$552.5 Buy It Now or Best Offer
free,30-Day Returns
Seller Store dalebooks
(8792) 100.0%,
Location: Rochester, New York
Ships to: US,
Item: 267085655145
Restocking Fee:No
Return shipping will be paid by:Seller
All returns accepted:Returns Accepted
Item must be returned within:30 Days
Refund will be given as:Money Back
Denomination:3 Cent
Year of Issue:1941-1950
Place of Origin:United States
Quality:Used
Grade:Ungraded
Topic:Celebrities
Country/Region of Manufacture:United States
Cancellation Type:First Day of Issue
Modified Item:No
RARE Original Signed First Day Cover Count Basie on FDC for Fiftieth Anniversary of Motion Pictures – 1945 For offer, a nice old autographed cover envelope. Fresh from an estate in Upstate / Western NY. Never offered on the market until now. Vintage, Old, antique, Original – NOT a Reproduction – Guaranteed !! Interesting, unusual piece. FDC with Louisville, KY postmark, 1945, with stamp. Signed at top. Addressed to Paul G. Klawans, Chicago. On back are newspaper clippings and writing. In very good condition. Some age toning. Please see photos for details. If you collect Americana advertisement ad, 19th / 20th century American history, philatelic, etc., this is one you will not see again soon. A nice piece for your paper or ephemera collection. Perhaps some genealogy research information as well. Combine shipping on multiple bid wins! 3393 In 1944, the United States commemorated the 50th anniversary of the American motion picture industry with the release of a 3-cent purple stamp. The stamp depicted an open-air movie show in a South Pacific setting, with an audience of armed forces members William James “Count” Basie (/ˈbeɪsi/; August 21, 1904 – April 26, 1984)[1] was an American jazz pianist, organist, bandleader, and composer. In 1935, he formed the Count Basie Orchestra, and in 1936 took them to Chicago for a long engagement and their first recording. He led the group for almost 50 years, creating innovations like the use of two “split” tenor saxophones, emphasizing the rhythm section, riffing with a big band, using arrangers to broaden their sound, his minimalist piano style, and others. Many musicians came to prominence under his direction, including the tenor saxophonists Lester Young and Herschel Evans, the guitarist Freddie Green, trumpeters Buck Clayton and Harry “Sweets” Edison, plunger trombonist Al Grey, and singers Jimmy Rushing, Helen Humes, Thelma Carpenter, and Joe Williams. As a composer, Basie is known for writing such jazz standards as “Blue and Sentimental”, “Jumpin’ at the Woodside” and “One O’Clock Jump”. BiographyEarly life and educationWilliam Basie was born to Lillian (Childs) and Harvey Lee Basie in Red Bank, New Jersey.[2][3] His father worked as a coachman and caretaker for a wealthy judge. After automobiles replaced horses, his father became a groundskeeper and handyman for several wealthy families in the area.[4] Both of his parents had some type of musical background. His father played the mellophone, and his mother played the piano; in fact, she gave Basie his first piano lessons. She took in laundry and baked cakes for sale for a living. She paid 25 cents a lesson for Count Basie’s piano instruction.[5][6] The best student in school, Basie dreamed of a traveling life, inspired by touring carnivals which came to town. He finished junior high school[7] but spent much of his time at the Palace Theater in Red Bank, where doing occasional chores gained him free admission to performances. He quickly learned to improvise music appropriate to the acts and the silent movies.[8] Though a natural at the piano, Basie preferred drums. Discouraged by the obvious talents of Sonny Greer, who also lived in Red Bank and became Duke Ellington’s drummer in 1919, Basie switched to piano exclusively at age 15.[5] Greer and Basie played together in venues until Greer set out on his professional career. By then, Basie was playing with pick-up groups for dances, resorts, and amateur shows, including Harry Richardson’s “Kings of Syncopation”.[9] When not playing a gig, he hung out at the local pool hall with other musicians, where he picked up on upcoming play dates and gossip. He got some jobs in Asbury Park at the Jersey Shore, and played at the Hong Kong Inn until a better player took his place.[10] Early careerAround 1920, Basie went to Harlem, a hotbed of jazz, where he lived down the block from the Alhambra Theater. Early after his arrival, he bumped into Sonny Greer, who was by then the drummer for the Washingtonians, Duke Ellington’s early band.[11] Soon, Basie met many of the Harlem musicians who were “making the scene,” including Willie “the Lion” Smith and James P. Johnson. Basie toured in several acts between 1925 and 1927, including Katie Krippen and Her Kiddies (featuring singer Katie Crippen) as part of the Hippity Hop show; on the Keith, the Columbia Burlesque, and the Theater Owners Booking Association (T.O.B.A.) vaudeville circuits; and as a soloist and accompanist to blues singer Gonzelle White as well as Crippen.[12][13] His touring took him to Kansas City, St. Louis, New Orleans, and Chicago. Throughout his tours, Basie met many jazz musicians, including Louis Armstrong.