Count Basie - Live at the Sands (2LP, Ultra Analog, Half-speed Mastering, 45 RPM)
Regular price
€89,00
AVERAGE SHIPPING TIME : 2 TO 4 WORKING DAYS
Delivery time depends on country of delivery
VAT included in price for European Union countries, may be adjusted based on delivery country at check out.
Shipping is free within European Union (except for specific territories) above 99€ purchase up to 50kg. Shipping costs on quote above 50kg – quote request to be send to : contact@audiosoundmusic.com. No return policy for countries outside of European Union
ORDER LIMITED TO ONE ITEM PER CUSTOMER
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”
Stereo
Live
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
Tracks:
Side A :
Introduction
Splanky
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
Awards:
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