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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