Duke Ellington Orchestra & Count Basie Orchestra - First Time
Prix habituel
€35,00
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Duke Ellington and Count Basie Orchestras:
- Duke Ellington, piano [click here to see more vinyl featuring Duke Ellington]
- Count Basie, piano [click here to see more vinyl featuring Count Basie]
-
Willie Cook, trumpet
- Ed Mullens, trumpet
- Cat Anderson, trumpet
- Andrew "Fats" Ford, trumpet
- Thad Jones, trumpet [click here to see more vinyl featuring Thad Jones]
- Sonny Cohn, trumpet
- Snooky Young, trumpet
- Lennie Johnson, trumpet
- Ray Nance, trumpet, violin
- Lawrence Brown, trombone
- Juan Tizol, trombone
- Quentin Jackson, trombone
- Lou Blackburn, trombone
- Henry Coker, trombone
- Benny Powell, trombone
- Jimmy Hamilton, clarinet, tenor saxophone
- Marshal Royal, clarinet, alto saxophone
- Russell Procope, alto saxophone, clarinet
- Johnny Hodges, alto saxophone
- Frank Wess, alto saxophone, tenor saxophone, flute
- Paul Gonsalves, tenor saxophone
- Frank Foster, tenor saxophone
- Budd Johnson, tenor saxophone
- Harry Carney, baritone
- Charlie Fowlkes, baritone
-
Freddie Green, guitar
- Eddie Jones, bass (except "Wild Man")
- Sonny Payne, drums (except "Wild Man")
- Aaron Bell, bass on "Wild Man"
- Sam Woodyard, drums on "Wild Man" and "Battle Royal"
1 LP, standard sleeve
Original analog Master tape : YES
Heavy Press : 180g
Record color : black
Speed : 33 RPM
Size : 12'’
Stereo
Studio
Record Press : Pallas
Label : Pure Pleasure
Original Label : Columbia
Recorded at 30th Street Studio, New York on July 6 & 7, 1961
Produced by Teo Macero
Remastered by Ray Staff at Air Mastering, Lyndhurst Hall, London
Originally released in 1962
Reissued in April 2009
Tracks:
Side A :
1. Battle Royal
2. To You
3. Take The "A" Train
4. Until I Met You (Corner Pocket)
2. To You
3. Take The "A" Train
4. Until I Met You (Corner Pocket)
Side B :
1. Wild Man (Wild Man Moore)
2. Segue In C
3. B D B
4. Jumpin' At The Woodside
2. Segue In C
3. B D B
4. Jumpin' At The Woodside
Reviews:
« A battle of the bands? Not quite -- more like a mutual admiration society, with the orchestras of both jazz titans playing together. (The Duke is heard on the right side of your stereo/headphones, the Count on the left.) Ellington's elegance and unique voicings meet Basie's rollicking, blues-based Kansas City swing, and it works gloriously. There's no clutter, each band is focused, and they sound great together. This is not the thoughtful, reflective composer side of Ellington (listeners should check out Far East Suite or Black, Brown & Beige for that). The Duke and his band accentuate their swinging dance band side, while Basie and company have never sounded as suave and exotic as when playing Billy Strayhorn arrangements. Everyone has a good time, and that joy infuses this album from start to finish » AllMusic Review by John Bush
The musical event which is presented in this album is without precedent in the history of jazz. History largely consists of chronicling momentous occaisions, and it was such an occaision when the full orchestras of Duke Ellington and count Basie recorded together on 6th July 1961. The result is almost an embarrassment of riches. It is great in significance, great in musical content and, above all, great in demonstrating the two famous leaders’ mutual appreciation and understanding of each other.
At first glance this collaboration should not have worked. The Duke Ellington and Count Basie Orchestras had already been competitors for 25 years but the leaders' mutual admiration (Ellington was one of Basie's main idols) and some brilliant planning made this a very successful and surprisingly uncrowded encounter. On most selections Ellington and Basie both play piano (their interaction with each other is wonderful) and the arrangements allowed the stars from both bands to take turns soloing. "Segue in C" is the highpoint but versions of "Until I Met You," "Battle Royal" and "Jumpin' at the Woodside" are not far behind.
Ratings :
AllMusic : 4.5 / 5 , Discogs : 4.22 / 5