When Herschel Evans died in 1939, Buddy Tate took his place in the Count Basie band. Basie used Tate's muscular, blues- based tenor as a foil to the lighter toned playing of Lester Young. Tate played with Basie for the next nine years fulfilling the same role with Young's successors, Don Byas, Illinois Jacquet, Lucky Thompson and Paul Gonsalves. He went on to play with Hot Lips Page, was in singer Jimmy Rushing's backing band, and from 1953-1974 led the house band at New York's Celebrity Club. Occasionally he would break off to tour ...read more
By the end of the 1930s both the Count Basie and Duke Ellington bands had established signature styles of music making that were in some respects antithetical. Whilst the latter was dependent on composition as an integral part of its musical output -and arguably no-one before or since has married composition and the making of jazz so successfully, the former had developed a kind of inner momentum from which its music flowed and which was shaped in no small part by the way in which the different sections of the band functioned and related to each other.
Such is the ...read more
From the moment in 1983 when he heard Buddy Tate play with fellow “Texas tenors” Illinois Jacquet, Eddie “Lockjaw” Davis and Arnett Cobb at the Berlin Philharmonic, drummer Torsten Zwingenberger knew he wanted Tate to tour and possibly record with his band. After a number of setbacks, this lively concert date at the Quasimodo in Berlin was recorded nearly seventeen years ago, in April 1986, at the close of Zwingenberger’s second tour with Tate.
Buddy, who was then in his seventies (somewhere between seventy-two and seventy-six, depending on which bio one reads), plays with the energy and ...read more
Combining two rare Swingville sessions from the 60’ this disc is an excellent primer for those unfamiliar with the singular sounds of Buddy Tate. Tate served a lengthy tenure in Basie’s band and many other Kansas City collectives before branching out on his own and these sessions visit him in his later years still laying down a voluptuous and sultry swing. His tone on tenor has elements of many of his peers, most noticeably Coleman Hawkins without the bite, but still retains a lilting originality. Hopkins hails from D.C. and his roots in the swing lineage run equally deep.
The ...read more
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