Requisites
For Basie ~ Paul Quinichette | By Eddie Carter
A few nights ago, with rain falling and a cold atmosphere outside, it felt like the ideal moment to listen to a favorite album by tenor saxophonist Paul Quinichette. For Basie (Prestige PRLP 7127), first released in 1958, is a great “blowing session” of the 1950s and a heartfelt homage to Count Basie, offering memorable tunes and lively arrangements by pianist Nat Pierce. The group features two alumni from Basie’s band, showing that these jam sessions were anything but rushed or lacking in artistic merit. Rounding out the sextet are Shad Collins on muted trumpet (tracks: A1, A2, B2) and trumpet (tracks: A3, B1, B2), Freddie Green on guitar, Walter Page on bass, and Jo Jones on drums. The copy I own is the 1963 remastered stereo reissue (Prestige Swingville SVST 2036).
Side One opens at a relaxing beat with Rock-a-Bye Basie by Count Basie, Shad Collins and Lester Young. Nat opens with a short introduction, segueing into Shad's leisurely-paced melody, with Paul playing behind him. Paul’s opening solo is cool and inviting, then Shad comes in on muted trumpet like a gentle breeze on a summer night. Nat sums it up with a friendly reading, returning to the theme’s restatement and a soft conclusion. Texas Shuffle by Herschel Evans and Edgar Battle turns up the heat significantly, beginning with Pierce and Jones’ quick introduction ahead of the ensemble’s speedy melody. Quinichette takes the lead first, then Collins, again using a mute, takes over for a quick run. Quinichette has a short conversation with Jones, and Pierce has the last word before the group ends softly.
Out The Window, by Count Basie and Eddie Durham, was first recorded by Basie’s band in 1937. The sextet pays homage, with the front line featuring Shad on the open horn, leading the mid-tempo melody. Shad struts boldly into the opening statement. Paul follows with a solo that soothes as it swings, then Nat strolls into the third reading with finesse, leading to a lengthy theme reprise with quick comments by Paul and Jo before the close. The group starts Side Two with Jive at Five by Count Basie and Harry Edison, which opens at an easygoing beat for Jones, Pierce, and Page’s introduction to the ensemble’s melody. Quinichette takes the lead here at an unhurried pace. Collins steps up next, still on the open horn with an easily flowing solo. Pierce continues moving along toward the sextet’s closing chorus.
Digging For Dex by Count Basie and Eddie Durham is their tribute to former “Down Beat” editor, Dave Dexter. Nat continues the easygoing pace, leading the rhythm section through the introduction, segueing to the sextet’s theme with Shad still on the open horn. Paul has the first say and makes the most of each note. Shad steps into the spotlight next for some muted work, then Nat takes over and cruises comfortably toward the ensemble’s laid-back climax. Bob
Weinstock supervised the session, and Rudy Van Gelder managed the recording console. I was pleasantly surprised by the reissue’s sound quality, especially for a remastered stereo album from the 50s. The soundstage is excellent, and brings the listener to the studio as the musicians perform.
In my opinion, For Basie captures the essence of Count Basie’s music, allowing each musician in the ensemble to shine. With Quinichette leading the sextet and his subtle homage to Lester Young in his playing, hence his nickname, The Vice Pres pays a respectful tribute to Basie’s legacy, blending nostalgia with innovative interpretations. The seamless chemistry between Collins, Pierce, Green, Page, and Jones elevates each tune into a stellar example of jazz artistry. If you enjoy swing, big band jazz, or have a soft spot for the tenor sax as I do, I invite you to check out Paul Quinichette’s For Basie on your next record-shopping trip. It’s a delightful album that’s perfect for listening to at any time of day or night, a real joy for jazz fans, and a title well worth adding to your library!
© 2026 by Edward Thomas Carter
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Mino Cinelu was born on March 10, 1957 in Saint-Cloud, Haute-de-Seine and was introduced to music as a child playing percussion in concert halls in the suburbs of Paris. He became interested in jazz, rock, salsa eventually expanded into fado, flamenco, African, Japanese and other varieties.
His first instrument was the bongo drums, which led him to decide to try and live from his music. He often played the bongos in the streets experimenting with improvisation. By the end of the 1970s he became more and more interested in the French jazz-fusion scene working with Jef Gilson, Chute Libre and Moravagine
In 1979 Mino moved to New York, met George Benson, Wayne Shorter, Kenny Barron and Cassandra Wilson, added new instruments to his repertoire, and was soon joining Miles Davis on tour. This recognition led Joe Zawinul asking him to be a part of Weather Report during which time he began composing with the help of Wayne Shorter and Zawinul.
Cinelu also played with Michel Portal prior to beginning his solo career in the 1990s with his self-titled debut album Mino Cinelu was released in 2000, followed by Quest Journey in 2002 and La Californie in 2006. He continues to compose, record and perform.
