Count Basie Back with Basie Mp3, Flac, Wma

Total Page:16

File Type:pdf, Size:1020Kb

Count Basie Back with Basie Mp3, Flac, Wma Count Basie Back With Basie mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Back With Basie Country: Italy Released: 1965 Style: Soul-Jazz MP3 version RAR size: 1776 mb FLAC version RAR size: 1231 mb WMA version RAR size: 1476 mb Rating: 4.4 Votes: 759 Other Formats: AHX FLAC MIDI VQF WMA DMF MPC Tracklist A1 Peppermint Pipes 3:15 A2 Thanks For The Ride 3:40 A3 The Elder 7:00 A4 Summer Frost 3:06 A5 The Touch Of Your Lips 3:15 B1 Bluish Grey 4:56 B2 One Note Samba 4:09 B3 I Got It Bad And That Ain't Good 3:15 B4 Matte Jersey 3:55 B5 Red Hot Mama 3:28 Notes Produced By Teddy Reig Personnel: Trumpets:George (Sonny) Cohn, Al Aarons, Thad Jones Trombones:Henry Coker, Benny Powell, Quentin Jackson Reeds: Marshall Royal, Frank Wess, Frank Foster,Charlie Fowlkes Saxophone: Eric Dixon Guitar: Freddie Green Bass: Buddy Catlett Drums: Sonny Payne and Count Basie-Piano Credits "One Note Samba" Drums: Louis Bellson Arranged By Lalo Schifrin Design by Moskof-Morrison, inc. Barcode and Other Identifiers Matrix / Runout: RSD403A AII 12-30-65 Matrix / Runout: RSD403B AII Other versions Category Artist Title (Format) Label Category Country Year Count Back With Basie (LP, R 52113 Roulette R 52113 US 1964 Basie Album, Mono) Count Back With Basie (LP, YS-7139-RO Roulette YS-7139-RO Japan 1983 Basie Album) Count Back With Basie (LP, R 52113 Roulette R 52113 Canada 1964 Basie Album) SR 52113, Count Back With Basie (LP, Roulette, SR 52113, US 1964 SR-52113 Basie Album) Roulette SR-52113 Count Back With Basie (LP, VR 56 027 Roulette VR 56 027 France 1968 Basie Album) Related Music albums to Back With Basie by Count Basie Sarah Vaughan with Count Basie & Benny Carter - Sarah Vaughan With Count Basie & Benny Carter Count Basie, Frank Foster, Joe Newman, Frank Wess, Charlie Parker, Dan Terry, Billie Holiday - Estrellas Del Jazz Count Basie & His Orchestra Featuring Louis Bellson - Basie In Sweden Count Basie - The Best Of Count Basie Count Basie - The World Of Count Basie Count Basie Et Son Orchestre - Li'l Ol' Groovemaker... Basie Count Basie & His Orchestra - Basie At Birdland Count Basie - Hall Of Fame Count Basie featuring Count Basie Orchestra + Neal Hefti - Basie Count Basie - Count Basie Plays His Hits Of The 60s.
