On July 28, 1995, the legendary Count Basie and his 15-piece band entertained a crowd of about 900 at the Berkshire Music Barn in Lenox.

Blasts by Count Basie Band Rock Lenox Audience of 900

By Milton R. Bass for The Berkshire Eagle.

BERKSHIRE COUNTY jazz fans were down for the Count last night. Some 900 turned out at the Music Barn in Lenox to hear Count Basie and his 15-piece band blow the overcast sky practically clear of clouds before the evening was over.

This is a large. brassy band with smooth instrumentation, good discipline and fine sidemen. There is nothing subtle about anything they play or do; each mission is a maximum effort.  The five reeds, seven brass and three rhythm concentrated mostly on band originals which gave the various members opportunity to display their wares. The choruses were fairly similar throughout the evening and the ensemble work showed the long rehearsals and careful preparation which have gone into this outfit.

THERE WERE tenor and trombone and trumpet solos by Charlie Fowikes and Fránk Foster and Joe Newman, and Frank Wess even did a couple of flute obbligatos during the course of the evening. He was pleasant but gave Doriot Anthony Dwyer absolutely nothing to worry about. Her seat is safe at the shack down the road.

Star of the evening, of course, was the Count himself, who sat there like a smiling Buddha, imperturbable, and flicked his fingers over the keys in the style which has made him immortal. As usual, he didn’t play much, but what he did was great. His only extended solo was in “Don’t Blame Me” and it was the kind of music that made Kansas City famous. It is fascinating to watch his economy of motion, meticulous phrasing, delicacy of touch, instinct and insight as he balances the blaring giant he has created with a sound that is completely unique. Basie must deliberately create these brassy bands as a foil for his delicate playing style. He’s been doing the same thing for years, but it still sounds fresh, still moves the people.

HIGH POINT of the evening for the crowd was the last segment, the blues, which featured Joe Williams on shout. Mr. Williams is no Jimmy Rushing or Joe Turner, but he has a powerful baritone with a slight wail and his “Every Day” and “I’ve Got a Girl Who Lives Up on a Hill” moved the audience to engage in responses.

The evening ended with the inevitable “One O’Clock Jump.” This was no louder than the earlier “April in Paris” so it couldn’t have been heard much beyond Canaan, Conn. The audience had a wonderful time and the band received banzais of appreciation. I guess this is what my doctor means when he keeps talking about group therapy.