[14] Before he was 20 years old, he toured extensively on the Keith and TOBA vaudeville circuits as a solo pianist, accompanist, and music director for blues singers, dancers, and comedians. This provided an early training that was to prove significant in his later career.[15] Back in Harlem in 1925, Basie gained his first steady job at Leroy’s, a place known for its piano players and its “cutting contests”. The place catered to “uptown celebrities”, and typically the band winged every number without sheet music using “head arrangements”.[16] He met Fats Waller, who was playing organ at the Lincoln Theater accompanying silent movies, and Waller taught him how to play that instrument. (Basie later played organ at the Eblon Theater in Kansas City).[1] As he did with Duke Ellington, Willie “the Lion” Smith helped Basie out during the lean times by arranging gigs at “house-rent parties”, introducing him to other leading musicians, and teaching him some piano technique.[17] In 1928, Basie was in Tulsa and heard Walter Page and his Famous Blue Devils, one of the first big bands, which featured Jimmy Rushing on vocals.[18] A few months later, he was invited to join the band, which played mostly in Texas and Oklahoma. It was at this time that he began to be known as “Count” Basie (see Jazz royalty).[19] Kansas City yearsThe following year, in 1929, Basie became the pianist with the Bennie Moten band based in Kansas City, inspired by Moten’s ambition to raise his band to match the level of those led by Duke Ellington or Fletcher Henderson.[20] Where the Blue Devils were “snappier” and more “bluesy”, the Moten band was more refined and respected, playing in the “Kansas City stomp” style.[21] In addition to playing piano, Basie was co-arranger with Eddie Durham, who notated the music.[22] Their “Moten Swing”, which Basie claimed credit for,[23] was an invaluable contribution to the development of swing music, and at one performance at the Pearl Theatre in Philadelphia in December 1932, the theatre opened its door to allow anybody in who wanted to hear the band perform.[24] During a stay in Chicago, Basie recorded with the band. He occasionally played four-hand piano and dual pianos with Moten, who also conducted.[25] The band improved with several personnel changes, including the addition of tenor saxophonist Ben Webster. When the band voted Moten out, Basie took over for several months, calling the group Count Basie and his Cherry Blossoms. When his own band folded, he rejoined Moten with a newly re-organized band.[26] A year later, Basie joined Bennie Moten’s band, and played with them until Moten died in 1935 from a failed tonsillectomy. The band tried to stay together but failed. Basie then formed his own nine-piece band, Barons of Rhythm, with many former Moten members including Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), Lester Young (tenor saxophone) and Jimmy Rushing (vocals). The Barons of Rhythm were regulars at the Reno Club and often performed for a live radio broadcast. During a broadcast the announcer wanted to give Basie’s name some style, so he called him “Count”. It positioned him with Earl Hines, as well as Duke Ellington. Basie’s new band played at the Reno Club and sometimes were broadcast on local radio. Late one night with time to fill, the band started improvising. Basie liked the results and named the piece “One O’Clock Jump”.[27] According to Basie, “we hit it with the rhythm section and went into the riffs, and the riffs just stuck. We set the thing up front in D-flat, and then we just went on playing in F.” It became his signature tune.[28] John Hammond and first recordings Basie and band, with vocalist Ethel Waters, from the film Stage Door Canteen (1943)At the end of 1936, Basie and his band, now billed as Count Basie and His Barons of Rhythm, moved from Kansas City to Chicago, where they honed their repertoire at a long engagement at the Grand Terrace Cafe.[29] Right from the start, Basie’s band was known for its rhythm section. Another Basie innovation was the use of two tenor saxophone players; at the time, most bands had just one. When Young complained of Herschel Evans’ vibrato, Basie placed them on either side of the alto players, and soon had the tenor players engaged in “duels”. Many other bands later adapted the split tenor arrangement.[30] In that city in October 1936, the band had a recording session which the producer John Hammond later described as “the only perfect, completely perfect recording session I’ve ever had anything to do with”.[31] Hammond first heard Basie’s band on the radio and went to Kansas City to check them out.[32] He invited them to record, in performances which were Lester Young’s earliest recordings. Those four sides were released on Vocalion Records under the band name of Jones-Smith Incorporated; the sides were “Shoe Shine Boy”, “Evening”, “Boogie Woogie”, and “Oh Lady Be Good”. After Vocalion became a subsidiary of Columbia Records in 1938, “Boogie Woogie” was released in 1941 as part of a four-record compilation album entitled Boogie Woogie (Columbia album C44).[33] When he made the Vocalion recordings, Basie had already signed with Decca Records, but did not have his first recording session with them until January 1937.