[Congressional Record Volume 150, Number 122 (Friday, October 1, 2004)]
[Extensions of Remarks]
[Page E1772]
From the Congressional Record Online through the Government Publishing Office [www.gpo.gov]




 COMMEMORATING THE 100TH ANNIVERSARY OF THE BIRTH OF WILLIAM ``COUNT'' 
   BASIE AND ACKNOWLEDGING HIS CONTRIBUTIONS TO JAZZ AND SWING MUSIC

                                 ______
                                 

                               speech of

                         HON. CHARLES B. RANGEL

                              of new york

                    in the house of representatives

                     Wednesday, September 29, 2004

  Mr. RANGEL. Mr. Speaker, I rise before you today to join with my 
colleagues in paying tribute to one of the most adored musical 
treasures of our time, the legendary William ``Count'' Basie.
  Though we lost the late Great Count Basie in 1984 at the age of 79, 
his melodious spirit and rhythmic style will never be forgotten.
  It is said of Count Basie, that he was one of the pre-eminent 
bandleaders of the Big Band era in the 1930's and 40's. Dubbed the 
``Master of Swing'' because of the flowing intensity of his music, 
Count Basie was known for his provocative keyboard style characterized 
by a predominant right hand, which produced quite a distinctive sound.
  Among his band's best known tunes was ``One O'Clock Jump,'' ``Jumpin' 
at the Woodside,'' ``Li'l Darlin','' and ``April in Paris.'' With the 
Count on Piano and band member Freddie Green on guitar, American jazz 
would never be the same.
  Though he was born in Red Bank, New Jersey, Count Basie would call 
New York City home when he moved there in 1924 and became acquainted 
with Harlem and the talents of Fats Waller. He and Fats became friends 
almost immediately and Fats would end up teaching him to play the 
organ.
  Count Basie began his professional career as an accompanist on the 
vaudeville circuit, and in 1935, became the leader of a nine-piece 
band. It was while he was with this band performing in Kansas City, 
that a radio announcer nicknamed him ``Count'' because he wanted to 
indicate his standing in a class with aristocrats of jazz such as Duke 
Ellington.
  Though rooted in the style of the 1930s swing-era big bands, the 
Basie orchestra played with the vigorous drive and carefree swing of a 
small combo, and was considered a model for ensemble musical 
conception.
  Mr. Speaker, I ask my colleagues to join me in commemorating the 
100th anniversary of the birth of William ``Count'' Basie and his 
numerous contributions to jazz and swing music.

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