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Billy Childs was born William Edward Childs on March 8, 1957 in Los Angeles, California and began piano lessons when he was six. By age 16 he started attending the Community School of the Performing Arts, a prestigious music program sponsored by the University of Southern California, in which he ultimately attended in 1975.
Playing professionally as a teenager, he made his recording debut in 1977 with the J. J. Johnson Quintet’s Yokohama Concert during a tour of Japan. He would gain significant attention during his six-year stint playing with trumpeter Freddie Hubbard’s group from 1978 to ’84.
His early playing influences were Herbie Hancock, Keith Emerson and Chick Corea and in his composing came by Paul Hindemith, Maurice Ravel and Igor Stravinsky. Adept in both the jazz and classical idioms, Childs develop his own voice with an original conception near the start of his career. His solo recording career began in 1988 with the release of Take for Example, This… the first of four critically Windham Hill Jazz label. He would go on to record two albums for Stretch/GRP and Shanachie.
In 2000 Childs arranged, orchestrated and conducted for Dianne Reeves’ project The Calling: Celebrating Sarah Vaughan that won a Grammy for Best Jazz Vocal. He has also arranged for Sting, Yo-Yo Ma, Chris Botti, Gladys Knight, Michael Bublé, David Foster, Phil Ramone and Claudia Acuna.
Billy’s 2005 “Lyric, Jazz-Chamber Music, Vol. 1”, a jazz chamber music ensemble recording, influenced by the Laura Nyro-Alice Coltrane collaboration, garnered three Grammy nominations. He has received a Guggenheim Fellowship, and Chamber music grant, and has been commissioned for more than a dozen jazz and classical compositions and arrangements.
Pianist Billy Childs has been nominated for seven Grammys, of which he has won six. He has fifteen albums to his leader roster with his latest album, The Winds Of Change, was released in 2024. He continues to make music on stage and in the studio.
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Bheki Mseleku was born Bhekumuzi Hyacinth Mseleku on March 3, 1955 in South Africa. Entirely self-taught, though his father was a musician and teacher, his religious belief denied musical access to his children. Growing up in Apartheid he was subjected to restricted healthcare and lost the upper joints of two fingers in a go-karting accident.
His musical career began in Johannesburg in 1975 as an electric organ player for the R&B band Spirits Rejoice. After performing at the Newport Jazz Festival in 1977, Mseleku settled in Botswana for a time, then moved to London in the late 1970s. He attempted to settle into the jazz scene in Stockholm from 1980 to 1983, but returned to London. It was not until 1987 that Bheki made his debut at Ronnie Scott’s Jazz Club, playing piano unaccompanied by other musicians, with a saxophone in his lap that a wider audience became familiar.
With the release and notoriety of his 1991 debut album Celebration, and subsequent nomination for a Mercury Music Prize that Verve Records signed him for several albums. The first of these featured Joe Henderson, Abbey Lincoln, and Elvin Jones.
Twelve years and five albums later Bheki recorded his final session “Home at Last” in 2003, having spent most of his last years in South Africa. He never found an outlet for his skills and established a new band in London that was very well received by fans. Over the course of his life Bheki Mseleku lived with diabetes and on September 9, 2008 the pianist, saxophonist, guitarist, composer and arranger passed away in his London flat at age 53.
Daily Dose Of Jazz…
Claire Daly was born on February 26, 1959. At the age of 12 she began playing the saxophone and was soon turned onto jazz by way of a live performance by the Buddy Rich Big Band. She went on to attend Berklee College Of Music and upon graduation she became a full-time professional musician.
In the late 70s and early 80s Claire played with various groups in the jazz and rock arenas, and her powerful tenor saxophone suited the latter perfectly. However, playing more jazz than rock, Daly switched to the baritone saxophone and has worked in New York City since the mid-80s.
>A seven-year association with the all-female big band, Diva, was followed with her working with People Like Us. Daly’s versatility moves between jazz, R&B and Latin, releasing two CDs as a leader for Koch Records and three on her own label DalyBread.
Her influences include Rahsaan Roland Kirk and Sonny Rollins and, on baritone, Serge Chaloff, Ronnie Cuber and Leo Parker. She has performed with Aretha Franklin, James Brown, Joe Williams, and Rosemary Clooney among many others, and her first CD Swing Low resides in the William Jefferson Clinton Library in Little Rock, Arkansas.
Claire Daly, a gifted improviser whose rich tone and emotional depth has earned her a place as a respected member of the baritone saxophone family, continues to lead her own jazz groups and to pass the gift of music on to the next generation.
Diagnosed with head and neck cancer in 2023, baritone saxophonist and composer Claire Daly died at the residence of a friend in Longmont, Colorado, on October 22, 2024, at the age of 66.
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