Recommended publications
  • Duke Ellington Kyle Etges Signature Recordings Cottontail
    Duke Ellington Kyle Etges Signature Recordings Cottontail. Cottontail stands as a fine example of Ellington’s “Blanton-Webster” years, where the ​ band was at its peak in performance and popularity. The “Blanton-Webster” moniker refers to bassist Jimmy Blanton and tenor saxophonist Ben Webster, who recorded Cottontail on May 4th, 1940 alongside Johnny Hodges, Barney Bigard, Chauncey Haughton, and Harry Carney on saxophone; Cootie Williams, Wallace Jones, and Ray Nance on trumpet; Rex Stewart on cornet; Juan Tizol, Joe Nanton, and Lawrence Brown on trombone; Fred Guy on guitar, Duke on piano, and Sonny Greer on drums. John Hasse, author of The Life and Genius of Duke ​ Ellington, states that Cottontail “opened a window on the future, predicting elements to come in ​ jazz.” Indeed, Jimmy Blanton’s driving quarter-note feel throughout the piece predicts a collective gravitation away from the traditional two feel amongst modern bassists. Webster’s solo on this record is so iconic that audiences would insist on note-for-note renditions of it in live performances. Even now, it stands as a testament to Webster’s mastery of expression, predicting techniques and patterns that John Coltrane would use decades later. Ellington also shows off his Harlem stride credentials in a quick solo before going into an orchestrated sax soli, one of the first of its kind. After a blaring shout chorus, the piece recalls the A section before Harry Carney caps everything off with the droning tonic. Diminuendo & Crescendo in Blue. This piece is remarkable for two reasons: Diminuendo & ​ ​ Crescendo in Blue exemplifies Duke’s classical influence, and his desire to write more ​ grandiose pieces with more extended forms.
    [Show full text]
  • Thad Jones Discography Copy
    Thad Jones Discography Compiled by David Demsey 2012-15 Recordings released during Thad Jones’ lifetime, as performer, bandleader, composer/arranger; subsequent CD releases are listed where applicable. Each entry lists Thad Jones compositions/arrangements contained on that recording. Album titles preceded by (•) are contained in the Thad Jones Archive collection. I. As a Leader or Co-Leader Big Band Leader or Co-Leader (chronological): • Thad Jones/Mel Lewis Orchestra, Live at the Vanguard (rec. 1/7 [sic], 3/21/66) [live recording donated by George Klabin] Contains: All My Yesterdays (2 versions), Backbone, Big Dipper (2 versions), Mean What You Say, Morning Reverend, Little Pixie, Willow Weep for Me (Brookmeyer), Once Around, Polka Dots and Moonbeams (small group), Low Down, Lover Man, Don’t Ever Leave Me, A-That’s Freedom • Thad Jones/Mel Lewis Orchestra, On Tour (rec. varsious dates and locations in Europe) Discs 1-7, 10-11 [see Special Recordings section below] On iTunes. • Thad Jones/Mel Lewis Orchestra, In the Netherlands (rec. 1974) [unreleased live recording donated by John Mosca] • Thad Jones/Mel Lewis Orchestra, Presenting the Thad Jones-Mel Lewis Orchestra (rec. 5/4-5-6/66) Solid State UAL18003 Contains: Balanced Scales = Justice, Don’t Ever Leave Me, Mean What You Say, Once Around, Three and One • Thad Jones/Mel Lewis Orchestra, Opening Night (rec. 1[sic]/7/66, incorrect date; released 1990s) Alan Grant / BMG Ct. # 74321519392 Contains: Big Dipper, Polka Dots and Moonbeams (small group), Once Around, All My Yesterdays, Morning Reverend, Low Down, Lover Man, Mean What You Say, Don’t Ever Leave Me, Willow Weep for Me (arr.