[34] By then, Basie’s sound was characterized by a “jumping” beat and the contrapuntal accents of his own piano. His personnel around 1937 included: Lester Young and Herschel Evans (tenor sax), Freddie Green (guitar), Jo Jones (drums), Walter Page (bass), Earle Warren (alto sax), Buck Clayton and Harry Edison (trumpet), Benny Morton and Dickie Wells (trombone).[35] Lester Young, known as “Prez” by the band, came up with nicknames for all the other band members. He called Basie “Holy Man”, “Holy Main”, and just plain “Holy”.[36] Basie favored blues, and he would showcase some of the most notable blues singers of the era after he went to New York: Billie Holiday, Jimmy Rushing, Big Joe Turner, Helen Humes, and Joe Williams. He also hired arrangers who knew how to maximize the band’s abilities, such as Eddie Durham and Jimmy Mundy. New York City and the swing yearsWhen Basie took his orchestra to New York in 1937, they made the Woodside Hotel in Harlem their base (they often rehearsed in its basement).[37] Soon, they were booked at the Roseland Ballroom for the Christmas show. Basie recalled a review, which said something like, “We caught the great Count Basie band which is supposed to be so hot he was going to come in here and set the Roseland on fire. Well, the Roseland is still standing”.[38] Compared to the reigning band of Fletcher Henderson, Basie’s band lacked polish and presentation.[39] The producer John Hammond continued to advise and encourage the band, and they soon came up with some adjustments, including softer playing, more solos, and more standards. They paced themselves to save their hottest numbers for later in the show, to give the audience a chance to warm up.[40] His first official recordings for Decca followed, under contract to agent MCA, including “Pennies from Heaven” and “Honeysuckle Rose”.[41] Hammond introduced Basie to Billie Holiday, whom he invited to sing with the band. (Holiday did not record with Basie, as she had her own record contract and preferred working with small combos).[42] The band’s first appearance at the Apollo Theater followed, with the vocalists Holiday and Jimmy Rushing getting the most attention.[43] Durham returned to help with arranging and composing, but for the most part, the orchestra worked out its numbers in rehearsal, with Basie guiding the proceedings. There were often no musical notations made. Once the musicians found what they liked, they usually were able to repeat it using their “head arrangements” and collective memory.[44] Next, Basie played at the Savoy, which was noted more for lindy-hopping, while the Roseland was a place for fox-trots and congas.[45] In early 1938, the Savoy was the meeting ground for a “battle of the bands” with Chick Webb’s group. Basie had Holiday, and Webb countered with the singer Ella Fitzgerald. As Metronome magazine proclaimed, “Basie’s Brilliant Band Conquers Chick’s”; the article described the evening: Throughout the fight, which never let down in its intensity during the whole fray, Chick took the aggressive, with the Count playing along easily and, on the whole, more musically scientifically. Undismayed by Chick’s forceful drum beating, which sent the audience into shouts of encouragement and appreciation and casual beads of perspiration to drop from Chick’s brow onto the brass cymbals, the Count maintained an attitude of poise and self-assurance. He constantly parried Chick’s thundering haymakers with tantalizing runs and arpeggios which teased more and more force from his adversary.[46] The publicity over the big band battle, before and after, gave the Basie band a boost and wider recognition. Soon after, Benny Goodman recorded their signature “One O’Clock Jump” with his band.[47] A few months later, Holiday left for Artie Shaw’s band. Hammond introduced Helen Humes, whom Basie hired; she stayed with Basie for four years.[48] When Eddie Durham left for Glenn Miller’s orchestra, he was replaced by Dicky Wells. Basie’s 14-man band began playing at the Famous Door, a mid-town nightspot with a CBS network feed and air conditioning, which Hammond was said to have bought the club in return for their booking Basie steadily throughout the summer of 1938. Their fame took a huge leap.[49] Adding to their play book, Basie received arrangements from Jimmy Mundy (who had also worked with Benny Goodman and Earl Hines), particularly for “Cherokee”, “Easy Does It”, and “Super Chief”.[50] In 1939, Basie and his band made a major cross-country tour, including their first West Coast dates. A few months later, Basie quit MCA and signed with the William Morris Agency, who got them better fees.[51] On February 19, 1940, Count Basie and his Orchestra opened a four-week engagement at Southland in Boston, and they broadcast over the radio on February 20.[52] On the West Coast, in 1942 the band did a spot in Reveille With Beverly, a musical film starring Ann Miller, and a “Command Performance” for Armed Forces Radio, with Hollywood stars Clark Gable, Bette Davis, Carmen Miranda, Jerry Colonna, and the singer Dinah Shore.[53] Other minor movie spots followed, including Choo Choo Swing, Crazy House, Top Man, Stage Door Canteen, and Hit Parade of 1943.[54] They also continued to record for OKeh Records and Columbia Records.