This chapter explores the world of Count Basie, starting in the early days with Buddy Tate and Sweets Edison, looking at the mid-period octet with Clark Terry and Buddy Rich, and continuing to the 'New Testament' band. Shipton's interviews cover many Basie alumni, including Al Grey, Bennie Powell and Grover Mitchell from the trombone section, Joe Wilder from the trumpets, and Butch Miles and Louie Bellson from the rhythm team. Singer Carmen Bradford tells the story of how she joined the band, and the experience of singing with Basie.

This is the first of three chapters focusing on swing big bands. Armstrong's career is traced from the 1920s in Chicago when Doc Cheatham subbed for him, through to his work with the All Stars. Cheatham gives a vivid picture of Louis in 1920s Chicago and Lawrence Lucie recalls his 1940s big band, including film appearances with singer Velma Middleton. Arvell Shaw recalls how he joined the big band, but follows this through to the All Stars. There are memories of Sidney Bechet in Boston, and musicians such as Roy Haynes, Kenny Clarke and Dexter Gordon working with Louis. The chapter then moves on to singer Jewekl Brown who compares her experiences to her predecessor Velma Middleton, who died on tour in Africa. Barney Bigard, whose autobiography Shipton published, gives his caustic views on Velma's tragic death.

Jackie McLean and Sonny Rollins take the same starting point of the early 1950s Miles Davis band, but then follow their stories through independently. Jackie talks of Richie Powell and the Cilfford Brown / Max Roach Band in which Sonny later played. Sonny reflects on a myriad of different ideas, from Elmo Hope and Ernie Henry to Pete LaRoca and Henry Grimes, looking in detail at his trios. Considering social protest, Sonny leads in to discussions with Abbey Lincoln about the era of We Insist! Freedom Now. Rollins then follows his career path through to the 2000s.