Count Basie - Standing Ovation

This album was actually a request made by papycool.  

The byline on the cover says it all... 3 eras of Basie recorded live.  This album functions as a sort of "greatest hits" from the best bands Basie has put together.  I think alot of people would pass on this by virtue of the front cover.  There's a deluge of crappy Count sides on an equal amount of sub standard labels.  Dot Records has a colourful history and at this point it was a subsidiary of Paramount Pictures.  Dot was certainly not a budget label and put out top notch quality - albeit of sometimes questionable artistry.

The performance on this album is absolutely amazing.  When we look at the personnel, it's clear that this was a band in transition.  There's a few old war horses in the bandstand, but also some young blood like the incredible Oscar Brashear.  They fearlessly tackle the songs and remove certain cliches in order to bring us some fresh ideas.  One O'Clock Jump is actually done twice in order to fulfill this mandate.  Overall it's a shamefully overlooked album in Basie's discography.

Curiously enough, at least as far as I can tell, it's never made it to CD.  That makes this post extra special.  The vinyl is super minty and the fidelity is on par with any modern day live recording.  Indeed, this one is a special treat for Basie fans and jazz fans alike... big band at it's best.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!!

This 1969 recording was subtitled "Three Eras of Basie Recorded Live at the Tropicana Hotel, Las Vegas," and that's what it is. This set features updated takes on the Basie songbook's greatest instrumental hits of the '30s, '40s, and '50s. Engineer Wally Heider set up the stereo mix to match the classic stage formation of the band, resulting in a potent sitting-in-front-of-the-band feeling for the listener. Besides Basie himself, featured soloists include trumpeter Harry "Sweets" Edison, who reunited with the band for this occasion, tenor saxman Eddie "Lockjaw" Davis, and Eric Dixon on flute and tenor. Arranger Sammy Nistico has renovated several of these classics in subtle ways from their original studio recordings. The music is, of course, great, and the players respond to the excitement of the live audience. - Jim Newsome / AMG

Dot Records DLP-25938
1969

A1 Down For Double

A2 Li'l Darlin'
A3 Broadway
A4 Jive At Five
A5 Cherry Point
A6 Jumpin' At The Woodside
A7 One O'clock Jump
B1 Shiny Stockings
B2 Blue And Sentimental
B3 Every Tub
B4 Corner Pocket
B5 The Kid From Red Bank
B6 One O'clock Jump

Eddie 'Lockjaw' Davis & Johnny Griffin Quintet - Live! The Midnight Show

Another burner from this legendary quintet... enjoy!!

Prestige PR7330
1964

Bass – Larry Gales
Drums – Ben Riley
Piano – Junior Mance
Tenor Saxophone – Eddie "Lockjaw" Davis, Johnny Griffin

A1   In Walked Bud   6:18
A2   Land Of Dreams   7:40
A3   Beano   6:35
B1   Robbin's Nest   10:00
B2   Our Delight   7:15

Eddie 'Lockjaw' Davis & Johnny Griffin Quintet - The First Set

Here at the Crypt, it's no secret that we love Griff and Jaws.  Personally, Davis would be on my top ten list of favorite tenor players.  He had a swagger and style that simply can't be taught or learned.  That said, one of my favorite working groups - of all time - would most certainly be this fine quintet.

I want to emphasize working, because so many wonderful studio sessions never materialized beyond the mixing board.  Like so many great jazz groups, this combo only lasted a couple years.  I suppose in hindsight that's equivelant to a 15 year stint of a rock band...  jazz years.  The rhythm section had some changes but Mance, Riley and Gales actually stayed on for much of the groups time.  The group were regulars at the legendary NYC club, Mintons.

Luckily, for those of us who couldn't get a seat, Bob Weinstock had the good sense to record these guys doin' their thang.  As great as their studio sessions were, this quintet were at their best when challenged with an audience and a theme.  Lock and Jaws have an unending, gigantic bag of tricks between them - seemingly never without something interesting or passionate to say.  The First Set takes a snapshot of a great moment both in the history of jazz and Minton's.  For anybody relatively new to this album, or this group, I want you to really pay attention to how they tackle the Monk tunes.  Griff aside, I think Davis is sometimes viewed as a "straight ahead" type of player by some jazz fans.  The way Lockjaw filters the brilliance of Monk through his personal style is in itself brilliant.  Monk's music was ultra hip, and in the early 60's there wasn't alot of players who were tackling it.  As we know, this quintet cut a whole side of Monk covers for the Jazzland imprint.

I have all of this group's releases on vinyl, but I took these tracks from my "Complete Live At Minton's" collection.  My album is only a VG, and the remastering done on the CD is fantastic.  I used EAC and ripped it to FLAC 16/44.1... enjoy!!!