[55] The war years caused a lot of members turn over, and the band worked many play dates with lower pay. Dance hall bookings were down sharply as swing began to fade, the effects of the musicians’ strikes of 1942–44 and 1948 began to be felt, and the public’s taste grew for singers. Basie occasionally lost some key soloists. However, throughout the 1940s, he maintained a big band that possessed an infectious rhythmic beat, an enthusiastic team spirit, and a long list of inspired and talented jazz soloists.[56] Los Angeles and the Cavalcade of Jazz concertsCount Basie was the featured artist at the first Cavalcade of Jazz concert held at Wrigley Field on September 23, 1945, which was produced by Leon Hefflin Sr.[57] Al Jarvis was the Emcee and other artists to appear on stage were Joe Liggins and his Honeydrippers, The Peters Sisters, Slim and Bam, Valaida Snow, and Big Joe Turner.[58] They played to a crowd of 15,000. Count Basie and his Orchestra played at the tenth Cavalcade of Jazz concert also at Wrigley Field on June 20, 1954. He played along with The Flairs, Christine Kittrell, Lamp Lighters, Louis Jordan and His Tympany Five, Ruth Brown, and Perez Prado and his Orchestra.[59] Post-war and later years Basie in Rhythm and Blues Revue (1955)The big band era appeared to have ended after the war, and Basie disbanded the group. For a while, he performed in combos, sometimes stretched to an orchestra. In 1950, he headlined the Universal-International short film “Sugar Chile” Robinson, Billie Holiday, Count Basie and His Sextet. He reformed his group as a 16-piece orchestra in 1952. This group was eventually called the New Testament band. Basie credited Billy Eckstine, a top male vocalist of the time, for prompting his return to Big Band. He said that Norman Granz got them into the Birdland club and promoted the new band through recordings on the Mercury, Clef, and Verve labels.[60] By 1956, Basie’s recordings were also showcased by Ben Selvin within the RCA Thesaurus transcription library.[61] The jukebox era had begun, and Basie shared the exposure along with early rock’n’roll and rhythm and blues artists. Basie’s new band was more of an ensemble group, with fewer solo turns, and relying less on “head” and more on written arrangements. Basie added touches of bebop “so long as it made sense”, and he required that “it all had to have feeling”. Basie’s band was sharing Birdland with such bebop musicians as Charlie Parker, Dizzy Gillespie, and Miles Davis. Behind the occasional bebop solos, he always kept his strict rhythmic pulse, “so it doesn’t matter what they do up front; the audience gets the beat”.[62] Basie also added flute to some numbers, a novelty at the time that became widely copied.[63] Soon, his band was touring and recording again. The new band included: Paul Campbell, Tommy Turrentine, Johnny Letman, Idrees Sulieman, and Joe Newman (trumpet); Jimmy Wilkins, Benny Powell, Matthew Gee (trombone); Paul Quinichette and Floyd “Candy” Johnson (tenor sax); Frank Wess (tenor sax and flute); Marshal Royal and Ernie Wilkins (alto sax); and Charlie Fowlkes (baritone sax).[64] DownBeat magazine reported: “(Basie) has managed to assemble an ensemble that can thrill both the listener who remembers 1938 and the youngster who has never before heard a big band like this.”[65] In 1957, Basie sued the jazz venue Ball and Chain in Miami over outstanding fees, causing the closure of the venue.[66] In 1958, the band made its first European tour. Jazz was especially appreciated in France, The Netherlands, and Germany in the 1950s; these countries were the stomping grounds for many expatriate American jazz stars who were either resurrecting their careers or sitting out the years of racial divide in the United States. Neal Hefti began to provide arrangements, including “Li’l Darlin'”. By the mid-1950s, Basie’s band had become one of the preeminent backing big bands for some of the most prominent jazz vocalists of the time. They also toured with the “Birdland Stars of 1955”, whose lineup included Sarah Vaughan, Erroll Garner, Lester Young, George Shearing, and Stan Getz.[67] In 1957, Basie the live album Count Basie at Newport. “April in Paris” (arrangement by Wild Bill Davis) was a best-selling instrumental and the title song for the hit album.[68] The Basie band made two tours in the British Isles and on the second, they put on a command performance for Queen Elizabeth II, along with Judy Garland, Vera Lynn, and Mario Lanza.[69] He was a guest on ABC’s The Pat Boone Chevy Showroom, a venue also opened to several other black entertainers. In 1959, Basie’s band recorded a “greatest hits” double album The Count Basie Story (Frank Foster, arranger), and Basie/Eckstine Incorporated, an album featuring Billy Eckstine, Quincy Jones (as arranger) and the Count Basie Orchestra. It was released by Roulette Records, then later reissued by Capitol Records. Later that year, Basie appeared on a television special with Fred Astaire, featuring a dance solo to “Sweet Georgia Brown”, followed in January 1961 by Basie performing at one of the five John F. Kennedy Inaugural Balls.[70] That summer, Basie and Duke Ellington combined forces for the recording First Time! The Count Meets the Duke, each providing four numbers from their play books.