Commemorating the 100th anniversary of the birth of William "Count" Basie and acknowledging his important contributions to jazz and swing music.

Mr. Speaker, I rise today in support of H. Res. 778, a resolution to commemorate the 100th anniversary of the birth of William ``Count'' Basie, one of America's premier swing musicians who rose to national prominence as a jazz pioneer while playing at the Club Reno in Kansas City.

Born an only child on August 21, 1904 in Red Bank, New Jersey, Basie moved to Harlem in 1920 to pursue a career in jazz music. An aspiring pianist, he soon met Thomas ``Fats'' Waller and developed a style of piano

improvisation called ``comping,'' where he would play a standard chord progression with his left hand, but improvise a melody with his right hand. He soon began touring the country with a variety show, ``Gonzel White and the Big Jamboree.''

In 1927, Basie was stranded in Kansas City when the tour went bust. After playing silent theatres, he joined Walter Paige's ``Blue Devils,'' a well-known performance ensemble in the city. In 1929, he used his reputation and contacts to secure a spot as arranger and backup pianist with the Bennie Moten band, a local mainstay. During an internal dispute about an engagement at the Cherry Blossom club, the band voted to kick out Moten and install Basie as its new leader.

The new band called themselves ``Count Basie and his Cherry Blossom Orchestra,'' marking the first time with Basie was billed as ``Count.'' After a few months with his new orchestra, Basie reunited with Moten's new band, which he then took over in 1935 following Moten's death. Basie and saxophonist Buster Smith brought in former members of the Blue Devils and created a nine piece orchestra called ``Count Basie and His Barons of Rhythm.''

Under Basie, the band perfected a sound based on syncopated rhythms and simple musical themes. These arrangements produced light, straightforward and uncomplicated music that was a marked contrast to the style of many other jazz groups of the time, who tended to employ complicated melodies and layers of improvisation. That style of music became known as the ``Kansas City Sound.''

On the popularity of their new sound, Basie's band played a long engagement at the Club Reno in Kansas City, which turned out to be a critical turning point in Basie's career. Basie performed nightly from 8 p.m. to 4 a.m. The Club Reno performances were broadcast nationally over radio WXBY from 11:15 p.m. until midnight, offering exposure far beyond that of the nascent Kansas City jazz scene.

In Chicago, a young music writer and promoter named John Hammond heard the broadcast on shortwave radio and took an immediate interest in the Basie band. After writing several articles about the band, he traveled to Kansas City to meet Basie and a life long friendship was formed.

Hammond arranged for a national booking deal with MCA and a record deal with Decca Records, and by 1937 an enlarged thirteen piece band known as the Count Basie Orchestra had become one of the country's leading big bands. Over the next 13 years the band toured and recorded relentlessly, delivering the Kansas City jazz sound to all corners of the country. During this period, Basie and his orchestra were featured in five movies and headlined the famous ``Spirituals to Swing'' series from 1938 to 1939, one of the first Carnegie Hall productions to present African American performers to a predominantly white audience.

Later in his career, Basie performed with a number of famous performers, from saxophone player Lester Young to trumpeter Dizzy Gillespie to crooner Frank Sinatra. He received nine Grammy awards, the Grammy Trustee's Award and the American Jazz Masters Award in 1983 from the National Endowment for the Arts. His songs ``One O'Clock Jump'' and ``Everyday I have the Blues'' are included in the Grammy Hall of Fame.

Though Count Basie died from cancer on April 26, 1984, he is still considered one of the premier jazz greats. The Count Basie band was featured in famous Kansas City Filmmaker Robert Altman's movie ``Jazz '34.'' Just 2 years ago in 2002, 18 years after his death, a tribute album entitled ``Homage to Basie'' won the Grammy award for Best Large Jazz Ensemble Album.

Over the course of a career that spanned seven decades, Basie's style of Kansas City swing became a prominent fixture in jazz repertoire. His legacy continues to inspire new generations of jazz musicians and remind new performers of the important role Kansas City played in American musical history.

This past August 21st, I had the honor of hearing two Kansas City jazz greats and former members of Basie's famous group, pianist Jay McShann and trumpeter Clark Terry. They joined Bobby Watson and the ``18th and Vine Big Band'' to perform a tribute that was broadcast worldwide on National Public Radio. Sponsored by Kansas City's American Jazz Museum, the live performance sold out Kansas City's historic Gem Theatre. For his contributions to American music, and his role in bringing the Kansas City jazz sound to the wider world, I join my colleagues in commemorating Count Basie's enduring legacy.

