A Jazz Legend William James “Count” Basie is one of the greatest figures in jazz music history. Along with the orchestra he led, Basie not only created captivating music but also brought significant changes to this genre. Count Basie’s Orchestra is a symbol of resilience, innovation, and unparalleled musical quality. This article will discuss the journey of Count Basie and his orchestra, review their influence in the music world, and delve deeper into the legacy they left behind. The Early Career of Count Basie Count Basie: Youth and Inspiration Count Basie was born on August 21, 1904, in Red Bank, New Jersey. From an early age, Basie showed a great interest in music, especially the piano. He learned from several local musicians and was greatly inspired by the ragtime and stride piano music that flourished during that time. Journey to Kansas City Basie began his professional career by joining various small bands before finally settling in Kansas City. It was here that Basie met Bennie Moten, a renowned bandleader who later became Basie’s mentor. After Moten’s death in 1935, Basie took over most of the band members and formed his own orchestra. The Birth and Rise of Count Basie’s Orchestra Early Years and Breakthrough ECount Basie’s Orchestra began gaining national attention in 1936 after their performances in Kansas City nightclubs caught the interest of record producers. In 1937, they signed a contract with Decca Records and released several hit songs, including “One O’Clock Jump” and “Jumpin’ at the Woodside.”arly Years and Breakthrough Unique Musical Style One of the main strengths of Count Basie’s Orchestra is their distinctive musical style. Basie was known for his minimalist approach, giving space for soloists to shine. This style, often referred to as “Kansas City Swing,” was very different from other big bands of the time that tended to be more orchestral and heavy. Star Players in Count Basie’s Orchestra Lester Young: The Legendary Saxophonist Lester Young, a tenor saxophonist, was one of the most iconic players in Basie’s orchestra. His soft and melodic playing style was in stark contrast to the hard and aggressive style that dominated at the time. Young provided a unique touch to Basie’s music and became an inspiration for many other saxophonists. Joe Williams: The Golden-Voiced Vocalist Joe Williams joined the orchestra in 1954 and quickly became the lead vocalist who brought Basie’s orchestra to a new peak of popularity. With his deep and emotional baritone voice, Williams was able to deliver lyrics in a very touching and memorable way. Influence and Legacy of Count Basie’s Orchestra Innovations in Jazz Music Count Basie’s Orchestra was not only commercially successful but also brought many innovations to jazz music. They were pioneers in the use of recurring “riffs,” providing a strong yet flexible structure for soloists. This innovation later became a standard in big band jazz and influenced many other musicians and bands. Impact on Popular Culture Count Basie’s music also transcended genre boundaries and became part of American popular culture. Their songs were often used in films, television shows, and advertisements, making them cultural icons recognized by various generations. Famous Albums and Recordings “The Atomic Mr. Basie” Released in 1958, “The Atomic Mr. Basie” is one of the most famous albums by Basie’s orchestra. This album features energetic compositions and innovative arrangements, making it one of the best works in jazz history. “April in Paris” The album “April in Paris,” released in 1956, is also one of the monumental works by Basie’s orchestra. The title track from this album became a big hit and is often considered one of the best performances by the orchestra. Iconic Concerts and Performances Carnegie Hall and Newport Jazz Festival Count Basie’s Orchestra often performed on some of the world’s most prestigious stages, including Carnegie Hall and the Newport Jazz Festival. Their performance at the Newport Jazz Festival in 1957, for example, is considered one of the best performances in the festival’s history. International Tours In addition to performing in the United States, Basie’s orchestra also conducted successful international tours. They often performed in Europe, Asia, and South America, introducing jazz music to new audiences worldwide. Continuity and Evolution of the Orchestra Successors and New Generations Although Count Basie passed away in 1984, his musical legacy lives on. Basie’s orchestra continues under the leadership of new music directors, maintaining the same spirit and quality of music. They continue to perform at various events and festivals and record new albums that receive critical acclaim. Education and Training In addition to performing, Basie’s orchestra is also active in supporting music education. They often hold workshops and clinics for young musicians, helping to preserve jazz traditions and inspire a new generation. Conclusion: An Unforgettable Legacy Count Basie and his orchestra have left a profound mark on the world of jazz music. Through musical innovation, captivating performances, and a commitment to quality, they have changed the way we hear and understand jazz. Their legacy will continue to live on, inspiring musicians and listeners from various generations to celebrate the beauty and richness of jazz music. Count Basie & His Orchestra is not just a name but an eternal icon in music history.