[71] Count Basie (left) in concert (Cologne 1975)During the balance of the 1960s, the band kept active with tours, recordings, television appearances, festivals, Las Vegas shows, and travel abroad, including cruises. Some time around 1964, Basie adopted his trademark yachting cap.[72] Through steady changes in personnel, Basie led the band into the 1980s. Basie made a few more movie appearances, such as in the Jerry Lewis film Cinderfella (1960) and the Mel Brooks movie Blazing Saddles (1974), playing a revised arrangement of “April in Paris”. In 1982 Basie and his orchestra were the featured entertainment for the 50th Anniversary celebrations of the Pittsburgh Steelers at the David L. Lawrence Convention Center.[73] Basie was a Prince Hall Freemason as a member of Wisdom Lodge No. 102 in Chicago as well as a Shriner.[74] Marriage, family and death Count Basie home in Addisleigh Pk, Adelaide Rd.Basie was a member of Omega Psi Phi fraternity. On July 21, 1930, Basie married Vivian Lee Winn, in Kansas City, Missouri. They were divorced sometime before 1935. Some time in or before 1935, the now single Basie returned to New York City, renting a house at 111 West 138th Street, Manhattan, as evidenced by the 1940 census. He married Catherine Morgan on July 13, 1940, in the King County courthouse in Seattle, Washington. In 1942, they moved to Queens. Their only child, Diane, was born February 6, 1944. She was born with cerebral palsy and the doctors claimed she would never walk. The couple kept her and cared deeply for her, and especially through her mother’s tutelage, Diane learned not only to walk but to swim.[75] The Basies bought a home in the new whites-only neighborhood of Addisleigh Park in 1946 on Adelaide Road and 175th Street, St. Albans, Queens.[76] On April 11, 1983, Catherine Basie died of heart disease at the couple’s home in Freeport, Grand Bahama Island. She was 67 years old.[77] Daughter Diane Basie died October 15, 2022, of a heart attack.[78] Count Basie died of pancreatic cancer in Hollywood, Florida, on April 26, 1984, at the age of 79.[1] SingersBasie hitched his star to some of the most famous vocalists of the 1950s and 1960s, which helped keep the Big Band sound alive and added greatly to his recording catalog. Jimmy Rushing sang with Basie in the late 1930s. Joe Williams toured with the band and was featured on the 1957 album One O’Clock Jump, and 1956’s Count Basie Swings, Joe Williams Sings, with “Every Day (I Have the Blues)” becoming a huge hit. With Billy Eckstine on the album Basie/Eckstine Incorporated, in 1959. Ella Fitzgerald made some memorable recordings with Basie, including the 1963 album Ella and Basie!. With the New Testament Basie band in full swing, and arrangements written by a youthful Quincy Jones, this album proved a swinging respite from her Songbook recordings and constant touring she did during this period. She even toured with the Basie Orchestra in the mid-1970s, and Fitzgerald and Basie also met on the 1979 albums A Classy Pair, Digital III at Montreux, and A Perfect Match, the last two also recorded live at Montreux. In addition to Quincy Jones, Basie was using arrangers such as Benny Carter (Kansas City Suite), Neal Hefti (The Atomic Mr Basie), and Sammy Nestico (Basie-Straight Ahead). Frank Sinatra recorded for the first time with Basie on 1962’s Sinatra-Basie and for a second studio album on 1964’s It Might as Well Be Swing, which was arranged by Quincy Jones. Jones also arranged and conducted 1966’s live Sinatra at the Sands which featured Sinatra with Count Basie and his orchestra stayed at the Sands Hotel in Las Vegas at Sinatra’s request. In May 1970, Sinatra performed in London’s Royal Festival Hall with the Basie orchestra, in a charity benefit for the National Society for the Prevention of Cruelty to Children. Sinatra later said of this concert “I have a funny feeling that those two nights could have been my finest hour, really. It went so well; it was so thrilling and exciting”.[79] Basie also recorded with Tony Bennett in the late 1950s. Their albums together included In Person and Strike Up the Band. Basie also toured with Bennett, including a date at Carnegie Hall. He also recorded with Sammy Davis Jr., Bing Crosby, and Sarah Vaughan. One of Basie’s biggest regrets was never recording with Louis Armstrong, though they shared the same bill several times.[80] In 1968, Basie and his Band recorded an album with Jackie Wilson titled Manufacturers of Soul.[81] Legacy and honors Count Basie Theatre in Red Bank, New JerseyCount Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music.[82] In his autobiography, he wrote, “I think the band can really swing when it swings easy, when it can just play along like you are cutting butter.”[83] In Red Bank, New Jersey, the Count Basie Theatre, a property on Monmouth Street redeveloped for live performances, and Count Basie Field were named in his honor.Received an honorary doctorate from Berklee College of Music in 1974.[84]Mechanic Street, where he grew up with his family, has the honorary title of Count Basie Way.In 2009, Edgecombe Avenue and 160th Street in Washington Heights, Manhattan, were renamed as Paul Robeson Boulevard and Count Basie Place. The corner is the location of 555 Edgecombe Avenue, also known as the Paul Robeson Home, a National Historic Landmark where Count Basie had also lived.In 2010, Basie was inducted into the New Jersey Hall of Fame.In October 2013, version 3.7 of WordPress was code-named Count Basie.