Count Basie & His Orchestra: Exactly Like You


Exactly Like You


Count Basie & His Orchestra


The Complete Decca Recordings (Decca/GRP 611)

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Count Basie (piano), Buck Clayton (trumpet), Ed Lewis (trumpet), Bobby Moore (trumpet), Herschel Evans (tenor sax), Lester Young (tenor sax), Jack Washington (baritone sax), Freddie Green (guitar), Walter Page (bass), Jo Jones (drums), Jimmy Rushing (vocals),

George Hunt (trombone), Dan Minor (trombone), Caughey Roberts (alto sax)


Composed by Dorothy Fields & Jimmy McHugh


Recorded: New York, March 26, 1937


Rating: 93/100 (learn more)

“Exactly Like You” has been a jam session staple for years, but when Count Basie recorded it on his second Decca session, it was still fairly new territory. Despite recordings by Louis Armstrong, the Casa Loma Orchestra and the Benny Goodman Trio, the song had failed to catch on with jazz musicians. However in 1937, the floodgates opened as several jazz groups recorded versions of the song. Basie’s was the first version made that year, and its joyful nature made it a classic. The arrangement is probably by Fletcher Henderson or Don Redman, but Basie’s band was not filled with talented readers and some of the section work is rather sloppy. But one didn’t listen to Basie for skillfully played arrangements; Basie’s was a soloist’s band, and many of the band’s stars play excellent solos on this track. After the band introduction, Basie plays the melody for a few bars before moving into a solo featuring his minimalist stride style. On the bridge, Jack Washington gets his first recorded baritone sax solo and we can hear that he could play as lightly as Lester Young, even on the bigger horn. The band plays the written parts for the next chorus and leads into Jimmy Rushing’s vocal chorus, and just as Washington had learned from Young, Rushing had learned from the band’s new female vocalist, Billie Holiday. This may the most Billie-esque chorus Rushing ever recorded. Like Billie, Rushing flattens out much of the melody to a single note, and then he rides that note in a great display of rhythmic vitality. Buck Clayton offers a running commentary along with the saxes, and by the time the chorus ends, the band is swinging mightily. And that’s when Lester Young enters with a dancing half-chorus that just adds to the excitement. Lester’s sound was still quite novel at this time—his first recording was made only 5 months earlier—but it is the placement of the notes rather than the notes themselves that make it such a catalyst for increasing the band’s swing. And while Bobby Moore’s brief trumpet solo is well-played, it sounds like he struggles to maintain the energy that Lester created. Nonetheless, there's plenty of energy left for the band to play a spirited coda.

Reviewer: Thomas Cunniffe

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