Atop an Underwood by Jack Kerouac Read Free Book Online Page A

when he takes a solo on his hides, unlike the ordinary drummers who stop all activities when they set sail on their riflings. Freddy Green’s steady guitar work has been unparalleled in jazz since the days of the old school guitarists. When Freddy Green starts his rhythm going, in unison with Walter Page’s mighty bass-playing and Jo Jones chimes in on the drums, you have the rhythm section that every maestro dreams of.
    But that is only half of it. The Count’s soloists are all good, especially Lester Young, Dickie Wells, Harry Edison, and Buck Clayton.
    Lester Young, who is now rated along with Coleman Hawkins on the hot tenor, is the Count’s outstanding soloist. Lester uses a different riff on every chorus, and his enormous store of ideas enables him to take an unlimited number of solos. His phrasing on jump numbers is unequaled, while he is highly proficient when it comes to blues. It would be safe to say that Lester Young is actually popularizing the tenor sax, an instrument which the ordinary jitterbug cares little for, because he would prefer a screeching trumpet a la Clyde Hurley. Young’s playing may turn the trend of public interest to the tenor sax, because he is really a master-mind with that horn of his.
    Besides Lester Young, Buddy Tate plays the tenor in the first chair. Tate is a stylist, and has an individual style definitely distinct from Young’s, which adds a touch of variety to the Basie reeds. Earl Warren and Jack Washington are the other two saxists, each of whom are better than average. Lester Young is also a terrific clarinetist, but he rarely plays it except to mess around someone else’s solo in the background. The same for Washington’s alto yet to be heard.
    Harry Edison, a powerhouse trumpeter, with a choice individuality of ideas, is featured in the brass section. His marvelous control, and the thrilling manner in which he delivers his trumpet solos makes him the equal of Buck Clayton, the other trumpet ace.

CLAYTON RANKS WITH BEST
    Clayton, who has improved a great deal in his long stay with Basie, has beautiful tone and some wonderful ideas. Clayton ranks, in fact, with the greatest trumpeters of all time. Al Killian, who recently joined the band at the Golden Gate Ballroom, has taken Shad Collins’ place as lead trumpeter. Collins had been an amazing high note trumpeter. Ed Louis, a good hot player, occupies the other chair.
    However, the thing which makes Basie’s trumpet section what it is is the definite clash of style, provided by Edison and Clayton.
    Dickie Wells, probably ranking alongside of Higginbotham, Keg Johnsen and all the other great slip-horn men, is the man who provides those stirring trombone passages for the Count Basie orchestra. Dickie has a torrid accent on his phrasing, and is purely hot. It was unfortunate that Ben Morton had to leave the Basie band last month, but Wells will carry on. Vic Dickerson replaced Morton. The other trombonist is Dan Minor, the veteran first chair man. Morton had been Basie’s straight player and hot man before leaving.
    One could pick up a dictionary and cast all the superlatives in existence upon the Basie group, but it still wouldn’t suffice. Words cannot explain the meaning of Basie’s music, both to the listener, and to the good name of swing. A marvelous drive, borne by the assurance of over-talented musicians, makes this group what it is—the last word in music.
    Supplied with an amazing group of soloists, Count Basie’s orchestra has all the necessary harmonious technique and life conducive of REAL swing bands—and we do mean Basie.
    (This is the first in a series of articles dealing with the nation’s leading swing orchestras, written by Jack Kerouac and based on theories and opinions derived from Seymour Wyse, Donald Wolf, and the author himself.)

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    The next five selections were written by Kerouac in the summer of 1940. In May 1955, working on what became