| | Count Basie At Newport CD Count Basie Discography of CDs
 (2 Customer Reviews)
Originally released on Verve (6024). Includes liner notes by Richard Sudhalter.
By the time of this 1957 recording, the Basie band was enjoying something of a renaissance, and the appreciation of the audience for this legendary musician helps make this live recording all the warmer. This was a special night for the band, as it represented a coming together of the contemporary Basie assemblage with some of the original Kansas City veterans. Entrepeneur John Hammond, who helped bring Basie to national attention in the '30s, warmly introduces the band one by one, stressing the importance of each member.
Thad Jones, Frank Foster and company lay down a solid version of "Swingin' At Newport," after which they are joined by one after another of Basie's old Kansas City cohorts. From Lester Young to Jimmy Rushing, the stage soon becomes flooded with KC royalty, as old meets new with glorious results. Clearly, this evening at Newport was a night to remember, and we're fortunate it was captured for posterity.
Digipak. W/ 5 Bonus Tracks.
Recorded at Newport Jazz Festival, Newport, Rhode Island on July 7, 1957.
Personnel: Count Basie (piano); Joe Williams, Jimmy Rushing (vocals); Lester Young, Illinois Jacquet (tenor saxophone); Marshall Royal, Bill Graham, Frank Foster, Frank Wess, Charlie Fowlkes (saxophone); Roy Eldridge, Wendall Culley, Joe Newman, Reunald Jones, Thad Jones (trumpet); Henry Coker, Benny Powell, Bill Hughes (trombones); Freddie Green (guitar); Ed Jones (bass); Sonny Payne, Jo Jones (drums).
Count Basie At Newport Songs At Newport Music Review Average Rating: (4.5 out of 5 stars)   Basie,Lester,Roy and Sonny Payne!!!!
There is nothing left to say about this historic concert....
Submitted by najponk (Prague)
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 Basie Connections
Firstly, the improvement in sound quality is absolutely amazing over its initial sonic release. Worth the price alone. Secondly, and more importantly, this set features some of the greats of Basie's yesteryears with the '57 "Atomic " Band "live" at Newport. Everybody's inspired, especially Prez, who reaches perhaps the finest playing of his final years. Jimmy Rushing rocks on with Jo Jones backing, as does Joe Williams in prime form with "hot" responses from the band. There's a nice exchange between Frank Wess and Frank Foster on a smoking blues and Illinois Jacquet and Roy Eldridge join all hands on deck for the rousing finale "Flying Home", a perfect finish to a memorable evening.
Rawly and rhythmically contagious and very real. A must.
Submitted by jojazz (Milton, NH, USA)
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Purchase At Newport CD To buy, Click on price to add to cart | Gerry Mulligan Meets Johnny Hodges CD (1960) Remastered; Digipak
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Gerry Mulligan's 1959 studio date with Johnny Hodges is one of the most satisfying sessions of his various meetings with different saxophonists for Verve, yet it was inexplicably the last to be made available on CD. With a hand-picked rhythm section consisting of pianist Claude Williamson, bassist Buddy Clark, and drummer Mel Lewis, and three originals contributed by each of the two leaders, everything gels nicely, though several tracks took more than three takes (in spite of liner note writer Nat Hentoff's assertions) to reach their final form. Mulligan contributed the gorgeous ballad "What's the Rush" (where he sat back to enjoy Hodges' solo and never plays his own horn), the easygoing swinger "Bunny," and the brisk cooker "18 Carrots (For Rabbit)," the latter which its composer would revisit with his Concert Jazz Band. The veteran alto saxophonist contributed the low-key ballad "Shady Side," the sassy blues "Back Beat" (later re-recorded by Hodges during a still unreleased 1960 studio ...
| | Lee Morgan Sonic Boom CD (1967) Bonus Tracks; Remastered
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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: ...
| | Seven Steps: The Complete Columbia Recordings Of Miles Davis: 1963-1964 CDs (2004) Limited Edition
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Initial pressings of SEVEN STEPS are packaged with a deluxe metal spine.