Mr. Speaker, I thank my colleague, the gentlewoman from California (Ms. Woolsey), for yielding me this time and for her role in bringing this resolution up on the suspension list today.

It is with distinct honor and pleasure that I stand before this Chamber today to speak in support of House Resolution 778. Count Basie was born in my district and spent the first 20 years or so of his life in my district, and I would like to kind of recount some of the events that occurred in my district during those early years.

This bill recognizes and celebrates the incredible contribution that William ``Count'' Basie has made to jazz and swing music. Furthermore, it is only fitting we acknowledge his pivotal role this year, marking the 100th anniversary of his birth.

He was born, as was stated previously by my colleagues, on August 21, 1904, in his parents' home on Mechanic Streets in Red Bank, New Jersey, which has been in my district the entire time I have been in Congress, and even prior to the time I represented the area. And Count Basie is highly regarded in our area, as well as obviously nationally, as one of the best and most influential musicians and composers of the last century.

The city of Red Bank, where he was born, gave the young William Basie his first exposure to music and the title of one of the most famous tunes associated with his band, ``The Kid From Red Bank''; and it is evidence the city of Red Bank has had on his early musical development.

As a child, Basie would do chores at the Palace Theater in Red Bank so that he could get in free. One day when the Palace's house piano player was unable to travel from New York, Basie offered to fill in for him, but the manager declined the offer. Basie simply waited until the picture had started, then snuck into the pit and accompanied the film anyway on the piano. He was invited back to play the evening show.

Years later, Basie would trace his lifelong interest in the organ to his experiences at the Lyric Theater, another theater in Red Bank, New Jersey, where he would listen to the organ played by Henry La Ross.

Many are surprised to learn that William Basie's first love was not the piano, but rather the drums. However, his aspiration went towards a different direction when he met Sonny Greer, a young talented drummer from nearby Long Branch, New Jersey, which is actually my hometown. The young men quickly realized where their true respective talents really laid, and the drums and piano duo went on to win first place in an Asbury Park piano competition, one of the first of many honors bestowed upon Basie throughout his career.

Asbury Park is also in my district, Mr. Speaker, and some of my colleagues know that Asbury Park was made famous also by Bruce Springstein, another one of our constituents.

Count Basie was awarded with a total of nine Grammys throughout his career, including the Grammy Trustees Award from the National Academy of Recording Arts and Sciences in 1981. In addition, he was the recipient of an American Jazz Masters Award from the National Endowment of the Arts in 1983, and in 1996, he was bestowed the honor of a Commemorative Stamp by the United States Postal Office. And I assure Members myself and many others in my district have lots of those stamps.

Today, the Count Basie Theater in Red Bank, New Jersey stands as a testament to the life, career and accomplishments of this innovative and ingenious musician. In 1984, the historic theater, which first opened its doors in 1926, was renamed to honor Count Basie. Much of the theater has been preserved and remains true to its original appearance. The theater is now owned and operated by Count Basie Theater, Inc., a nonprofit corporation formed solely to operate the theater for the benefit of the community, and one cannot help but think this is exactly how the ``Kid from Red Bank'' would have liked it.

Mr. Speaker, once again I ask my colleagues to vote in favor of this resolution and pay tribute to the life and career of an individual who revolutionized the face of jazz music and to this day stands as a model for all those who have followed him.

Mr. Speaker, I move to suspend the rules and agree to the resolution (H. Res. 778) commemorating the 100th anniversary of the birth of William ``Count'' Basie and acknowledging his important contributions to jazz and swing music.

Mr. Speaker, I ask unanimous consent that all Members may have 5 legislative days within which to revise and extend their remarks on H. Res. 778.

Mr. Speaker, I yield myself such time as I may consume, and I rise in support of House Resolution 778, offered by the gentleman from New Jersey (Mr. Pallone), commemorating the 100th anniversary of the birth of William ``Count'' Basie, and acknowledging his important contributions to jazz and swing music.

William ``Count'' Basie was born in Red Bank, New Jersey, on August 21, 1904. His vibrant musical career took off in 1927 when he moved to Kansas City, Missouri, and joined Walter Page's Blue Devils Band. From there, William ``Count'' Basie joined the Bennie Morton Band and took over as band leader in 1935, renaming the band the Count Basie and his Cherry Blossom Orchestra.