    [Show full text]
  • Keeping the Tradition Y B 2 7- in MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar
    June 2011 | No. 110 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com Dee Dee Bridgewater RIAM ANG1 01 Keeping The Tradition Y B 2 7- IN MEMO4 BILL19 Cooper-Moore • Orrin Evans • Edition Records • Event Calendar It’s always a fascinating process choosing coverage each month. We’d like to think that in a highly partisan modern world, we actually live up to the credo: “We New York@Night Report, You Decide”. No segment of jazz or improvised music or avant garde or 4 whatever you call it is overlooked, since only as a full quilt can we keep out the cold of commercialism. Interview: Cooper-Moore Sometimes it is more difficult, especially during the bleak winter months, to 6 by Kurt Gottschalk put together a good mixture of feature subjects but we quickly forget about that when June rolls around. It’s an embarrassment of riches, really, this first month of Artist Feature: Orrin Evans summer. Just like everyone pulls out shorts and skirts and sandals and flipflops, 7 by Terrell Holmes the city unleashes concert after concert, festival after festival. This month we have the Vision Fest; a mini-iteration of the Festival of New Trumpet Music (FONT); the On The Cover: Dee Dee Bridgewater inaugural Blue Note Jazz Festival taking place at the titular club as well as other 9 by Marcia Hillman city venues; the always-overwhelming Undead Jazz Festival, this year expanded to four days, two boroughs and ten venues and the 4th annual Red Hook Jazz Encore: Lest We Forget: Festival in sight of the Statue of Liberty.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Thad Jones Chronology Copy
    Thad Jones Chronology Compiled by David Demsey • 1923/March 28 - Born, Pontiac Michigan; father a lumber inspector for General Motors, had moved to MI from Vicksburg, MS. One of ten children – Thad: “We lost one sister in a drowning accident, and Elvin had a twin brother that died at an early age, but the remaining eight survive.” (Source: liner of H. Jones Have You Met This Jones?) • Professional career began during high school (later 1930s) • C. 1936-7, started to play trumpet at age 14 • C. 1936 in Arcadia Club Band in Pontiac, MI, led by trumpet-playing uncle Bill; band also contained Hank Jones • C. 1939, Formed The Hungry Five, played school dances; contained pianist Vivian Scott, tenorist Dan Turner • Last year in high school (1939?) played in 13-piece band in Saginaw, MI; had first contact with Big Nick Nicolas and Sonny Stitt, formed group with others from Flint, MI, went on road for 2.5 years, broke up in Indianapolis • 1941 traveling with Connie Cornell band through South • 1943 in Dallas for about six months, with band led by altoist Red Calhoun • 1943/December-April 1946 – U.S. Army; first big band experience in G.I. band led by Jack Teagarden, Jr.; arranged for G.I. band that toured with the show “Bedtime Stories” • 1946, formed own band in Oklahoma City • 1946, played in Des Moines with Harold and Seymour Gray for 7 months • 1948, recorded Swing, Not Spring, w/Billy Mitchell, Terry Pollard, piano/vibes; James Richardson? Alvin Jackson?, b; Elvin Jones, d. • 1950-53 formed group with tenor saxophonist Billy Mitchell, also
    [Show full text]
  • Tidlige Pianister I Jazzen
    Tidlige Jazz-Pianister Tidlige Pianister Armstrong, Lil Hardin Basie, Count Blake, Eubie Bloom, Rube Confrey, Zez Hines, Earl Johnson, James P. Joplin, Scott Lamb, Joseph Morton, Jelly Roll Roberts, Luckey Scott, James Smith, Willie "The Lion" Tatum, Art Waller, Fats Williams, Mary Lou Wilson, Teddy Joplin, Scott (b nr Marshall, TX, or Shreveport, LA, 24 Nov 1868; d New York, 1 April 1917). American composer. The circumstances of his training and early career remain obscure, but by 1896 he had settled in Sedalia, Missouri. There, after studying at the George R. Smith College for Negroes to improve his musical technique, he began to issue, with the publisher John Stark, the numerous piano rags on which his reputation as the ‘king of ragtime’ largely rests. Ragtime had been a predominantly improvised folk genre, but Joplin wished to elevate it to ‘classical’ status – a goal he pursued energetically throughout his life – and the idea of a ragtime opera was an early obsession. Almost operatic is The Ragtime Dance of 1899, a six-minute display of ragtime dance steps with sung narration by a ‘caller’ (after the fashion of square dances) and an orchestral accompaniment. In the wake of the success of Maple Leaf Rag (1899), Joplin married and moved (1901) to St Louis. There he composed A Guest of Honor (1903), a ‘ragtime opera’ in one act comprising 12 numbers, all rags. He formed the Scott Joplin Drama Company in April of that year, presenting a single performance of the opera in St Louis before taking it on tour. The renamed Scott Joplin Ragtime Opera Company, however, quickly collapsed, and the touring production was probably heard only in four small Midwestern towns.
