ロン・リディム Little Tempo

“Sinatra-Basie”; “Count Basie and the Kansas City 7”; “The Atomic Mr. Basie”; “Basie Plays Hefti” plus five previously unissued mono tracks from Newport 1956.
“Sinatra-Basie” continues our new series revealing the hidden qualities of stereo sound and here we again quote from the original liner notes to give you a flavour of what to expect within the grooves. “I’ve waited twenty years for this moment” said Frank Sinatra as the recording session for this historic meeting of two genuine musical giants of the 20th Century began on the 2nd October 1962. A few more quotes… With arrangements by Neal Hefti… ”it is the balance of power (between Sinatra and Basie) “that is so successful”…

In early 1961, the 16-member Count Basie band lost a few key soloists (Billy Mitchell, Joe Newman, and Al Grey), but that did not slow them down. By June of that year they quite adequately reloaded. In fact, it could be said they were re-energized, and this live set at Birdland, the self-proclaimed "Jazz Corner of the World," provides proof of how great they continued to be. This CD reissue contains the original nine tracks, plus an additional eight more. There are repeats, but included are some restored piano intros that were previously edited out, and a correction on the misidentified jam "Discommotion."

Europe1 regularly recorded jazz concerts for broadcast during the 1950s and '60s, so this 1960 performance by Count Basie at the Palais de Chaillot in Paris is representative of the heights of the band during the era in which Thad Jones, Joe Newman, Frank Foster, Marshall Royal and Frank Wess were all a part of the group. The set list is diverse, blending originals by bandmembers and Neal Hefti (one of the most prolific contributors to Basie at the time), favorites from other bands' repertoire and a few blues. With a rock-solid rhythm section (Freddie Green, Eddie Jones and Sonny Payne) led by Basie, the focus is on the horn soloists and the tight, consistently swinging ensembles. Highlights include the strutting "Blues in Hoss' Flat," "Makin' Whoopee" (with its delicious vocal-like muted trombone, probably by Al Grey) and band favorite "'Shiny Stockings."

Count Basie - Palais de Chaillot, March 29th 1960
EAC+LOG+CUE | FLAC: 484 MB | Full Artwork: 34 MB | 5% Recovery Info
Label/Cat#: Laserlight Digital # 17423 | Country/Year: Germany 2002
Genre: Jazz | Style: Classic Jazz

"Europe1 regularly recorded jazz concerts for broadcast during the 1950s and '60s, so this 1960 performance by Count Basie at the Palais de Chaillot in Paris is representative of the heights of the band during the era in which Thad Jones, Joe Newman, Frank Foster, Marshall Royal and Frank Wess were all a part of the group. The set list is diverse, blending originals by bandmembers and Neal Hefti (one of the most prolific contributors to Basie at the time), favorites from other bands' repertoire and a few blues…"

Count Basie - The Complete Roulette Studio Recordings Of Count Basie & His Orchestra (1993) {10CD Box Set Mosaic MD10-149}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 3.45 Gb | MP3 @320 -> 1.32 Gb
Full Artwork @ 300 dpi (jpg) -> 55 Mb | 5% repair rar
© 1957-62, 1993 Mosaic Records | MD10-149
Jazz / Big Band / Swing

Some of Count Basie's finest recordings were cut for the Roulette label during 1957-1962, and all of his studio performances are included on this massive Mosaic ten-CD boxed set. Among the classic former LPs that are reissued here are The Atomic Mr. Basie, Basie Plays Hefti, Chairman of the Board, Everyday I Have the Blues, and Kansas City Suite. With such soloists as trumpeters Thad Jones and Joe Newman, the tenors of Frank Foster and Eddie Lockjaw Davis, Frank Wess on alto and flute, vocals by Joe Williams, and the timeless arrangements of Neal Hefti, Thad Jones, Frank Foster, Ernie Wilkins, and Frank Wess among others, this essential (but unfortunately limited-edition) set features the second Count Basie Orchestra at its very best.

Karajan was unquestionably a great Tchaikovsky conductor. Yet although he recorded the last three symphonies many times, he did not turn to the first three until the end of the 1970s, and then proved an outstanding advocate. In the Mendelssohnian opening movement of the First, the tempo may be brisk, but the music's full charm is displayed and the melancholy of the Andante is touchingly caught.