Class of '54 [1201]

Performer: Count Basie
Engineer: George Wein...
Producer: Alan Bates...
Distributor: Allegro Corporation (Dist

Notes: Personnel: Count Basie (piano, organ); Ernie Wilkins (alto & tenor saxophones); Marshall Royal (alto saxophone, clarinet); Frank Wess (tenor saxophone, flute); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Wendell Culley, Reunald Jones, Thad Jones, Joe Newman (trumpet); Henry Coker, Bill Hughes, Benny Powell (trombone); Freddie Green (guitar); Ed Jones (bass); Gus Johnson (drums). Recorded in Boston on September 7, 1954 and at the American Legion Park in Ephrata, Pennsylvania on September 2, 1954. Includes liner notes by Barry McRae. Personnel: Count Basie (piano, organ); Freddie Green (guitar); Frank Wess (flute, tenor saxophone); Marshall Royal (clarinet, alto saxophone); Ernie Wilkins (alto saxophone, tenor saxophone); Frank Foster (tenor saxophone); Charlie Fowlkes (baritone saxophone); Reunald Jones, Joe Newman , Thad Jones, Wendell Culley (trumpet); Henry Coker, Benny Powell, Bill Hughes (trombone); Gus Johnson (drums). Recording information: American Legion Park, Ephrata, Penn (09/02/1954-09/07/1954); Boston, MA (09/02/1954-09/07/1954); The American Legion Park, Ephrata, PA (09/02/1954-09/07/1954). Photographer: Chuck Stewart. World War Two, apart from being somewhat disruptive to the rest of humanity, also brought about the disruption of many big bands. It's no wonder Basie decided to venture out with a scaled down group in 1950. But 1954 was to mark yet another change for the legendary bandleader. It was to be his last effort with a small group for the next eight years, and the beginning of a renewed success for his big band. CLASS OF '54 represents the two bands that Basie spearheaded in 1954. The first is a nonet, and the second is his usual full orchestra. On the nonet portion of the disc, trumpeter Joe Newman is featured on "Confessin" and flute innovator Frank Wess is featured on "In Case You Didn't Know" and "Peter Pan." The big band portion of this album retains much of the feel and mood of Basie's first band from the mid 1930's. However, the emphasis now switches to ensemble precision and clear cut, highly composed arrangements. Nonetheless, the deep pocketed swing that Basie alone epitomizes here remains vital to the band's sound.

Simply put, Count Basie led the most swinging of the classic big bands. His youthful education in playing stride piano in New York was meshed with a deep immersion in the hard-swinging Kansas City jazz scene of the early 1930s. As Basie moved from sideman to bandleader, his tight-knit ensemble eventually came to rival Duke Ellington's group. The Basie orchestra's perfectly interlocking rhythm section provided a springboard for a succession of jazz giants--most notably tenor man Lester Young--to launch their solo excursions. Basie's big-band vision was so strong that his group continued for decades after his passing.

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