CONCERT REVIEW: THE COUNT BASIE ORCHESTRA

Feb. 3 at the Folly Theater

Above: The Count Basie Orchestra in Switzerland, 2003. (Photo courtesy of Jazzphoto.com)

After basking in a safe trip down memory lane, the audience in the Folly Theater demanded more.

In response to a lengthy standing ovation, a very different Count Basie Orchestra returned to the stage.  Instead of maintaining the highly regimented, straight-laced sensibility of the previous two
hours, the 19-piece ensemble tore into a woolly version of "Jumpin' At the Woodside."

Soloists cut loose as their relaxed bandmates clowned. Tuxedo jackets and ties were discarded.  And as always, the band swung like a monster.  For the first time Saturday night, the spirit of the freewheeling 1930s band of Kansas City was evoked, conjuring the specters of greats like Lester Young, Jo Jones and Claude Williams.

It's a shame that such vitality had been kept under wraps until the encore.

William "Count" Basie died in 1984, and the current incarnation of the ensemble focuses on recreating his polished hit-making period of the 1950s.   Many in the audience of approximately 800 remembered that era fondly.  At intermission Saturday night, more than one fan exclaimed
that the orchestra sounded "exactly" like it did 50 years ago. These remarks were intended as high praise, but it also indicates that the ensemble has become a sterile exercise in nostalgia.

As the encore indicated, it need not be that way.  Today's stagnant museum piece is untrue to Basie's steady musical evolution and legacy as an innovator.

It's not as if the orchestra suffers from a lack of talent.   Each of the members is highly accomplished.  Without fail, solos were well-structured and delivered with perfect tone. The band's lush charts were executed flawlessly.  The five-piece saxophone section was sweet, the four trumpeters were crystalline and the powerful sensory blast unique to jazz big bands was rounded out by four talented trombonists.

The trumpet and saxophone battles on the hard-charging "Fantail" were outstanding, as was Marshall McDonald's lovely impression of Ben Webster on "I Got It Bad (And That Ain't Good)."

Witty bassist James Leary turned altoist Grant Langford's quote of "Honeysuckle Rose" inside out on the rollicking "The Vine Street Rumble."  Excluding the encore, it was the evening's most compelling selection.

While the soft-spoken Bill Hughes directed the proceedings with steely authority, it was drummer Butch Miles that propelled the orchestra.  A clear audience favorite, Miles resembled a tactful Buddy Rich.   He's one of a handful of men still in the orchestra who actually played with Basie.

Guitarist Will Matthews, a Kansas City native, was inaudible most of the night.  His creative 10-minute showcase proved that the orchestra would be well-served to feature him more frequently.  His sensitive soloing was gorgeous.  Matthews merits a full show of his own.

Above, vocalist Melba Joyce greeted fans at the Folly during intermission Saturday night. (Photo by Bill Brownlee/Special to The Star)

The orchestra's precise dynamics were heard to best effect while when they supported vocalist Melba Joyce.   Her pleasant, Ella Fitzgerald-inspired vocals were featured on six of the evening's 20 songs.  "What Are You Doing the Rest of Your Life" and "Doodlin'" were especially effective.

Subtle references in the solos of the orchestra's youngest members indicated that they weren't trapped in the ensemble's time machine. Langford, exuberant pianist Tony Suggs and trumpeter Endre Rice seemed especially eager to move forward.  Perhaps the next time the institution returns to its original home it will have incorporated a few of their fresh ideas.

| Bill Brownlee, Special to The Star

Editor's note: The original version of this review misidentified a musician in the orchestra who missed a cue during one number. It also said Endre Rice was a trombonist. He is a trumpeter.

Comments

[sbsbmusic]

