Review: ‘Basie Swings The Blues’ The Count Basie Orchestra
By Ron Wynn
More than any other large band including Ellington’s, The Count Basie Orchestra has historically excelled at incorporating blues themes and arrangements into a jazz framework. Even before assembling his own dynamic organization, Basie’s riffs and licks while a pianist and co-arranger with Eddie Durham in Bennie Moten’s band laid the groundwork for decades of exceptional numbers that seamlessly blended blues sensibility with swing elegance and flair.
That’s clearly the pattern for the orchestra’s newest, Basie Swings The Blues, which will be released September 15. It features the 21st century edition now led by Scotty Barnhart. This isn’t so much a blues meets jazz date as jazzy expansions of mostly classic works featuring tunes powered by dynamic blues performances. The assembled host of vocalists do what such great vocalists as Jimmy Rushing, Joe Williams, Helen Humes and even for a time Billie Holiday did when recording and performing with Basie. They deliver the lyrics in resonant, magnificent fashion, augmented by super-tight arrangements and periodic memorable solos. Still, it’s clearly the singers who are the focal point, and the roster includes both old-school and contemporary blues artists.
Vintage blues is ably represented by Bobby Rush and Bettye Lavette among others. Rush’s crafty harmonica licks and crisp, crackling vocal make “Boogie In The Dark” a delight, while LaVette, better known for dynamic soul numbers and inventive covers of rock numbers, shows on a splendid version of T-Bone Walker’s “Stormy Monday Blues” she’s perfectly capable of stepping into 12-bar territory and holding her own as well.
The jazzier side of the equation is spotlighted with George Benson’s outstanding playing on “Rock Candy,” a tune that was a soul jazz hit for Brother Jack McDuff back in 1960, as well as Charlton Johnson paying tribute to the Freddie Green mode with his work throughout Barnhart’s original “The Patton Blues Shuffle.” Basie band stalwart Carmen Bradford, the last singer personally selected by the great Count, shows why he loved her sound on “Just For A Thrill.”
A mix of the old and new is another high point of the session. One example is contemporary songstress Shemekia Copeland’s full-fire shouts and vocals on “I’m A Woman,” the LPs first single, and a tune previously immortalized by Koko Taylor. Her fiery treatment gets equally masterful support from Buddy Guy’s trademark slashing guitar and Charlie Musselwhite’s relaxed, yet impressive harmonica support. Robert Cray soars through “The Midnight Hour.” An additional highlight is Keb’ Mo’ who’s always straddling the line between a traditional sound and modern feel on “Down Home Blues,” his booming voice nicely meshing with Lauren Mitchell’s soothing, appealing refrains.
There really aren’t any “bad” renditions, just a question of personal preferences. There’s absolutely nothing technically wrong with the performances of Ledisi, Jamie Davis, or Castro Coleman (Mr. Sipp). They just aren’t as dynamic or impressive as the ones cited, but they’re certainly done with enthusiasm and vigor.
Basie Swings The Blues is a fine reminder of the grand musical quality that’s always characterized the orchestra’s sound. It also shows there’s plenty of life left in the blues, and many fine performers around to showcase and personify it.
Pre-order Basie Swings the Blues HERE
“I’m A Woman” with Shemekia Copeland
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