Count Basie and his Cherry Blossom Orchestra disbanded, but eventually re-formed as the Count Basie Orchestra, which went on to dominate the realms of jazz and swing for several decades. The Count Basie Orchestra established swing as a predominant force in the musical taste of generations, and their music set the tone for modern jazz.

In 1983, William ``Count'' Basie was awarded an American Jazz Masters Award by the National Endowment for the Arts. A historic theater in his hometown of Red Bank, New Jersey, was renamed the Count Basie Theater in 1984, and the United States Postal Service issued a commemorative stamp in his honor in 1996.

Over the years, the National Academy of Recording Arts and Sciences awarded William ``Count'' Basie nine Grammy Awards, which led to a Lifetime Achievement Award in 2002.

House Resolution 778 commemorates the 100th anniversary of the birth of William ``Count'' Basie and acknowledges his important contributions to jazz and swing music. Mr. Speaker, I

urge my colleagues to support this resolution.

Mr. Speaker, I reserve the balance of my time.

Mr. Speaker, I continue to reserve the balance of my time.

Mr. Speaker, I thank the gentleman from New Jersey (Mr. Pallone) for introducing H. Res. 778, and urge my colleagues to support this resolution.

Mr. Speaker, I yield back the balance of my time.

Mr. Speaker, today I rise to commemorate the 100th anniversary of the birth of William ``Count'' Basie, one of the leading figures of the swing era in jazz. Bandleader of the renowned Count Basie Orchestra, Basie was integral in establishing swing as the popular music of subsequent generations. His orchestra was a unique band during a unique time in the history of jazz and American music.

Born in Red Bank, New Jersey on August 24, 1904, William ``Count'' Basie took an interest in music at an early age. He honed his skills on both the piano and drums in local theatres in Red Bank before moving to New York in 1924, at the age of twenty. It was in New York where he was influenced by two of the greatest early jazz pianists, James P. Johnson and Thomas ``Fats'' Waller. In 1927, Basie moved to Kansas City, Missouri to capitalize on its nascent jazz scene. He first joined the Blue Devils Band, but soon after he became a member of the famed Benny Moten Orchestra. Basie later took over as bandleader of Moten's orchestra, which was renamed the Count Basie Orchestra.

In 1937, Basie and his orchestra moved to New York City and established their home base in Harlem, where they became one of the leading big bands of the era. Basie's orchestra was best known for its unique ``Kansas City Sound,'' exemplified in such works as, ``One O'clock Jump'' and ``Swingin' the Blues.''

Throughout his career, ``Count'' Basie received nine Grammy awards as well as a Grammy Trustee award in 1981; he was also posthumously recognized for lifetime achievement in 2002. William ``Count'' Basie was an extremely talented and ambitious musician and bandleader; his influence has persisted throughout time and among many different generations. He made many important contributions to swing, jazz, and American music. Let us honor this great musician and man today. Central New Jerseyans are proud to say ``such as he came from among us.''

Mr. Speaker, today we celebrate the life of William ``Count'' Basie and his influence on jazz and swing music. Born in Red Bank, New Jersey, William ``Count'' Basie began to learn the piano under his mother's direction. In 1924, he moved to New York City to perfect his talent and begin his remarkable career. In 1927, Count Basie began playing piano accompaniment to silent movies. He then joined Walter Page's Blue Devils and from there along with several other members joined Bernie Moten's Kansas City Band. Throughout the years, he was developing and advancing his own music style. In 1935, Basie formed his own 9 piece group, Barons of Rhythm, gaining much attention from live appearances. The Barons of Rhythm style was a powerful swing, intensified by Basie's frequent playing with the rhythm section alone using short phrases called ``riffs'' exchanged back and forth between sections, giving the band a unique sound and identity. This raised Basie's stature in the community onto an even keel with Duke Ellington, earning him the nickname ``Count''. By the end of the 1930s, the Basie band was one of the most popular in the world, with massive hits like ``One O'clock Jump'' and ``Jumpin at the Woodside.''

William ``Count'' Basie continued to share his talent with the world through the 1970s. One year after his death, on May 23, 1985, Basie was awarded the Presidential Medal of Freedom by President Ronald Reagan. He was also honored in 1996 with a United States Postal Service commemorative postage stamp. Mr. Speaker, we honor the 100th anniversary of the birth of Count Basie and acknowledge the tremendous impact he had on music.