Prestige PRLP 7309
1961

Eddie "Lockjaw" Davis, Johnny Griffin - tenor saxophone;  

Junior Mance - piano;  Larry Gales - bass;  Ben Riley - drums

"Billie's Bounce" (Charlie Parker) - 8:43
"Epistrophy" (Thelonious Monk, Kenny Clarke) - 7:17
"Well, You Needn't" (Monk) - 8:58
"I'll Remember April" (Gene de Paul, Patricia Johnston, Don Raye) - 8:05

Eddie "Lockjaw" Davis and Harry "Sweets" Edison - Vol. 1

It's hard to discuss this album without gushing or sounding overbearing, but the truth of the matter is...it's a real cooker.  Recorded in Denmark, our two heroes enlisted Kenny Drew and his active trio for rhythm.  John Darville stopped by also, and cut two tracks; Lester Leaps In and Blues Walk with his trombone.  I wasn't familiar with bassist Hugo Rasmussen or drummer Svend Erik Norregard, but they affirm their skill along with Kenny Drew.

As mentioned, when the full band is playing for Lester Leaps In and Blues Walk, it's a thing of jazz beauty.  Darville brings the classic bop style 'bone to the session and it's clear that Jaws and Sweets are up for it.  I wasn't too sure about the treatment for Blues Walk, but once they are through you will want to hear it again.  Both leaders take a ballad each and deliver sublime performances.  The rest of this session is a relatively upbeat affair, on standard tunes.

There's something about Sweets that really grabs me on this set.  I can't put my finger on it, or really describe it without sounding ridiculous.  I will just chalk it up to the magic of music.  I just find it incredible how these musicians could stamp their souls onto the music, and have it touch someone all these years later.  In most cases, long after they have passed.

Not only is the music fantastic, but so is the fidelity of the recording.  I would rate it above average to be sure.  This copy is an original Storyville (SLP 4004) stereo pressing, in minty condition.  Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC, to bring souls of old and present together...enjoy!!!

Harry Edison (tp);  Eddie Davis (ts);  *John Darville (tb);  Kenny Drew (p);
Hugo Rasmussen (b);  Svend Erik Norregard (d).

*only on Lester Leaps In and Blues Walk


Storyville SLP-4004
Recorded in Denmark, 1976

Black And Blue

 Ripped from my I Giganti Del Jazz LP... ultra minty!!

Also made available on the Italian budget label I Ganti Del Jazz, this little-known effort finds veteran trumpeter Joe Newman (55 at the time) stretching out quite effectively on four standards and two originals. In what was his first opportunity to lead a recording session since 1962, Newman and his top-notch rhythm section (pianist Hank Jones, bassist George Duvivier and drummer Alan Dawson) swing their way through such songs as "Softly As In a Morning Sunrise," "Paper Moon" and "Fiddy's Moods."  - Scott Yanow

 

 

 

 

 

Curcio Editore GJ-50 / Black and Blue 

I Giganti Del Jazz Vol. 50


Recorded 1960??, Released 1972



Joe Newman - trumpet;  Hank Jones - piano;  George Duvivier - bass;  Alan Dawson - drums

1. Softly As A Morning Sunrise
2. It's Only A Papermoon
3. I Love My Woman
4. Fiddy's Moods
5. Summertime
6. Prelude To a Kiss

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This is a mint rip from my Classic Jazz reissue, as is the review.  A killer side to be sure...enjoy!!!

Also put out on the French Black & Blue label, this is one of the more obscure LPs to team together tenor saxophonist Eddie "Lockjaw" Davis and trumpeter Harry "Sweets" Edison. Lockjaw and Sweets always made for an exciting combination, constantly challenging each other to play with fire. Highlights of this particular encounter include "Jim Dawg," "Intermission Riff" and "Light and Lovely"; the two distinctive horn stylists are even able to uplift "The Good Life."  - Scott Yanow

Classic Jazz CJ116 / Black and Blue 33121
1975

Recorded on July 26th 1975 in Nice.

1. Jim Dawg
2. The Good Life
3. Meditation
4. Intermission Riff
5. Land Of Dreams
6. Light And Lovely

Eddie Lockjaw Davis - ts
Harry Sweets Edison - tp
Gerry Wiggins - p

Major Holley - b
Oliver jackson - d

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This was ripped from my mint I Giganti Del Jazz reissue.  The Curcio label was an Italian imprint, they put out a set of 100 albums, all reissues or out takes.

This album is a superb set, with both Tate and Buckner as expressive as can be.  Enjoy!!

 I Giganti Del Jazz Vol. 13 / Black and Blue 33014
Paris, France
1967

A1 - When I'm Blue (Tate), 10:50
A2 - You Have Changed (Fisher, Carey), 05:10
A3 - Day by Day (Weston, Stordhal), 06:45
B1 - Them There Eyes (Tracy, Tauber, Pinkard), 10:46
B2 - Margie (Davis, Conrad, Robinson), 10:29

Buddy Tate (Tenor Sax), Milt Buckner (Organ), Wallace Bishop (Drums)