Count Basie (1904–1984), pianist, composer, and icon of big-band jazz, known for such classics as "Jumpin' at the Woodside," "Cherokee," and "One O'Clock Jump," recounts his life story to Albert Murray with all the charm and dry humor of two friends sitting at the kitchen table.
Good Morning Blues
is both testimony and tribute to a remarkable, rich life.
Paperback
,
432 pages
Published
April 18th 2002
by Da Capo Press
(first published 1986)
One of the great big jazz band leaders, Count Basie told his story to Albert Murray just prior to Basie’s death, from his childhood and youth in Red Bank, New Jersey, to his world citizen fame as a jazz ambassador and endlessly touring performer in the early 1980s. Murray manages to transcribe Basie’s voice to the page so it swings surprisingly well, making an engaging chronicle despite a particularly reticent storyteller.
Basie won’t brag, he won’t explain, he won’t gossip, he won’t take credit,
One of the great big jazz band leaders, Count Basie told his story to Albert Murray just prior to Basie’s death, from his childhood and youth in Red Bank, New Jersey, to his world citizen fame as a jazz ambassador and endlessly touring performer in the early 1980s. Murray manages to transcribe Basie’s voice to the page so it swings surprisingly well, making an engaging chronicle despite a particularly reticent storyteller.
Basie won’t brag, he won’t explain, he won’t gossip, he won’t take credit, he won’t settle scores (in either sense of the word). The most common phrases and sentences in this book are: I don’t really recall how that came to happen. I don’t remember much about that. That’s all I am going to say about that. But I’m not going to talk about that. All I can really say about that night…I could be a little mixed up about this… Much of Basie’s life is presented as a narrative itinerary. Another common phrase or sentence, When we came out of…(name the club, showroom or theater). “We went from the Paramount down to the Earle in Philadelphia, and on down to the Hippodrome in Baltimore. Then from there we swung back out into the Midwest for another string of one-nighters that took us in and out of Cleveland several times and also to Dayton and Cincinnati.” Name the region of the U.S., western Europe, Asia and Australia and the Basie story does a name-check through it, multiple times. Small cities, big cities. Club names change as Basie’s band becomes a bigger and bigger hit and, as time passes, what was is no more.
He alludes to the challenges of traveling during Jim Crow’s long heyday but doesn’t want to credit it unduly as an obstacle. When he and his band aren’t touring, they are recording. So he’ll say that they went and cut sides, later albums, and identify what was recorded, sometimes saying who in the band got a taste—a Basieism for a solo—on this track or another. The third theme after tours and recording sessions is changing band membership. There were two major iterations of the Count Basie Band but a constant stream of musicians and arrangers in and out. You do find out he was married twice, once a mistake that he won’t talk about and once for life. Very late in the book he admits to being a Peck’s bad boy and often being in the doghouse. But, you guessed it, that belated acknowledgement is pretty much all he’s going to say about that. He definitely had a child, perhaps two, maybe more. His wife may have adopted some since her husband was endlessly on the road. But he doesn’t have much to say about that.
He knew everyone in jazz and most anyone in show business. And he liked them all too. Art, Fats, Willie the Lion, Duke, Eubie, Pops, Chick, Billie, Lester, Frank, Sassy, Ella, Benny, Illinois, Buddy, Billy, Nat, Tony, et al. He learned from them, performed or recorded with them, avoided them—he’s charmingly funny about jazz’s cutting contests—how he avoided the great pianists of his day, when he could, faking being drunk or ill if they showed up at a rent party looking to see if the young Basie could play. One extended anecdote is a hilarious description of walking into a buzz saw when he didn’t realize that a certain club in Ohio was Art Tatum’s hangout. He stepped up to an innocent looking piano to show off for the ladies and messed around some. Then Tatum arrived. “This was several years before Joe Louis came on the boxing scene and wiped out all of the heavyweight prizefighters, but what happened was just like when a cocky boxer in the gym shows off, sparring around, and when he looked up, he saw Joe coming through the ropes.” How bad it was he leaves to your imagination, though he well sets it up by his lamenting his foolishness. After it’s over one of the girls he was showing off for says, “I could have told you.” Basie says, “Why didn’t you baby? Why didn’t you?” That bad.
Stories like that are rare, however, except at the beginning when he is starting out and at the end when he talks about Duke Ellington, about his band and its use of charts and heads, the role of different arrangers, and being in the doghouse. So you will find out little about much of what you might be interested in—that one four page discussion of the band’s charts near the end, for example, is as close as you get to an idea about what Basie’s aesthetic interests were. But that is Basie and while this isn’t as good as it might have been had he been more forthcoming on subjects like Jim Crow, the challenges of keeping a large band commercially and artistically successful for half a century, and other important topics, the book moves along and there is something refreshing about a memoir or autobiography that isn’t about self-promotion and personal gossip. The book is as engaging and innocuous as a Basie audience-pleasing cover of a popular show tune of the day, just a little lacking in the jazz and blues that made Basie’s music art.
