Hey gang!! More from our look at the "Atomic Band"... Basie during his Roulette years. This offering is interesting for a few reasons, but overall, it's a solid and excellent album.
Looking at the tracklist, it's easy to deduce that this record is tackling pop/dance tunes of the day. Unlike many of the other albums we've listened to thus far, there's no guest arranger here. So the first "interesting" item is the fact that Basie himself has interpreted these songs, with input from Teddy Reig presumably.
I would say the other difference on Dance Along is the clear absence of that blues influence that is a staple of this band's sound. The swing is always there, and heavy at times, but there's really no blues approach to this material. I will let you ponder the reasons for that. That said, there's a ton of extended and incredible soloing throughout all of these tunes. The mood manages to stay upbeat, even through a ballad like Misty.
My record is near mint, and luckily, in glorious mono. The dynamics and soundstage are everything they should be on a Basie album - HUGE!!! I know you guys are gonna love this one. Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!
I hope you guys are excited to see this one here today... God knows I am excited to be sharing it. More from our look at Basie's Roulette years. This album has NEVER been issued on CD, with the sole exception of the Mosaic box set. As you can see from the title, these compositions come from Frank Foster. There's no doubt that this album remains in relative obscurity in spite of the overall quality and the fact that the title track was a huge hit for Basie's live show during this time. I would say that "Kansas City Suite", an album of Benny Carter tunes, trumps this album in popularity. That said, I prefer this LP in both compositions and performance - its excellent!!!
The band heard here is at its height as a unit, "The Atomic Band" as some like to call it. As much as I love the old two track mono LPs, this stereo version does alot to showcase the power and nuance of this band. I've said it on previous reviews: Basie was a master of subtlety and could make his orchestra sound both like a freight train passing, or like a pin dropping in a quiet room. As time continues to pass, his music ages like a fine wine. The appreciation for exactly what his orchestra was capable of grows and grows. This well oiled machine is firing on all cylinders on Easin' It.
Personally I think the tenors win the day here. Its fitting of course as the music was penned by a tenor player!! The countless solos are as riveting as they are appropriate - always tasteful and suited to the mood. Another stand out characteristic is Freddie Green's guitar. The mix really favours him here and he can be heard really well. Overall I find this album ebbs and flows much like "Kansas City Suite", so much that its hard to believe that it's not a suite itself. This stereo LP was ripped at 24/48 and transferred to FLAC for your convenience. The near mint, flawless transfer will have your jaw on the floor - gorgeous hi-fi sound, exactly what a stereo album should be. Full hi-res scans are included at 300dpi... enjoy!!!!!
Roulette Records – SR-52106
1963
A1 Easin' It - Basie
A2 Brotherly Shove
A3 Blues For Daddy-O
B1 Four, Five, Six
B2 Misunderstood Blues
B3 Mama Dev (Blues)
B4 It's About That Time
Tracks A1 to A3 recorded in New York City, December 14 & 15, 1960.
Track B1 recorded in New York City, July 1, 1962.
Tracks B2 to B4 recorded in New York City, July 25 & 26, 1962.
Alto Saxophone – Frank Wess, Marshall Royal
Baritone Saxophone – Charlie Fowlkes Clarinet – Marshall Royal Composed By – Frank Foster Double Bass – Art Davis (tracks: B1), Eddie Jones (tracks: A1 to A3), Ike Isaacs (tracks: B2 to B4) Drums – Louis Bellson (tracks: B2 to B4), Sonny Payne (tracks: A1 to B1) Flute – Eric Dixon (tracks: B1 to B4), Frank Wess Guitar – Freddie Green Piano – Count Basie Tenor Saxophone – Billy Mitchell (tracks: A1 to A3), Eric Dixon (tracks: B1 to B4), Frank Foster, Frank Wess Trombone – Al Grey (tracks: A1 to A3), Benny Powell, Henry Coker, Quentin Jackson (tracks: B1 to B4) Trumpet – Al Aarons (tracks: B1 to B4), Flip Ricard (tracks: B1 to B4), Joe Newman (tracks: A1 to A3), Snooky Young (tracks: A1 to A3), Sonny Cohn, Thad Jones
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
Re-upped by request... even if only one person benefits from this re-up, it was worth it to me. A must own album for any jazz fan. I also want to let you guys know that "Basie Rides Again" is still active.