    [Show full text]
  • High-Fidelity-1964-0
    000.ss.gooVs".s°.1 ,-, .. .. A Portfolio of Stereo Décor www.americanradiohistory.com VM AU I i3M r1 T tt. itViC.S ÍM V`)tc J( 1 M[)NC? t APE 11FAD SO Drs to this all -in -one Fisher receiver! Most important of all, each of these three sections is just as modest version of the 500 -C at substantially lower cost. ruggedly built, just as reliable in operation, just as free from Any Fisher stereo receiver is ready to play as soon as you overheating and other life- expectancy problems as any sepa- take it out of its shipping carton. Simply connect a pair of good rately sold Fisher component. No other manufacturer has gone loudspeakers to it-preferably as good as the Fisher XP -4A's quite in single- that far chassis stereo receiver design. (That is shown on the right. The famous XP -4A is a 3 -way system that undoubtedly the reason why the Fisher 500 -C is the best -selling has been called "one of the best, most truly musical reproducers high fidelity component in the world today.) available today" by no less an authority than Julian D. Hirsch. In areas where AM stations are still an important source of There is no better `marriage' in stereo today than that of a music, most users will prefer the new Fisher 800 -C, which is Fisher 500 -C with a pair of these superlative speakers. completely identical to the 500 -C except for including, in addi- Prices: Fisher 500 -C, $389.50; Fisher 800 -C, $449.50;Fisher tion, a high- sensitivity AM tuner section with adjustable 400, $329.50; Fisher XP -4A, $199.50; walnut or mahogany (Broad /Sharp) bandwidth plus a ferrite-rod AM antenna.
    [Show full text]
  • June 2021 ITG Journal
    International Trumpet Guild® Journal to promote communications among trumpet players around the world and to improve the artistic level of performance, teaching, and literature associated with the trumpet June 2021 ITG Journal The International Trumpet Guild® (ITG) is the copyright owner of all data contained in this file. ITG gives the individual end-user the right to: • Download and retain an electronic copy of this file on electronic devices for the sole use of the end-user • Print a single copy of this file • Quote fair-use passages of this file in not-for-profit research papers as long as the ITG Journal, date, and page number are cited as the source. The International Trumpet Guild®, under the umbrella of United States and international copyright laws, prohibits the following without prior writ ten permission from the Publications Editor of the ITG: • Duplication or distribution of this file or its contents in any manner that does not conform with the uses as stated above • Alteration of this file or the data contained herein • Placement of this file on any web site, server, or any other database or device that allows for the accessing or copying of this file or the data contained herein by any party, including such a device intended to be used wholly within an institution. By scrolling past this page you agree to the fair use guidelines stated above. http://www.trumpetguild.org This cover sheet must accompany this file. The removal of this information is strictly prohibited and can result in expulsion from the organization and legal action.
    [Show full text]
  • Frank Wellington Wess
    1 The TENORSAX of FRANK WELLINGTON WESS Solographer: Jan Evensmo Last update: Sept. 9, 2020 2 Born: Kansas City, Missouri, Jan. 4, 1922 Died: Oct. 30, 2013 Introduction: Oslo Jazz Circle always loved the Basie orchestra, no matter what time, and of course we became familiar with Frank Wess’ fine tenorsax playing. My own real ear opener however was the Joe Turner session on Atlantic from 1956. Early history: First instrument altosax which he played in local band in Oklahoma. On tenor in Washington with Bill Baldwin and in the house band at Howard Theatre. On tour with Blanche Calloway and army service 1941-44. After discharge, with Billy Eckstine. Then with Eddie Heywood and Lucky Millinder. One year with Bull Moose Jackson. Back to Washington and studies on flute 1949. From June 1953 to August 1964 he was a member of Count Basie’s orchestra. Message: I have had to simplify the presentation of Count Basie sessions, it seemed to serve no purpose of going through all Chris Sheridan. However this means that many sessions with FW must have been omitted, and it is not unlikely that some of these will or have already appeared on CD. Also,I admit that it is not always easy to hear the difference between Frank Wess and Frank Foster, at least for my modest ears. Thus please report any discrepancies between your and my opinions without delay! 3 FRANK WESS TENORSAX SOLOGRAPHY BILLY ECKSTINE ORCHESTRA NYC. June/July, 1946 Hobart Dotson, King Kolax, Leonard Hawkins, possibly Rostelle Reese (tp), Billy Eckstine (vtb, vo), Alfred "Chippy" Outcalt, Gerald Valentine, Howard Scott, unknown (tb), Porter Kilbert, possibly Robert "Junion" Williams (as), Gene Ammons, Frank Wess (ts), unknown (bar), possibly Linton Garner or Jimmy Golden (p), Connie Wainwright (g), Bill McMahon (b), Art Blakey (dm), Ann Baker (vo).