An Open Letter to the Herb Alpert Foundation from While We Are Still Here Herb Alpert Herb Alpert Foundation 1414 6th Street Santa Monica, California 90401 Dear Mr. Alpert: We, the board members of While We Are Still Here (WWSH)—a Harlem-based, nonprofit dedicated to the preservation of the rich cultural history of Harlem—write to express our concern about the apparent exclusion of Dorothy Maynor from the exterior of the Harlem School of the Arts (HSA), which she founded in 1964 and led, as its executive director, until 1979. As long-term residents and active members of the Harlem community, While We Are Still Here’s board of directors are steeped in Harlem’s history. Also, some of us have worked at HSA, sent our children there, or attended classes there. We read the New York Times’s recent article, “With Help From Herb Alpert, Letting the Light In at the Harlem School of the Arts” (November 8, 2020) with great interest. While the article highlights the work that the Herb Alpert Foundation has done to infuse HSA with renewed life, we are concerned that there is no visible exterior acknowledgment or reference to its founder Dorothy Maynor. Additionally, we, as women of color, want history to clearly reflect that when HSA experienced a catastrophic financial hardship in 2010, artist Mary J. Blige, along with the Herb Alpert Foundation, stepped in to assist this Harlem treasure keep its doors open to serve the community. Too often we find that history fails to acknowledge the work of African American women and their contributions to society, when, in fact, it is their work that has pushed forward, supported, and made possible many of the advances we see in society. A member of WWSH’s leadership noticed the exclusion of Ms. Maynor from the façade of HSA while walking past the school, and, after several trips, wondered when an acknowledgment of its founder would be placed on the exterior of the edifice. That Ms. Maynor’s name is not visible is disrespectful and deeply offensive, given her contribution to the Harlem community, the arts, and to generations of students and artists who have come through the doors of the venerable Harlem institution. Dorothy Maynor’s contributions to Harlem are profound and should be acknowledged on the structure she created. Ms. Maynor’s love of community and her humanism compelled her to found HSA, so that the children of Harlem would have access to exceptional arts instruction. Ms. Maynor was a member of Delta Sigma Theta Sorority, Inc., the largest existing African American Greek letter organization in the world, with more than 300,000 members. In discussing her legacy with Ms. Monique Jackson-Dickens, president of the New York Alumnae Chapter, we agree that it is an injustice for Ms. Maynor’s vision and contribution to be unrecognized on the exterior of the building. We recognize her vision and sacrifice to make the arts accessible for Harlem’s children. Consider the impact of Margo Lee Shetterly’s subjects in her book, Hidden Figures, and its screen adaptation. A few African American women made space exploration possible for the United States and few knew of their work until recent years. Ms. Maynor is in danger of becoming another hidden figure. In a letter dated May 27, 2019, we reached out to the Herb Alpert Foundation suggesting that Ms. Maynor’s name be placed alongside Herb Alpert’s, so that her name is visible, her vision is acknowledged, and her memory is sustained for posterity for all who pass the building. The failure to acknowledge Ms. Maynor in any obvious, physically visible form on the outside of the structure relegates her and her contribution to the proverbial back door. Untold numbers of African Americans in Jim Crow America had to walk through the back doors of the American South (and North). As a professional opera singer, Ms. Maynor was also forced to use the back door, undoubtedly suffering the indignities imposed by segregation, which was enforced by absolute depravity and terror. However, Ms. Maynor rose above society’s pathologies: Through sheer will and focus, assisted by her husband, Reverend Shelby Rooks, she founded the Harlem School of the Arts, which we strongly believe must preserve her legacy in a visible form. Yet, it appears by present actions, that death has not freed her from inequitable treatment, because even in death her cultural and financial largesse and grand accomplishments are obscured by this omission. The situation at HSA is not merely an issue of a donor paying for a naming opportunity. This is an issue of how history will be preserved, told, and understood in the future. Ms. Maynor’s legacy is one that is an inspiring testimony to the dynamism of Black agency. Ms. Maynor had the financial savvy to retire the building’s mortgage in a year. Additionally, she sought the support of, and was highly respected by, her peers that included stars of European classical music, such as Vladimir Horowitz, Beverly Sills, Itzhak Perlman, and many others. If artists of that caliber held Ms. Maynor in such high regard, why is it that, in her death, she is being relegated to second-class status, while the world heaps praise on the Herb Alpert Foundation? We do not deny that the foundation’s philanthropic efforts deserve recognition. However, as it appears now, the acknowledgment of Dorothy Maynor’s vision and contribution are slowly being erased from public knowledge, and are in danger of being lost at the very institution she created for community children and aspiring artists. Recently, as a society, we have considered how site names and monuments can distort reality. For instance, the recent debates about the preservation of Confederate monuments give the impression that the insurrectionists won the Civil War, which we know was not the case. In this current climate, it is even more egregious that Ms. Maynor’s name is nowhere on the building’s façade. Mr. Alpert, we know that you have a big sound and a big heart. Ms. Maynor also had a big sound and a big heart. She planted