This is without a doubt my favorite Basie/Williams side, and overall, one of my favorite Basie albums. Some of you have undoubtedly picked it up from me at a couple of other blogs, but it's never seen light at the Crypt.
Basie and Williams masterfully interpret the blues using all of their skill. At moments, Basie has the band roarin while at others, you would think it's little more than a trio backing Williams.
This has never seen a CD reissue but was infact included on the Basie Mosaic set. My copy is actually an EMUS reissue, which I bought still sealed. I can tell you that this is one of my greatest rips - ever. For those of you who have followed my posts, I think you know that I don't make statements like that too often. The dynamics are perfect and this album will really hit you in the gut at different points.
Just The Blues was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. My hope is to share my Basie Roullette vinyl, most of which is unavailable and OOP. The last iteration of The Crypt was seriously lacking Basie, lets change that. Enjoy!!!
Roullette Records
R-52054
1960
A1 Confessin’ The Blues
A2 Mean Old World
A3 Trav’lin’ Light
A4 Key To The Highway
A5 Lyin’ Woman
B1 Chains Of Love
B2 Mean Mistreater
B3 Keep Your Hand On Your Heart
B4 Night Time Is The Right Time (When The Sun Goes Down)
B5 Tomorrow Night
Sonny Cohn, Thad Jones, Joe Newman, Snooky Young (tp)
Henry Coker, Al Grey, Benny Powell (tb)
Marshall Royal (cl,as)
Frank Wess (as,ts,fl)
Frank Foster, Billy Mitchell (cl,ts)
Charlie Fowlkes (bar)
Count Basie(p)
Freddie Green (g)
Eddie Jones (b)
Sonny Payne (d)
Joe Williams (vcl)
I really must insist you read the album notes for a great overview of this album. These sides really display everything that made the Basie band so legendary. We are also treated to some not-so-typical scenarios... 1) Basie directing w/ Oscar Peterson on piano and 2) Oscar Peterson on piano & Basie on organ. Al Hibbler handles vocals which is another treat. Overall a really fun time.
I spent top dollar on this US original, it's absolutely minty. This glorious mono recording is what hi-fi is all about and I challenge those of you with remasters to compare. The dynamics of the full band are enough to bring tears of joy to my eyes. The brass has such incredible impact - that true musical reach that punches you in the chest.This was ripped at 24/44.1 wav and dithered to 16/44.1 FLAC. I hope it helps to shape your weekend... enjoy!!!
During the 50's, Savoy released quite a few mainstream jam sessions. They generally revolved around the same batch of players, mostly culled from Basie's band. The results were excellent and most importantly, consistent. Jazz For Playboys is no exception and overall is a pleasant ride through jazzville.
You will find that this side gets listed under Frank Wess and Kenny Burrell's names... rightly so. They appear on all of the tracks and definitely lead the charge as far as soloing is concerned.
I thought this would be a nice break from the Basie project, while still staying in a related sound. This minty Savoy side is a 1985 reissue, ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!
I hope you all had a great Christmas!! My family sure did...
As we continue down Basie lane, this album seemed a logical choice after the last Basie small group. This group is infact a septet with Wess and Foster switching out for roughly half the album each.
Unlike the last album, the rhythm keeps the swing movin' while the focus is kept upfront. Basie pulls out some incredible solo work himself in his inimitable style - sparse and soulful.
I think the main thing that keeps this album in a class of it's own, is the playlist. The majority of small group swing albums lean on the jam side of things, while this side has a much more focused approach to the material. Of course, the soloing is top notch and inspired, but the song arrangements are much more than a simple jam style. With composers like Wess, Foster and Thad Jones on board it can only be expected.
This album is certainly a small group swing classic, and if you haven't heard it yet you're in for a treat. My album is near mint, and the fidelity is nothing short of perfect. Wonderfully dynamic with a great focus on bass - Ed Jones really pops in different parts. Bluesy swingin, in all of it's glory. Ripped at 24/44.1 wav and dithered to 16/44.1 FLAC... enjoy!!!
