| | Count Basie Best Of Early Basie CD Count Basie Discography of CDs
Best of Count Basie Live contains a good portion of the live material that the Count Basie Orchestra recorded for Decca Records between 1936 and 1939. At the time, Basie's Orchestra contained such legendary players as Lester Young, Harry "Sweets" Edison, and Buck Clayton. About a third of the live sides the Orchestra recorded for Decca is included on the disc, and although this compilation isn't complete, it offers a good introduction for novice listeners. ~ Thom Owens
Recorded between 1936 and 1939. Includes liner notes by Loren Schoenberg.
Personnel: Count Basie (leader, piano); Fletcher Henderson, Eddie Durham, Buster Williams (arranger); Jimmy Rushing (vocals); Jack Washington (alto & baritone saxophones); Earle Warren, Caughey Roberts (alto saxophone); Lester Young, Herschel Walker (tenor saxophone, clarinet); Leon "Chu" Berry (tenor saxophone); Buck Clayton, Joe Keyes, Carl Smith, Ed Lewis, Bobby Moore, Karl George, Harry "Sweets" Edison, Shad Collins (trumpet); George Hunt, Dan Minor, Dickey Wells, Benny Morton (trombone); Claude Williams, Freddie Green (guitar); Walter Page (bass); Jo Jones (drums).
Best Of Early Basie Music Count Basie Best Of Early Basie Songs | 1. | Honeysuckle Rose |
| 2. | Roseland Shuffle |
| 3. | Boogie Woogie (I May Be Wrong) |
| 4. | One O'Clock Jump |
| 5. | John's Idea |
| 6. | Good Morning Blues |
| 7. | Topsy |
| 8. | Out the Window |
| 9. | Don't You Miss Your Baby |
| 10. | Blues in the Dark |
| 11. | Sent For You Yesterday |
| 12. | Every Tub |
| 13. | Swingin' the Blues |
| 14. | Blue & Sentimental |
| 15. | Doggin' Around |
| 16. | Texas Shuffle |
| 17. | Jumpin' at the Woodside |
| 18. | Shorty George |
| 19. | Panassie Stomp |
| 20. | Jive at Five |
| 21. | Oh, Lady Be Good |
| Best Of Early Basie Music Best Of Early Basie Review
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Buy Best Of Early Basie CD Purchase Best Of Early Basie CD To buy, Click on price to add to cart | Beegie Adair Jazz Piano Christmas CD (1999)
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$22.25 It's hard to believe that after recording as a leader for 40 years, DRESDEN: IN CONCERT is Jan Garbarek's first-ever live album. For those who think that Garbarek abandoned jazz some time ago, this will be a shock. DRESDEN is an engaged, kinetic, double-disc, two-hour performance of his quartet playing in the modern jazz idiom and using all of its tenets--from complex harmonics and ...
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| | Diana Krall When I Look In Your Eyes (1998)
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$14.75 WHEN I LOOK IN YOUR EYES won the 2000 Grammy Award for Best Jazz Vocal Performance and for Best Engineered Album, Non Classical. WHEN I LOOK IN YOUR EYES was nominated for the 2000 Grammy Award for Album Of The Year.
This is a Super Audio CD playable only on Super Audio CD players.
WHEN I LOOK IN YOUR EYES, a 1999 Verve release, heralds the return of the cool and groovy Latin-tinged jazz of the '60s. Upon hearing the opening track, a bossa-nova-fied version of Irving Berlin's "Let's Face The Music And Dance," one might think he had accidentally put on a Getz/Gilberto record. In fact, it's hard to avoid comparing Krall's breathy alto to that of Astrud Gilberto-particularly on the more samba-flavored numbers.
But Krall ultimately resists comparisons. Her simultaneously textured and smooth tone, warm timbre, and conversational phrasing mark her as unique. The set of standards here, including "Let's Fall In Love," "I've Got You Under My Skin," and "Pick Yourself Up" among others, is enhanced by fine session musicians and Johnny Mandel's tasteful arrangements. While Krall is more than comfortable with a sly swing (Michael Franks' "Popsicle Toes"), it is the ...
| | Lu Watters Doing The Hambone At Kelly's CD (2000) (Import) United Kingdom
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$13.15 20 track collection features a batch of recordings made at the San Francisco Bay Area club Hambone Kelly's, which Watters owned - the songs ...
| | Lee Morgan Sonic Boom CD (1967) Bonus Tracks; Remastered
Best Of Early Basie songs
$9.45 Sonic Boom was not released until 1979 and then remained in print only for a brief time before eventually being reissued years later. In addition to the great trumpeter Lee Morgan and a fine rhythm section (pianist Cedar Walton, bassist Ron Carter, and drummer Billy Higgins), the well-rounded set is a bit special for it allows the often R&B-associated tenor David "Fathead" Newman an opportunity to stretch out in a more challenging setting than usual. Highlights include the funky "Fathead," the complex "Sneaky Pete," Morgan's lyricism on "I'll Never Be the Same," and the infectious rhythms on "Mumbo Jumbo." This is an undeservedly obscure session. ~ Scott Yanow
This is indeed a welcome curiosity. The 2003 version of Lee Morgan's Sonic Boom was recorded in 1967, was not released until 1979, and then was quickly deleted. When it was reissued on CD in the 1990s, it was only in print for a short time as well. While one might think the third time is the charm, you'd have to reconsider. Blue Note has made the set available as part of its so-called connoisseur series, meaning it will only be available for a limited time once more. Issued in glorious 24-bit remastered sound, Sonic Boom is here re-released along with a huge bonus, a 1969 session that was originally the latter half of the 1978 double-LP The Procrastinator. The personnel here is completely different: on the earlier set, Morgan was accompanied by Cedar Walton, Ron Carter, Billy Higgins, and David "Fathead" Newman. On the latter, Julian Priester, George Coleman, Harold Mabern, Walter Booker, and Mickey Roker are in the house. Sonic Boom showcases Morgan stretching his hard bop pedigree to the breaking point, such as on tracks like "The Mercenary," with its wide-open, nearly Latin groove. Walton's deep, left-hand chord work offers a fat, open bottom for Morgan's solo to lift off from. And it's directly to the piano that Morgan plays. On the title cut, angular lines and a knotty head offer Higgins an opportunity to dance all around the time. Newman's solo has an edgy urgency not usually associated with him. Walton plays wild, syncopated chords in the middle, to which Higgins reacts by triple-timing the band. On the 1969 session, Morgan's charts are even more expansive. Coleman's "Free Flow" is blues that has mutated into a post-bop cavalcade of sonances and intervals. Mabern's "Mr. Johnson" is a minor-key masterpiece with the front line playing a long, loping melody that enters the harmonic frame of Cuban folk music and son. Coleman's solo is one of the most emotionally wrought in his recorded oeuvre. Conversely, Priester's "The Stroker" is a funky, Latin-tinged swinger with a lovely, physical solo by the trombonist and Morgan plays some gorgeous fills as Roker bottles up the middle eight before splitting the tune wide open in its last two minutes. Despite the great differences in approach, these two sessions complement each other well; Morgan fans would be well advised to snag this one before Blue Note yanks it from the catalog once more. ~ Thom Jurek
Recorded at The Van Gelder Studio, Englewood Cliffs, New Jersey on April 14 & 28, 1967 and on September 12 and October ...
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