of course, who, as they say, needs no. And a spot there too for Joe Jones on drums.

Gonna hear a little gym here. Russian. I left my baby, standing in the back, don't cry. Yes, I left my baby, standing in the back. Standing in the back, don't cry.

She said, baby, you got a home. Just as long as I've gotten mine. When I leave you, baby, count the days I'm gone. Where there ain't no love, there ain't no getting along. Yeah. Yeah. Yeah.

Yeah. Yeah. Yeah. Yeah. And Jimmy Russian, of course, who was such an essential part of that band for so long.

It's inception. And back in Kansas City. And through the late 40s until Bassy was forced to break up the orchestra. And work with an octet, a small group for a time in the early 50s. We're getting into the 50s very later. There's another pair of shows in this same series. And I left my baby. It was at Andy Gibson, sir. Not sure about that. He had a zero bond on alto. With some obelagato there too. Jimmy's vocal. And lest a young backing him for a couple of cars. This is when we had some ensemble too. Not sure who had that brief trumpet coda. Left my baby. It was from 1939. Yeah.

Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

Yeah. Yeah. Yeah. Nice bands out of bigger too.

And the recording. Sound of recorded sound a bit. Fuller. Tune town shuffle. Jimmy Monday's arrangement. Credit to Bassy and to Monday. Yeah. And this was subbed the bad after. Lester had left it. And Don bias had taken his tenor chair. And we heard a little bias that in me. The ensemble bass is piano. The ensemble again and bias briefly. And a spot of alto. That was about it. Really an ensemble feature. Some of those epic reissues that you know. Bassy's back in town. 1941. Tune town. Yeah.

Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

Yeah. Yeah. Yeah. Yeah.

Yeah. Yeah. Yeah. Yeah. Yeah. Yeah.

Yeah. Yeah. Yeah. Near a shall be only a short spot, that was Bach's feature. swinging at the Daisy chain, swinging at the Daisy chaininn frequed to to Basie.

Buck did a lot of writing for this band, too, which isn't generally known. This from the first deck of session in 1937. Basie's piano and rehearsals, tenor briefly, and lots of Buck Clayton's trumpet. He'll Daisy. Take that time out now to identify, or we're just going to take some time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing. We're going to take a little bit of time out to swing.

We're going to take a little bit of time out to swing. In 1937. In 1937. In 1937. In 1937.

In 1937. In 1937. In 1937. In 1937. In 1937.

In 1937. Down, down, down, down, down, down, down. Down and down, down the bottom, ooh-ooh-ooh. Perfectly, with a sense of lift and yet immensely relaxed. bassist Piano, chiefly hair, trombones and saxes, and a brief one there, Don Bias, on tenor.

Yeah, little Harry Edison too, on muted trumpet. Down, down, down, down, where the money is, Jimmy. Music Money is honey, where can my honey be? Money is honey, where can my honey be? If I had my money, my honey would be here with me. I woke up this morning, my gals said I'm through, to get to sell some money, and I'll come back to you. Money is honey, where can my honey be? If I had my money, my honey would be here with me. I'm doing bad, and you doing fine.

When I had my loot, the jelly flowed like wine. Money is honey, where can my honey be? If I had my money, my honey would be here with me. Music I was rich in skinny, the limit was the sky. Now I'm poor and hungry, and you ain't got no eye.

Money is honey, where can my honey be? If I had my money, my honey would be here with me. I had ribs and bacon, you came around for more. I'm eating hash and beans, and you eat next door. Money is honey, where can my honey be? If I had my money, my honey would be here with me. Music I was rich in skinny, the limit was the sky. Money is honey, where can my honey be? If I had my money, my honey would be here with me. If I had my money, my honey would be here with me. If I had my money, my honey would be here with me.

I was rich in skinny, the limit was the sky. Money is honey, where can my honey be? If I had my money, my honey would be here with me. Music A bit larger than the early band. That preceding down, down, down. It was from 1941, incidentally. Yeah. Got to watch those dates, boy. Especially we did on that way. Music Music

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That's an older tune. It's back to what Malibian preceding. The bassist days with the Benny Molten Orchestra. It's a tune from the Twatties, written by Benny Molten, and Thayman Hayes, played from both, and arranged for the Molten Band. And here at a very leisurely pace, South. They see in the late 40s orchestra. Same year as that preceding money is honey, which you may be rushing. 1947 for Victor. That was Paul Gonzalez on tenor. Yeah, he was with the band, to the late 40s. And in the bassist piano, the music brass. The only solos for the bassist and Paul. I don't know whether those are around anymore. I should tell you, I suppose, about the deckers, though, in 1939, material, the first recordings, the first period,

and the decker Brunswick. They've been reissued again on a two-disc double-pocket set. You can't bassy in the orchestra. And of course, if you don't have that. Well, it's about time. You let's don't do it, you know. With the grip of a mighty iron chain. Music Music Music Music Music Music Music Music Music Music Music

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Music Music Rockaby bassy, of course. 1939. One chorus each, but it's eight on tenor buck Clayton on trumpet. Music Music Music Music Music Music Music Music Music Music Music

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