Formed circa 1952, after Basie’s brief hiatus from the full orchestra as he was working with a small group of six to seven pieces during the industry imposed recording ban that began in 1948, the new approach was captured on recordings which were done at sessions covering a period of around four years. Many of the titles were issued on Norman Granz’s Clef and Verve labels during the mid-1950s.

This 63-track collection comprises just about all the recordings which were released on the albums The Count, Basie Jazz, Basie Rides Again, The Swinging Count, Dance Session, Dance Session No.2, and Basie. The orchestra began to set standards of musical achievement that have been emulated by every jazz orchestra since that time. One of the things that set Basie’s collective apart from all others was the fact the Basie allowed and encouraged his musicians to compose and arrange. As one would expect, the performances featured here include some notable jazz names, including vocalist Al Hibbler, as well as renowned arrangers like Neal Hefti, Buster Harding and Manny Albam.

'The Count's best-known single album, including "Whirlybird" and "Li'l Darlin'". Tenor soloist, and later band manager, Lockjaw Davis enlivens several of the tracks, all written by prolific Basie contributor Neal Hefti.' (The Rough Guide To Jazz)

When in January, 1970 Count Basie entered the studio with his 17-piece big band to record 'High Voltage', he ushered in the last full decade as bandleader of his Orchestra. The Orchestra had left its imprint on the sixties by recording with the likes of Frank Sinatra and Ella Fitzgerald. There would be more great albums with star vocalists in the seventies, but the band's purely instrumental works, which had begun in 1965, would also continue. Back then Basie had engaged acclaimed Cuban composer/arranger Chico O'Farrill to arrange the music for such concept albums as "Basie Meets Bond" and "Basie's Beatle Bag", transforming them into crossover gems.

On 'High Voltage' O'Farrill demonstrates his affinity to Basie's big band sound, this time with a repertoire of standards. For this album, Basie specifically chose pieces the band had never recorded in their more than 30-year existence. This is saying something, since the band covers such an impressive span of jazz history, from the beginning of the swing era to the bop-influenced bands of the 50's on through to the present album.