Criticizing one's own band isn't the easiest thing to do, and yet I welcome the opportunity. Sometimes, you know, we form snap judgments of bands on broadcasts, in theaters and even on one-night stands which are not quite fair. Unless the listener hears and studies a band seriously, there's a chance that he will form his own opinion of that organization's ability and worth. And sometimes that's not so good."Tate Fits in Okay"
Some of you know that our band features a "heavy" brass section. I guess the word "heavy" is okay in this instance, because our brass includes four trumpets and three trombones. Frankly, I think the brass is our problem, but-and I'm being just candid in my opinion-I also think we have that particular section just where we want it now. My problem, of course, is keeping it that way.
The saxes, four of them, are also phrasing the way I want them to phrase, and their intonation-which gave us a little trouble back in the days when the band was first organized-apparently is up to the par we set. Of course we were a little rough a few months ago when we made a change as a result of Herschel Evans' death, but George (Buddy) Tate caught on in a hurry and fits right in now.
"No Rhythm Worries"
I am sure that the rhythm section is right as it is. It's the one section that has given us no trouble at any time. And when I speak of the rhythm, I mean bass, drums and guitar. You can count me out.
Am I satisfied with the band today?
Follows His Old Ideas
Not by a long shot, Jack. I have a purpose in everything I try to do with the band. A few years ago I was using nine pieces in a little club called "The Reno" in Kansas City. We worked together a long while. We got so we coordinated every move, every solo, perfectly. That was how Walter Bales, John Schilling, Don Davis and a few other Kansas City cats found us playing; that's how we got to broadcast every night. It was nine pieces that saw Basie get his biggest break with Benny Goodman, John Hammond and Willard Alexander, as a result of that radio wire and the raves of the men I just mentioned.
Now-and this is the point I want understood most, if you don't mind-I want my 15-piece band today to work together just like those nine pieces did. I want 15 men to think and play the same way. I want those four trumpets and three trombones to bite with real guts. BUT I want that bite to be just a tasty and subtle as if it were the three bass I used to use. In fact, the only reason I enlarged the brass was to get a richer harmonic structure. The minute the brass gets out of hand and blares and screeches instead of making every note mean something there'll be some changes made.
"Not Too Much Piano"
I, of course, wanted to play real jazz. When we play pop tunes, and naturally we must, I want those pops to kick! Not loud and fast, understand, but smoothly and with a definite punch. As for vocals, Jimmy Rushing and Helen Humes are handling them the way we feel they can best be handled. Earl Warren, who plays lead alto, also sings occasionally. That's all the comment I have on our purposes, style and our vocalists.
My piano?
Well, I don't want to "run it into the ground," as they say. I love to play, but this idea of one man taking one chorus after another is not wise, in my opinion. Therefore, I feed dancers my own piano in short doses, and when I come in for a solo, I do it unexpectedly, using a strong rhythm background behind me. That way, we figure the Count's piano isn't going to become monotonous.
Eight Original Men Remain
We get a lot of questions about personnel. It includes Earl Warren, alto; Lester Young, tenor; Jack Washington, alto and baritone, and George (Buddy) Tate, tenor; Ed Louis, Wilbur (Buck) Clayton, Shad Collins, and Harry Edison, trumpets, in that order; Benny Morton, Dickie Wells and Dan (Slamfoot) Minor, trombones in that order, and Jo Jones, drums; Walter Page, bass; Freddie Green, guitar,<