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"We stopped off there and went into a bar where you could get sandwiches and cigarettes and candy and things like that, and they had a good piano in there. That's the part I will never forget, because I made the mistake of sitting down at that piano, and that's when I got my introduction to a keyboard monster by the name of Art Tatum. That's how I met him. I remember that part only too well.
I don't know why I sat down at that piano. We were all in there to get a little taste and little snack, an
"We stopped off there and went into a bar where you could get sandwiches and cigarettes and candy and things like that, and they had a good piano in there. That's the part I will never forget, because I made the mistake of sitting down at that piano, and that's when I got my introduction to a keyboard monster by the name of Art Tatum. That's how I met him. I remember that part only too well.
I don't know why I sat down at that piano. We were all in there to get a little taste and little snack, and the piano was there. But it was just sitting there. It wasn't bothering anybody. I just don't know what made me do what I went and did. I went over there and started bothering that piano. I just started fooling around with it, and then I started playing and messing around. And what did I do that for? That was just asking for trouble, and that's just exactly what I got. Because somebody went and found Art."
This memoir is chock-full of anecdotes like that, about the Greats of Jazz, as well as innumerable sidemen and characters. The anecdotes are all told with humor, humility, and an abiding love of his fellow musicians, and unfortunately they all start acquiring a patina of sameness, as years on the road start becoming interchangeable with other years on the road, over the course of many decades and over 380 pages. Here's another brief passage:
"I've got to the place now that I want to be relaxing and playing. If somebody's cutting me now, they're going to be cutting me relaxing. Those Sultans [Savoy Sultans, the house band at New York's Savoy Ballroom] will out-swing anybody right now. Right now. Somebody told me they got a few old cats in there, and they're playing like they did years ago, playing their cans off."
In a lot of ways, the Count reminds me of Nestor, in the Iliad (and Uncle Fred, in P.G. Wodehouse's stories); he's always going on, at length, over legendary cohorts in the distant past:
"One town we stopped in on the way was Muskogee, and that is where Pigmeat Markham left the company. One night after the show he and Harry Smith and I were out somewhere to find some juice and have ourselves a little fun, and while we sitting in some joint drinking and talking, Pigmeat pulled out a telegram from one of his old road-show buddies inviting him to come out and join a big carnival that was playing in Binghamton, New York.
He kept talking about it because he was having a lot of trouble trying to make up his mind about leaving Gonzelle short. So Harry Smith and I decided for him.
'Hell, man, go on', we told him. 'This might be your big chance.'"
And so Pigmeat Markham left Gonzelle White's touring company, and became a legendary vaudeville comedian; and no, I had never heard of him, either.
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It happened this way: By chance a couple years ago I saw an obituary of Albert Murray, I think it was online, and I wondered how on earth I had failed to never have heard of this American black author before. The only thing of his I could find to read online was an excerpt from a book of his correspondence with another [well-known] black author and those few pages were so very interesting.
I therefore set about looking for what Albert Murray had written, and f
So very glad I came across this book.
It happened this way: By chance a couple years ago I saw an obituary of Albert Murray, I think it was online, and I wondered how on earth I had failed to never have heard of this American black author before. The only thing of his I could find to read online was an excerpt from a book of his correspondence with another [well-known] black author and those few pages were so very interesting.
I therefore set about looking for what Albert Murray had written, and found some essays and a 3-volume autobiography AND he was co-writer of the autobiography of Count Basie. Now Count Basie to me was just a name, barely a name [I have never been up on jazz or blues or indeed any popular music at all], but this book [and the book of correspondence] seemed to be the only books of Albert Murray's still in print. I figured the book was probably worth reading, and went ahead and ordered a used copy.
Started reading it, and wow, it is great. Anybody who actually followed the blues scene would be fascinated. It's full of details. Basie seems [and this was in his late 70s he told all this to Albert Murray, who wrote it up] to remember EVERY song he ever played, every location he ever played in, the name of every musician he ever played with.
Kansas City figures prominently in the early part of the book, as that is kind of where Basie got started [after messing around some in New Jersey where he grew up, leaving school early]. Spent several years there, and I was thrilled to get the chance to visit downtown KC this June and see the part of town that used to be the jazz scene in what was the black district at the time. The American Jazz Museum is located in or near places where Count Basie played nightly back in the 1920s.
Also fascinating to read how popular dance halls were in those days. Bands of musicians would travel [by bus] for ONE-night stands from one city to another to play for them. WIchita and Topeka were among the cities they would stop at [this is as far west as he went in the early part of his career]. I never knew about all this.