    [Show full text]
  • Count Basie - Basie at Birdland (1961)
    Count Basie - Basie At Birdland (1961) Written by bluesever Monday, 07 March 2011 09:32 - Last Updated Sunday, 31 August 2014 20:30 Count Basie - Basie At Birdland (1961) 1.Little Pony 2.Basie 3.Blues Backstage 4.Blee Blop Blues 5.Whirly-Bird [Vocal Version] 6.One O’Clock Jump (Theme) 7.Good Time Blues 8.Segue in C 9.One O’Clock Jump play 10.Easin’ It 11.A Little Temp, Please 12.Corner Pocket 13.I Needs to Be Bee’s With 14.Discommotion play 15.Segue in C 16.Whirly-Bird 17.One O’Clock Jump (Theme) Personnel: Count Basie - Piano Eddie Jones - Bass Marshall Royal – Clarinet, Sax Alto Sonny Payne - Drums Frank Wess - Flute, Sax Alto and Tenor Freddie Green - Guitar Charlie Fowlkes - Sax Baritone Frank Foster - Sax Tenor Budd Johnson - Sax Tenor Henry Coker - Trombone Quentin Jackson - Trombone Benny Powell - Trombone Sonny Cohn - Trumpet Lennie Johnson - Trumpet 1 / 3 Count Basie - Basie At Birdland (1961) Written by bluesever Monday, 07 March 2011 09:32 - Last Updated Sunday, 31 August 2014 20:30 Thad Jones - Trumpet Snooky Young - Trumpet Jon Hendricks - Vocals. Yes, the New Testament Basie orchestra could really swing (particularly in live recordings, I think) and this is an explosive and swinging album with (as if things weren't swinging and hip enough) Jon Hendricks taking a virtuoso vocal flight on "Whirly-Bird", interacting beautifully with the very much live orchestra... ---Nikica Gilic Count Basie is *the* name for Big Band jazz. This album gives a great look at his work and influence over all the Basie bands.