As promised, we will keep the Basie train-a-rollin'. This side is equally as monumental as the previous post, but a beast of another kind. For those of you who haven't heard it, clear off a space on your shelf for favorites because you will be adding another title shortly.
Basie on organ? Check. Basie with only a small group? Check. Freddie Green shredding solos? Check. As you can see, this is a far from typical venture for Basie. With Williams, they swing through what were at that time, old school classics. The album has a wonderfully warm and sentimental vibe not just from the songs, but the treatment they get from the group. Sweets appears only on a few tracks, but even still, its a rhythm driven album centered around Williams ever present voice.
I'm not sure what part of the world you are all from. I know some are in warmer regions and some in rainy, moderate areas. Here in Canada the snow has broken, and as of this writing I am watching a snow globe scene outside my window. As this albums lulls in the background, I can't help but feel good. And that folks, is the greatest part of Memories Ad-Lib.
This is another mint deluxe EMUS reissue, in stereo - a gorgeous rip. Be sure to check out the liner notes, which were penned by none other than Leonard Feather. Caught at 24/44.1 wav and dithered to 16/44.1 FLAC. I hope this adds something to everyone's weekend, or perhaps even your holiday. Enjoy!!!
Roullette R52021
1958
Count Basie - organ; Freddie Green - guitar; George Duvivier - bass; Jimmy Crawford - drums;
Harry 'Sweets' Edison - trumpet; Joe Williams - vocals.
I have to work 12 hours today. Can't enjoy my usual dose of Chitlins gospel - no church. But that doesn't mean that I won't take the time to ensure my Crypt people don't have a stellar Sunday!!
Just quickly folks, this album is gonna blow you away. Miss Thornton's voice is on par with the usual suspects of female jazz vocals. She is backed by a small group chock full of stars...
...what more do you need?!?
This is the first (of three) long out of print recordings by Teri Thornton, finally available to the general public. It would not be a stretch to say she is perhaps the most talented, distinctive, clean, out-of-sight singer listeners have never heard....until now. Thornton's powerful, almost chilling voice compares favorably to the pristine tones and vibrato of Sarah Vaughan, the blues sassiness of Dinah Washington, and some of the more soulful refrains of Abbey Lincoln. Simply put, you have to hear her once to believe her. Whether on doleful ballads or raucous swingers, Thornton is totally confident and in control -- of her emotions and yours. From the best version of the Bob Dorough-written title track you are likely to hear, to the regretful ballad "My Old Flame" or the ultimate heart-melter "Left Alone," to an interesting arrangement on a pleading "What's Your Story, Morning Glory?," Thornton charges through the bar lines. Check her forcefulness on "Dancing in the Dark" and "I Feel a Song Coming On." Sometimes she purposefully staggers behind measures to grand effect. Every track is a showstopper, thanks to her uniquely soulful, drama-laden approach. Potent, unobtrusive horn charts feature legends like trumpeter Clark Terry, trombonist Britt Woodman, and saxophonists Earle Warren and Seldon Powell. The rhythm section of guitarist Freddie Green (half the tracks, Sam Herman on the others), pianist Wynton Kelly, bassist Sam Jones, and drummer Jimmy Cobb can do no wrong. Arranger par excellence Norman Simmons provided the perfect charts. This is an important document of a truly great jazz singer, and is essential in the collection of every serious aficionado. The only one regret is that it can't be given several handfuls of *****. ~ Michael G. Nastos
Riverside RLP 352
1961
New York, NY (12/23/1960/01/10/1961); Plaza Sound Studios,
New York, NY (12/23/1960/01/10/1961).
Teri Thornton (vocals); Norman Simmons (conductor, arranger); Freddie Green, Sam Herman (guitar); Seldon Powell (saxophone); Earle Warren (alto saxophone); Clark Terry (trumpet, flugelhorn); Britt Woodman (trombone); Wynton Kelly (piano); Jimmy Cobb (drums)
My record is near mint, and luckily, in glorious mono. The dynamics and soundstage are everything they should be on a Basie album - HUGE!!! I know you guys are gonna love this one. Ripped at 24/48 and transferred to FLAC for your convenience... enjoy!!!