SEPIA is the word used throughout the book to refer [I think] to blacks. I had never known, but it does occur in newspaper articles quoted in the book in the 1920s and 1930s, I had not even heard this term used as referring to people. Basie does not 'waste' words on racism, but does mention occasionally that they had to lodge with local blacks and eat at black churches when hotels and restaurants were not open to blacks. etc. etc. Anyway, if you read carefully, you can learn a lot about the racism aspect, but Basie does not dwell on it at all. It's MUSIC all the way.
"A little taste" is his standard expression for a drink [presumably whisky or scotch, which are mentioned specifically just a couple times] -- pretty amazing the guy was able to stay active into his 70s!
I wish I could hear Albert Murray on how he decided how to use language in this book. I'm guessing he cleaned it up a lot, regularized the tenses a lot, but he left in enough to give some indication that Basie was speaking to him in some form [perhaps a rather adapted form] of Black English. "Where you going?" and so on. There are enough authentic sounding expressions to make the narration colorful, yet Murray has made sure the reader will be able to understand just about everything that is said. Great job of that.
Early on in the book are the best anecdotes, e.g.:
"We stopped off there and went into a bar where you could get sandwiches and cigarettes and candy and things like that, and they had a good piano in there. That's the part I will never forget, because I made the mistake of sitting down at that piano, and that's when I got my introduction to a keyboard monster by the name of Art Tatum. That's how I met him. I remember that part only too well.
I don't know why I sat down at that piano. We were all in there to get a little taste and little snack, and the piano was there. But it was just sitting there. It wasn't bothering anybody. I just don't know what made me do what I went and did. I went over there and started bothering that piano. I just started fooling around with it, and then I started playing and messing around. And what did I do that for? That was just asking for trouble, and that's just exactly what I got. Because somebody went and found Art."
Another goodreader [Rick] did a great [long] review of this, incl:
"Basie won’t brag, he won’t explain, he won’t gossip, he won’t take credit, he won’t settle scores (in either sense of the word). The most common phrases and sentences in this book are: I don’t really recall how that came to happen. I don’t remember much about that. That’s all I am going to say about that. But I’m not going to talk about that. All I can really say about that night…I could be a little mixed up about this… "
Excellent history and tangential mention of all kinds of interesting facts & relationships. (Unfortunately, it reads a bit too much like a stereotypical history book.)
A delight listening to Bill tell his story, I especially enjoyed the Red Bank days and his sentiments regarding his mother. It mustn't have been easy in those early years, but Count sheds a gracious light on events with gentleness, style, and humor--five stars for content, but in need of a good copyeditor's magic, nothing major, just delete some of the repetition--some very funny stuff here coming straight from Count back in the glory days of Fats Waller, Billie Holiday, Lester Young, everybody,
A delight listening to Bill tell his story, I especially enjoyed the Red Bank days and his sentiments regarding his mother. It mustn't have been easy in those early years, but Count sheds a gracious light on events with gentleness, style, and humor--five stars for content, but in need of a good copyeditor's magic, nothing major, just delete some of the repetition--some very funny stuff here coming straight from Count back in the glory days of Fats Waller, Billie Holiday, Lester Young, everybody, FANTASTIC!
Not for anyone but the most die-hard Basie fans; and even for them (me) it's quite a long slog. There's plenty about the band's schedules of one-nighters, the numerous personnel changes, and recording sessions; the truly memorable anecdotes are scattered in between. Still, it was worth getting through; Basie's voice comes through loud and clear, and many stories are laugh-out-loud hilarious. Don't look for scandal; Basie has nothing bad to say about anyone, and an abundance of praise for both hi
Not for anyone but the most die-hard Basie fans; and even for them (me) it's quite a long slog. There's plenty about the band's schedules of one-nighters, the numerous personnel changes, and recording sessions; the truly memorable anecdotes are scattered in between. Still, it was worth getting through; Basie's voice comes through loud and clear, and many stories are laugh-out-loud hilarious. Don't look for scandal; Basie has nothing bad to say about anyone, and an abundance of praise for both his bandmates and his competition (e.g. Duke). And the book is much more linear than Duke's autobiography (Music is my Mistress), even if that's not saying much.
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Le plus gros des pavés que j'ai dans ma bibliothèque personnelle, d'habitude les gros livres ne me découragent pas plus que ça...sauf peut-être celui-là. Il est bientôt temps que je le dépoussière en tout cas, ça doit faire une dizaine d'années qu'il traîne dans mes étagères et pourtant je sais que Count Basie a plein d'anecdotes inédites à faire partager. ça sera aussi l'occasion pour moi de redécouvrir le ragtime et toute cette bonne vieille musique qui a marqué cette époque.
Not recommended. I'm glad I finished it but it was a pretty long read. Usually I love reading biographies, especially those written about musicians, but this one wasn't very well ordered or compelling.