Also includes a 92-page booklet with rare photos, complete discography and essays by Michael Cuscuna and Bob Blumenthal.
All tracks have been digitally mastered using 24-bit technology.
In the 1960s, trumpeter Miles Davis became a star outside of the jazz world, first with what history refers to as "the Quintet" with Wayne Shorter and Herbie Hancock, then with his highly influential post-BITCHES BREW electric bands. But there was a "transitional" period, after John Coltrane left Davis's employ and before the Shorter/Hancock era, which the SEVEN STEPS box set based around the SEVEN STEPS TO HEAVEN album documents in its entirety, often in a live context.
Davis was seeking the right combination of musicians for his sonic flights, where hard-bop and modal styles could be combined with a wide-open, increasingly elastic sound. Before settling on Shorter (present here), he tried the conventionally hearty, blues-accented bop approach of saxophonist George Coleman and the rippling, somewhat more avant-garde Sam Rivers. Both soar and ...
| | Art Blakey A Night In Tunisia CD (1960) Bonus Tracks
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Art Blakey & The Jazz Messengers: Art Blakey (drums); Bobby Watson (alto saxophone); David Schnitter (tenor saxophone); Valery Ponomarev (trumpet); James Williams (piano); Dennis Irwin (bass).
Art Blakey & The Jazz Messengers: Art Blakey (drums); Wayne Shorter (tenor saxophone); Lee Morgan (trumpet); Bobby Timmons (piano); Jymie Merritt (bass).
Art Blakey Quintet/The Jazz Messengers/Art Blakey/Art Blakey & the Jazz Messengers: Art Blakey; Lee Morgan (trumpet); Jymie Merritt (double bass); Wayne Shorter, Bobby Timmons.
Art Blakey and the Jazz Messengers met their artistic peak with the powerful A NIGHT IN TUNISIA. This incarnation of the group included Lee Morgan, Wayne Shorter, Bobby Timmons and Jymie Merritt with their leader Blakey. As the Messengers entered their most fruitful period for Blue Note, Blakey drove his men relentlessly with powerful grooves, heavy swinging and shouts of encouragement. This session documents the full power of his assertive leadership and the masterful playing of his sidemen, each rising to legendary status under his tutelage.
Long known for their creative arrangements within the context of small ...
| | Thelonious Monk At Carnegie Hall CD (2005)
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On paper it seems as if such titanic and distinctive musical personalities as Thelonious Monk and John Coltrane might not mix very well, but this stellar set, recorded live at Carnegie Hall in 1957, plays almost like a blissful extended duet between the two (with support from a sensitive yet hard-swinging bassist and drummer). The opener, ...
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| | Nancy Wilson Greatest Hits: The Priceless Collection CD (2003)
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Italian pop star Laura Pausini's first English LP, From the Inside, is a guilty pleasure for any closeted fan of easy listening pop (Celine Dion, Michael Bolton, Backstreet Boys). The album kicks off with the glorious "I Need Love," a song that earned her U.S. exposure when the ABC daytime drama All My Children used it as a love theme. Other highlights include "Every Day Is a Monday," a Europop mainstream song laced with a wah-wah guitar, and the Dion-like "Without You." Pausini is clearly influenced by Dion. Her voice doesn't soar to the heights that Dion reaches, but she comes close in songs such as "If That's Love" and "Every Day Is a Monday." Like most albums filled with love songs, "surrender" is a theme throughout From the Inside, especially in the funky ballad "Do I Dare" and the Europop "Surrender." This is one album to surrender to. ~ Christina Fuoco
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ADLM [After Dinner Liquid Mints] (Add-Lim)Combination of hip-hop, trip-hop, and poetry with a side of digital music composition.The After Dinner Liquid Mints is a hip hop group from Northern California. The group consists of Beezlebubb, Jube and Rich Sphire. ADLM features many special guest appearances from LPS and Chris Booth on trumpet and production, The beats are produced by Sphire Bros. , Dextergot, and Drake B. Scratches and cuts are all courtesy of DJ Rich Sphire. After ...
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