[85]In 2019, Basie was inducted into the Blues Hall of Fame.Asteroid 35394 Countbasie, discovered by astronomers at Caussols in 1997, was named after him.[86] The official naming citation was published by the Minor Planet Center on November 8, 2019 (M.P.C. 118220).[87]6508 Hollywood Blvd in Hollywood, California is the location of Count Basie’s star on the Hollywood Walk of Fame.Representation in other mediaJerry Lewis used “Blues in Hoss’ Flat” from Basie’s Chairman of the Board album, as the basis for his own “Chairman of the Board” routine in the movie The Errand Boy.”Blues in Hoss’ Flat,” composed by Basie band member Frank Foster, was used by the radio DJ Al “Jazzbeaux” Collins as his theme song in San Francisco and New York.In Home Alone 2: Lost in New York (1992), Brenda Fricker’s “Pigeon Lady” character claims to have heard Basie in Carnegie Hall.Drummer Neil Peart of the Canadian rock band Rush recorded a version of “One O’Clock Jump” with the Buddy Rich Big Band, and has used it at the end of his drum solos on the 2002 Vapor Trails Tour and Rush’s 30th Anniversary Tour.Since 1963 “The Kid From Red Bank” has been the theme and signature music for the most popular Norwegian radio show, Reiseradioen, aired at NRK P1 every day during the summer.In the 2016 movie The Matchbreaker, Emily Atkins (Christina Grimmie) recounts the story of how Count Basie met his wife three times without speaking to her, telling her he would marry her some day in their first conversation, and then marrying her seven years later.The post-hardcore band Dance Gavin Dance have a song titled “Count Bassy” that is included on their 2018 album Artificial Selection.In his novel This Storm, James Ellroy makes Basie a character who is blackmailed by corrupt Los Angeles police to play a New Year’s Eve concert in exchange for ignoring a marijuana charge.DiscographyCount Basie made most of his albums with his big band. See the Count Basie Orchestra Discography. From 1929 to 1932, Basie was part of Bennie Moten’s Kansas City Orchestra: Count Basie in Kansas City: Bennie Moten’s Great Band of 1930-1932 (RCA Victor, 1965)Basie Beginnings: Bennie Moten’s Kansas City Orchestra (1929–1932) (Bluebird/RCA, 1989)The Swinging Count!, (Clef, 1952)Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette, 1958)The Atomic Mr. Basie (Roulette, 1958)Memories Ad-Lib with Joe Williams (Roulette, 1958)Basie/Eckstine Incorporated with Billy Eckstine ( Roulette 1959)String Along with Basie (Roulette, 1960)Count Basie and the Kansas City 7 (Impulse!, 1962)Basie Swingin’ Voices Singin’ with the Alan Copeland Singers (ABC-Paramount, 1966)Basie Meets Bond (United Artists, 1966)Basie’s Beatle Bag (Verve, 1966)Basie on the Beatles (Happy Tiger, 1970)Loose Walk with Roy Eldridge (Pablo, 1972)Basie Jam (Pablo, 1973)The Bosses with Big Joe Turner (1973)For the First Time (Pablo, 1974)Satch and Josh with Oscar Peterson (Pablo, 1974)Basie & Zoot with Zoot Sims (Pablo, 1975)Count Basie Jam Session at the Montreux Jazz Festival 1975 (Pablo, 1975)For the Second Time (Pablo, 1975)Basie Jam 2 (Pablo, 1976)Basie Jam 3 (Pablo, 1976)Kansas City 5 (Pablo, 1977)The Gifted Ones with Dizzy Gillespie (Pablo, 1977)Montreux ’77 (Pablo, 1977)Basie Jam: Montreux ’77 (Pablo, 1977)Satch and Josh…Again with Oscar Peterson (Pablo, 1977)Night Rider with Oscar Peterson (Pablo, 1978)Count Basie Meets Oscar Peterson – The Timekeepers (Pablo, 1978)Yessir, That’s My Baby with Oscar Peterson (Pablo, 1978)Kansas City 8: Get Together (Pablo, 1979)Kansas City 7 (Pablo, 1980)On the Road (Pablo, 1980)Kansas City 6 (Pablo, 1981)Mostly Blues…and Some Others (Pablo, 1983)88 Basie Street (Pablo, 1983)As sidemanWith Eddie Lockjaw Davis Count Basie Presents Eddie Davis Trio + Joe Newman (Roulette, 1957)With Harry Edison Edison’s Lights (Pablo, 1976)With Benny Goodman The Famous 1938 Carnegie Hall Jazz Concert (Columbia, 1939)Solo Flight: The Genius of Charlie Christian (Columbia, 1939)With Jo Jones Jo Jones Special (Vanguard, 1955)With Joe Newman Joe Newman and the Boys in the Band (Storyville, 1954)With Paul Quinichette The Vice Pres (Verve, 1952)With Lester Young The Complete Savoy Recordings (Savoy, 1944)FilmographyPolicy Man (1938)[88]Hit Parade of 1943 (1943) – as himselfTop Man (1943) – as himselfSugar Chile Robinson, Billie Holiday, Count Basie and His Sextet (1950) – as himselfJamboree (1957)Cinderfella (1960) – as himselfSex and the Single Girl (1964) – as himself with his orchestraBlazing Saddles (1974) – as himself with his orchestraLast of the Blue Devils (1979) – interview and concert by the orchestra in documentary on Kansas City music
Frequently Asked Questions About RARE – Count Basie – Signed FDC Cover – Jazz Band 1945 Autograph in My Website
appliedpaymentsolutions.com is the best online shopping platform where you can buy RARE – Count Basie – Signed FDC Cover – Jazz Band 1945 Autograph from renowned brand(s). appliedpaymentsolutions.com delivers the most unique and largest selection of products from across the world especially from the US, UK and India at best prices and the fastest delivery time.
