Count Basie - Live at the Sands  (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)
Count Basie - Live at the Sands  (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)
Count Basie - Live at the Sands  (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)
Count Basie - Live at the Sands  (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)

Count Basie - Live at the Sands (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)

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Count Basie – piano [click here to see more vinyl featuring Count Basie]

Al Aarons, Sonny Cohn, Wallace Davenport, Phil Guilbeau, Harry Edison – trumpet

Al Grey, Henderson Chambers, Grover Mitchell – trombone

Bill Hughes – bass trombone

Marshal Royal – alto saxophone, clarinet

Bobby Plater – alto saxophone, flute

Eric Dixon – tenor saxophone, flute

Eddie "Lockjaw" Davis – tenor saxophone

Charlie Fowlkes – baritone saxophone

Freddie Green – guitar

Norman Keenan – double bass

Sonny Payne – drums

Quincy Jones – arranger, conducting


2 LPs, gatefold sleeve

Limited numbered edition

Original analog Master tape : YES

Half-speed Mastering

Gain 2™ Ultra Analog

Heavy Press : 180g

Record color : black

Speed : 45RPM

Size : 12”



Record Press : RTI

Label : MOFI

Original Label : Reprise Records

Recorded January 26-29 and February 1, 1966 in the Copa Room of The Sands Hotel & Casino, Las Vegas

Engineered by James Farber

Produced by Dana Watson, Matt Pierson, Sonny Burke

Remastered by Krieg Wunderlich

Originally released in 1998

Reissued in 2013



Side A :



            I Can’t Stop Loving You

            I Needs to Be Bee’d With

            Flight of the Foo Birds


Side B :

            Satin Doll

            Makin’ Whoopee!

            Corner Pocket


Side C :

            One O’Clock Jump

            Hello Little Girl

            Whirly Bird


Side D :

            Blues for Ilene

            This Could Be the Start of Something Big

            Jumpin’ at the Woodside



TAS Super LP List! Special Merit: Informal


Reviews :

"Frank Sinatra's collaborations with Count Basie were among the singer's better ventures back into jazz in the early 1960s, and led not only to a couple of great studio albums, and one superb live Sinatra album, but also to Basie's being signed to the Sinatra-founded Reprise label in the mid-'60s. The 53 minutes of music captured on Live at the Sands was recorded during the opening sets from three different shows in late January and early February of 1966, by Basie and his band during the engagement with Sinatra at the Sands Hotel that yielded that live Sinatra album. Maybe that raises the expectations, because this release is a slight disappointment -- the band sounds OK, but except for Basie himself and drummer Sonny Payne, it seems like they're walking their way through some of this repertoire. There are a number of good moments here: "I Needs to Be Bee'd With," "Flight of the Foo Birds," "Satin Doll," "Blues for Home," and "This Could Be the Start of Something Big" (which is worth hearing for the ensemble work and Eric Dixon and Eddie "Lockjaw" Davis' solos); the band finally takes flight, but compared with some of the recordings of complete shows by Basie that are nothing less than great, a lot of this is secondary. Given the fact that it was Sinatra's set that was going to be taped for release for certain, the band may, indeed, have been holding back during its own set, for good reason. Even the audience response says it, positive and polite but not excessive -- they were there for Sinatra, and nothing Basie and company did were likely to bowl them over, so why make the effort? It's not a bad set, and some of it -- "Makin' Whoopee" (especially the call and response on the piano), "Corner Pocket," and "Jumpin' at the Woodside" -- has great appeal. But this is overall a legendary band doing a somewhat less-than-legendary set, during some gigs that, in fairness, yielded up a great live album elsewhere. The quality is solid live sound, in crisp stereo from a nicely controlled mid-'60s venue, using state-of-the-art equipment." AllMusic Review by Bruce Eder


      Ultra Analog™ : The GAIN 2 Ultra Analog™ Series stems from the use of the Gain 2 system, mastered at half speed from the original master tapes where possible, capturing and uncovering as before undiscovered sonic information.


      Half-speed mastering. In half-speed mastering, the whole process is slowed down to half of the original speed. A typical 33 1/3 rpm record is cut at 16 2/3 rpm. The source material is also slowed down (reducing the pitch in the process) meaning the final record will still sound normal when played back. Slowing the whole process down allows more time, which means the end result sounds better and is more efficient — allowing engineering to minimize the effects of inherent limitations within the vinyl format. The result is a more accurate and more open high-frequency response in the half speed vinyl when compared with a normal speed recording.

      Ratings :

      AllMusic : 3 / 5 , Discogs : 4,53 / 5

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