After reading Bill Brownlee's review of our concert this past weekend at the Folly Theater, it becomes clear once again that most people who review our concerts have absolutely no true idea of what really went on our stage. First, we did not wait until the encore to swing wildly as Brownlee mentions. We swung from the first beat as we always do. Secondly, as for me missing a cue, it was trumpeter MIKE WILLIAMS who missed his cue on Doug Miller's tune Ekat Yawa!!!!! It was during the trombone solo and was the tune we had never played before. We all remember that clearly. So not only are you deaf, you must be blind too. The entire band knows it was Mike, as does he, and I WILL NOT stand idly by and let you smear my name. I DEMAND AN APOLOGY IN PRINT HERE and to me personally via e mail or this can go further until this is straightened out. I am sick and tired of "critics" having carte blanche to do things like this. This is my professional reputation you have demeaned. PERIOD. Thirdly, Endre Rice plays TRUMPET and not trombone; Fourth, granted Butch Miles plays very well, but he is not the only one from the rhythm section that propels this orchestra. Has it ever crossed your mind that without a strong and solidly swinging bassist as we have in James Leary, that Butch would have nothing feeding him?? If you knew anything at all about jazz music, you would know that the BASS is the foundation of any rhythm section. Just because you see arms waving and hair flying all over the place doesn't necessarily mean that that person is the catalyst from which we operate. Further, we are far from a "sterile exercise in nostalgia" as was so incredibly and arrogantly put. What gives you the right to state such bullshit?? You are obviously one of these self-appointed "jazz experts" who thinks he knows what he is listening to. It is clear that you are not HEARING what you are listening to. There is a BIG difference from listening to hearing. Musicians listen AND hear. Especially jazz musicians, so unless I have missed your storied career as such, you need to truly have some integrity about what you put in print and let go of whatever allusions of grandeur you have as a "jazz reviewer". No longer will we let people such as yourself write such off-based comments on what we do regardless if they are favorable or not. The key is to get it right. Get it right. All OF IT. And for those of us who were on stage and for those in the audience who rushed the dressing room and stage after the concert, you did not get it right by a long shot. And for you to smugly mention the fact that someone from the audience says that we sounded just like it did 50 years ago. That is what they are supposed to say!!!! That is an incredible compliment and proof that we are doing something right - we sound like THE COUNT BASIE ORCHESTRA and NO ONE ELSE!!!!!!! This is what we are supposed to be doing! There is so much to learn from being able to do what we do and if we move too far away from our roots to please partially deaf critics like yourself who have no background (at least that I know of) as an accomplished and documented Jazz musician, then we will have caved in to the transparency of trends and bad taste, not to mention forgoing elements of true musicianship that still allow us to travel the world representing what MR. BASIE and his cohorts created for all of mankind. So, speaking of truly missed cues, can you guess who really missed his here??

I am waiting for your retraction here and via e mail to me personally. Nothing less will do. A copy of this is being sent to your employer at the newspaper as well.

Scotty Barnhart
[email protected]

[Bill Flowers]

Scotty Barnhart addressed most of the points that need to be made in response to Mr. Brownlee's article. I'll add a few more. First, if there was such a lack of vitality before the encore, as Mr. Brownlee states, WHY was there a "lengthy standing ovation" demanding MORE? I didn't sense that this particular encore was "planned". The Band returned without jackets and ties because the audience refused to leave.

Second, I am sure the quoted audience member's statement that the Band sounds exactly like it did 50 years ago meant that the band sounds exactly as good and swinging as it did 50 years ago. Anyone knows that the charts sound different with the current Band. They sound different today than they sounded a year ago. Listen to the recordings over the years. Does anyone think Basie in 1955 sounded like Basie in 1948 or 1984? You know it's Basie. The feeling is there. The essence is there. The swing and vitality are there. Just as they were Saturday night at the Folly when we were there. And they will be there in the future.

As to the missed cue, Bill Hughes announced to the audience before the piece that it was the Band's first performance of this new work written by one of the current Band members, saxophonist Doug Miller (so much for being stuck in the past and not incorporating the work of younger members).

Finally, in reference to Will Matthews being inaudible on the rhythm guitar. He wasn't inaudible. But more importantly, you don't always hear him (or his predecessors that served that essential role). You feel him. Every second. And the rest of the Band hears and feels him.

I think the critic owes Scotty Barnhart, Mike Williams, the audience and his readers an apology. I ask again---why the lengthy standing ovation?

[Greg Jones]

Clearly Mr. Brownlee is a mental midget.

While I was not in KC for this performance, I have seen this orchestra many, many times over the last 20 years. Under the direction of Frank Foster the band won several Grammy's, Under Grover Mitchell's direction the band came home to its Basie inspired roots. Under Bill Hughes, it has a gentle giant of a leader who is kind and respectful to his audience...and leads the band with a gentle hand the way Mr. Basie did.

This orchestra is hardly a stale old institiution of past swing music. But rather a group of hard working, swinging men and women who give their soul for the art that they create on the bandstand.

Everyone of these fine musician contributes to every arrangement everytime they play if. In my experince the "power of Basie" is not necessarily what you hear, but rather what you feel. It's in your heart and in your spirit, and in tapping your foot as the band swings it ass of...and continues the fine traditions that Kansas City gave to our nation so many years ago. Unless Mr. Brownlee is nuts, he would have to admit that this orchestra's "worst night" is everyone else's best night!

Having been in the media myself for close to 20 years, I'd say getting, and double checking your facts should be more of a concern than who missed a note. If newspaper critics were looked upon as "real journalists" by their employers...Mr. Brownlee would certainly be under much more critism than he doled out to this orchestra.

Greg Jones
Toledo, Ohio

[Theodore Wilson]

A final note to all that has been written:
There has never been a monument erected in honor of a critic.
BASIE BAND - STRAIGHT AHEAD! Enjoyed the concert, looking forward to the next one.
Musically yours,
Theo Wilson

[Paul Collins, music impresario]

I am personally suprised at the critics comments. I was not able to attend the performance due to prior commitments but I do know the musicianship of Will Matthews, his tenure with the band, the coveted chair he filled vacated by the legendary Count Basie guitarist Freddie Green. These musicians are of the highest caliber and tradition. Mr. Brownlee has disappointed me and this great orchestra. Let me be the first to apologize.