    [Show full text]
  • Count Basie Jazz Spectrum Vol. 18 Mp3, Flac, Wma
    Count Basie Jazz Spectrum Vol. 18 mp3, flac, wma DOWNLOAD LINKS (Clickable) Genre: Jazz Album: Jazz Spectrum Vol. 18 Country: Germany & Switzerland Released: 1971 MP3 version RAR size: 1287 mb FLAC version RAR size: 1634 mb WMA version RAR size: 1456 mb Rating: 4.9 Votes: 133 Other Formats: TTA WAV APE DXD AHX VQF VOC Tracklist Hide Credits Every Tub A1 2:46 Written-By – Basie*, Durham* New Basie Blues A2 3:23 Written-By – Basie* Redhead A3 2:46 Written-By – Oliver* Basie Talks A4 3:36 Written-By – Wilkins* Goin' To Chicago A5 3:17 Written-By – Basie*, Rushing* Down For The Count A6 5:58 Written-By – Foster* Perdido B1 4:49 Written-By – Drake*, Lengsfelder*, Tizol* Roll' Em Pete B2 3:08 Written-By – Johnson* Every Day B3 5:22 Written-By – York*, Chapman* Tippin' On The Q.T. B4 2:59 Written-By – Clayton* Bread B5 2:48 Written-By – Wilkins* Why Not B6 3:27 Written-By – Hefti* Companies, etc. Manufactured By – Deutsche Grammophon Hamburg Record Company – MGM Records Printed By – Georg Westermann Credits Alto Saxophone – Bill Graham (tracks: B2, B3), Marshall Royal Alto Saxophone, Tenor Saxophone – Ernie Wilkins (tracks: A1 to B1, B4 to B6) Baritone Saxophone – Charlie Fowlkes Bass – Eddie Jones (tracks: A6 to B3), Gene Ramey (tracks: A5), Jimmy Lewis (tracks: A1 to A4, B4, B5, B6) Clarinet – Marshall Royal (tracks: A1 to B1, B4, B5, B6) Drums – Gus Johnson (tracks: A1 to B1, B4, B5, B6), Sonny Payne (tracks: B2, B3) Flute – Frank Wess (tracks: B2, B3) Guitar – Freddie Green Photography By – Wolfram Mehl* Piano – Count Basie Tenor Saxophone
    [Show full text]
  • MUNI 20130408 – Big Bandy 5 – Count Basie Úvodem Youtube: Http
    MUNI 20130408 – big bandy 5 – Count Basie Úvodem youtube: http://www.youtube.com/watch?v=XIs1vcoPQbw Jumpin at the Woodside 3:05 Oscar Peterson & Count Basie (piano) Niels Pedersen (bass) Martin Drew (drums) from bbc television http://www.youtube.com/watch?v=ThtaxYc_x-s One O Clock Jump 2:31 The Count Basie Orchestra: Sonny Cohn, Pete Minger, Darle Carley, Frank Szabo (tp), Bill Hughes, Dennis Wilson, Grover Mitchell, Booty Wood (tb), Danny Turner (as), Bobby Plater (as, fl), Kenny Hing (ts), Eric Dixon (ts, fl), Johnny Washington jr. (bs), Count Basie (p), Freddie Green (g), Cleveland Eaton II (b), Gregg Field (d). http://www.youtube.com/watch?v=g3tgUAn_noM The Kid from Red Bank 2:43 The Great Helsin ki Swing Big Band & Janne Maarala, Piano, Malmitalo Helsinki Finland, May 2009 A zvukové ukázky: 1. The Kid from Red Bank (Neal Hefti) 2:42 2. The Late Late Show (Roy Alfred-Murray Berlin) 3:02 Wendell Culley, Snooky Young, Thad Jones, Joe Newman-tp; Henry Coker, Al Grey, Benny Powell-tb; Marshall Royal, Frank Wess, Eddie „Lockjaw“ Davis, Frank Foster, Charlie Fowlkes-reeds; Count Basie-p; Freddie Green-g; Eddie Jones-b; Sonny Payne-dr; Joe Williams-voc (2); Neal Hefti-arr. New York City, October 21-22, 1957. Produced by Teddy Reig. LP Atomic Basie, Roulette SR 52003. [CD: Roulette 7243 8 28635 2 6] 3. Every Day I Have the Blues (Peter Chatman=“Memphis Slim“) 5:28 4. All Right, OK, You Win (Sid Wyche-Mayme Watts) 3:03 Wendell Culley, Reunald Jones, Thad Jones, Joe Newman-tp; Henry Coker, Bill Hughes, Benny Powell-tb; Frank Wess-fl,ts; Marshall Royal-cl, as; Bill Graham-as; Frank Foster-ts, arr (4); Charlie Fowlkes-bs; Count Basie-p; Freddie Green-g; Eddie Jones-b; Sonny Payne- dr; Joe Williams-voc; Ernie Wilkins-arr (3).
    [Show full text]