What are the best-selling RARE – Count Basie – Signed FDC Cover – Jazz Band 1945 Autograph on appliedpaymentsolutions.com?
appliedpaymentsolutions.com helps you to shop online and delivers Parajumpers to your doorstep. The best-selling Parajumpers on appliedpaymentsolutions.com are: PARAJUMPERS WOMENS FUR TRIM HOODED PARKA COAT NAVY BLUE SIZE S Parajumpers W-Sea Rescue Women Jacket S Slim Fit Beige Ecru Light Hood Short Parajumpers Wind Breaker Long Hooded Parka Jacket Parajumpers Midseason Lightweight Series Down Puffer Winter Jacket Sz XS-S Parajumpers knit & down longline jacket Size Small Parajumpers Black Jacket Women’s Masterpiece Series Mid-Season Equipment Size M Parajumpers Long Bear Down Parka Masterpiece Real Fur Detachable Hood Size M Parajumpers Down coat ladies size S $1.420! VERY RARE! NEW Men’s Parajumpers Sheridan Down Parka – Pencil Grey – L [Rare] PARAJUMPERS Wool Belt Parajumpers $850 Parajumpers Women’s Marion Jacket Size Small NEW New Winkler Compact Axe RnD Full Front Spike in Maple with Tribal Parajumpers down long Parajumpers PARAJUMPERS Women’s Puffer Jacket Size XXS High Fill Down Power Blue s5103 PARAJUMPERS Italian Knit Warm Scarf 100% Wool Beige and Dark Blue Women PARAJUMPERS Black Multipocket Full Zip Belted Parka Jacket Size S Parajumpers Jacket Women Small Black Masterpiece Parka Slim Down Coat Fur Trim * PARAJUMPERS Down Parka High Fill 90/10 Brown Jacket Coyote Fur Hooded Luxury S MSRP $599 Parajumpers PJS Windbreaker Inner Ventilation Mary Todd Ivory Small PARAJUMPERS NEPTUNE PR02-529 Pararescue Utility Jacket Weatherproof Pumpkin S-M Red Parajumper Parka Parajumpers Gobi Black Down Bomber Jacket 2 in 1 Winter Men’s Size L RRP 800$ Parajumpers Fleece Jumper Sweatshirt Men’s Size L Big Logo Long Sleeve Parajampers Masterpiece Winter Full Zip Hooded Down Puffer Jacket Sz Young Small Parajumpers Day Tripper Down Vest Men’s Large Blue $450 EUC PARAJUMPERS High Fill Power Womens Down Quilted Brown jacket Size M Parajumper – Olivia -ightweight jacket women with knit-sleeves Parajumpers Janet Jacket Parajumpers Women Down Jacket Geena XL Beige Short Lightweight Windproof NEW Parajumpers Super Light Weight Down Jacket Womens Size M Parajumpers Verna Womens Hooded Down Padded Jacket PARAJUMPERS PJS Wool Fleece Sweat Parka PARAJUMPERS PARAJUMPERS PJS Womens Long Bear Down Jacket Masterpiece Series Size XS [Luxury] PARAJUMPERS Long Down Jacket with Fur Hood AC26 Parajumpers PARAJUMPERS SAMPLE DOWN COAT 2 TONE NYLON 222MPWPUFCB33 GREIGE Used MESC-0 Woman’s PARAJUMPERS Kodiak Down Long Parka Black Jacket Size Small Coat Fur Hood Parajumpers Gobi Fur Bomber Jacket Coat Kids Age 14 Parajumpers Jacket XS Parajumpers Parka down Jacket Right Hand Baseball Lined Rush Green Khaki 08911 Parajumpers 13Aw Master Piece Series/Down Vest/-/Nylon/Khaki/Mjckma05 358 Parajumpers shirts Women’s Parajumpers Windbreaker Raincoat Waterproof Navy Parka Jacket Size S Parajumpers Fleece Big Logo Cotton Sweatshirt Jumper Mens Size L Parajumpers Special Edition Perforated Lamb Leather Nylon Windbreaker Womens M Parajumpers Women’s Midseason Lightweight Series Parka in Black Size Small Parajumpers / Navy Down Ladies Good Condition Parajumpers Women’s Down Filling Raspberry Red Gilet Vest size M Parajumpers Women Jacket Nylon Parka Coat Navy Size XL Windbreaker Women’s PARAJUMPERS Long Bear Parka Down Puffer Jacket Coat Slim S XS-S PARAJUMPERS Parajumpers Down Coat Kids Size 8 Parajumpers Italian Parajumpers PJS Tin Sign Board Signage Store Fixtures Parajumpers PARAJUMPERS Fleece gray t shirt size L $745! NWT Men’s Parajumpers Wilbur Down Gilet Vest – Citronelle Yellow – L Parajumpers AUTHENTIC PARAJUMPERS GOBI ECO BOYS HOODED BOMBER NAVY SIZE 10 (KIDS) BRAND NEW PARAJUMPERS Flight Down Jacket Beige M Parajumpers Parajumpers Right Hand Parka / Mens Medium / Navy / NWT Parajumpers Aline Long Puffer in SILVER-GREY Large / 55.5 cm NEW Parajumpers Lightweight Jacket with hoodie size S AUTHENTIC PARAJUMPERS GOBI ECO MEN JACKET LAKE BLUE XL XLARGE BRAND NEW Parajumpers Hermann Man Down Vest Size M Gray Sportswear Casual Parajumpers Long Bear Down Jacket – Women’s, S, Navy /58269/ Parajumpers Jinny Womens Hooded Down Jacket Parajumpers Down Puffer Light Jacket Bomber Dark Blue Size M PARAJUMPERS Hat Beanie Big Central Logo PJS One Size Parajumpers Puffer Down Winter Jacket Women’s Brown Size S RRP £690 Parajumpers Women’s Jacket Size S PARAJUMPERS M size outer jacket Parajumpers PARAJUMPERS PJS ROSS DOWN JACKET MEN PUFFER JACKET PMPUFUL03214 Parajumpers Ugo SL04 Jacket Super Lightweight Awesome Mens Down Coat Anchorage Parajumpers Janet Womens Hooded Down Padded Jacket Parajumpers Cream Caelie Hooded Jacket Size Small Parajumpers puffer PJS down jacketARCTERYX SKI GORPCORE PARAJUMPERS Masterpiece Hooded Jacket Red Women’s Windbreaker Size S Vintage Parajumpers Women’s Long Bear Hooded Down Jacket Fur Trim Parajumpers black long jacket with fur for kids 4yrs old Parajumpers Beige Fur Hooded Kodiak Long Parka Coat Parajumpers Womens Bomber Jacket. S Size. Very Good Condition. Parajumpers Anya Womens Hooded Down Jacket Parajumpers Camel Brown Distressed Leather Women’s Biker Jacket Hooded Size S Parajumpers long bear parka down jacket arctic masterpiece womens xs beige Women’s PARAJUMPERS Light Long Bear Parka Down Puffer Jacket Coat Size M Slim short down Parajumpers Parajumpers Womens Rindou Puffer Toubre Size L NWT parajumpers beige super lightweight jacket size small women’s PJS Downs Power Team Elite – WORLD PEACEKEEPERS Parajumper (PJ) 12″ figure – NEW! PARAJUMPERS Fly Weight Blue Nylon Windbreaker Jacket Size L Parajumpers women’s Jacket size L genuine designer puffa Masterpiece WOMEN’S PARAJUMPERS LONG BEAR BASE DOWN COAT IN BLACK SIZE M Medium PARAJUMPERS MASTER PIECE SERIES “‘ THE PM JCK OWNER MAN”‘ ( MEDIUM) $ 795 Parajumpers women’s windbreaker nylon coat jacket Size : L Parajumpers Miroku Mens Hooded Down Jacket Parajumpers Multipocket Beige Nylon Woman’s Jacket Size S Parajumpers Madras Checkered Shirt sz XXL Parajumpers knit down Parajumpers Parajumpers Kochi-Man Down Nylon Puffer Jacket PARAJUMPERS PJS Denali Women’s Winter Down Parka Jacket Brown Size S RRP £480 PARAJUMPERS MASTERPIECE SERIES Women’s Slim Fit Black Down Jacket Coat S Small Parajumpers Women’s Rebecca Ventilated Windbreaker Lightwear Trench Jacket Ivory Women’s Parajumpers Masterpiece Series Anthology Parka Beige Size S Mens Pullover Fleece Hoodie