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A Place In The Choir – Tommy Makem & Liam Clancy The Makem & Clancy Collection (1986)
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- 06 Confessin The Blues – Jay “Hootie” McShann 1941-1943 (1941-43)
- 07 Goin Nowhere - Chris Isaak Forever Blue (1995)
- 08 Hey Negress (Cajun Patois For Best Girl) – Queen Ida Zydeco (1976)
- 09 I Cant Believe That Youre In Love With Me - Jimmy Rushing Count Basie The Essential (1939-41)
05 A Place In The Choir – Tommy Makem & Liam Clancy The Makem & Clancy Collection (1986) Tommy Makem – what can you say about Tommy. I think JenM’s Uncle Dennis (AKA Peter) said it all … “The most use the basement gets these days is on the rare occasions I go down there to exercise. I was down there just a while ago and thought I'd like to hear some "old music" while I worked out. So, I went looking in the stack of vinyl from the 50's and 60's I still have and came across an album of the Clancy Brothers and Tommy Makem. Isn't it Grand Boys say the words in green on the jacket next to the headline announcing The Clancy Brothers and Tommy Makem. And there are the lads directly below in their youth and glory. Tommy, Lord have mercy on him, on the left blond and slim, with his grand smile on his face, as they all have, God love them. It was one of the albums that Sheila Marie Welby, also of very happy memory, brought with her as dowry to our house long years ago. The disc came to my hand first from the pack of about 200 I still have in boxes in another part of the basement. Tommy Makem is only a week in the grave I thought, and it's fitting I play some of the music I loved when I was younger than he and the lads were in the picture on the album jacket. And so I did. The first song was Nancy Whiskey and I stopped doing what I was doing to listen to their music and remember back forty and more years to the nights and days when I, too, fell in love with Nancy, and the Boys. Oh I still love, Nancy, you know, but with less fever for her kiss and more deep appreciation for her soul. I listened to the whole first side, trying to get through my workout and not doing very well. But it was the last song on side one, the title of the album, Isn't It Grand Boys, which stopped me in my tracks so to speak. "Look at the coffin...," the song begins. How many times had I heard it, and sung it myself at the top of my lungs along with my pals, a glass in my hand at some drinkery in New York City, or in other watering holes across the wide, wide world. It was years since I heard it last, but it might have been a minute ago, do you know. I began to sing the chorus after the first verse. I got through the first four words, "Isn't it grand boys," before my voice broke, and I croaked and whispered the next line, "To be bloody well dead!" I smiled at myself, great fool weeping there to a song flung in the face of our common end, celebrating and mocking it at once in what can only be an Irish way of looking at life. And I smiled at the memories as the room filled with them, and the places and voices crowded in, all, always with room for more, growing into God knows what, a great hall of living and dead, there in my mind and not there, there in spirit and really there, outside and inside. I remembered most the ones who sang with me, and the ones I held in love, whose arms were around my shoulders or whose hands held mine, and the ones I fought with and reconciled with as soon as the last punch was thrown, old friends but not old, wife and parents and uncles and aunts, in-laws and outlaws, and I danced in the basement to the slow steady waltz with the grand and the bloody well dead. I danced in Toolan's under the rattle of trains on cold nights and hot ones, Joe in his apron behind the bar, whimsically smiling at our roaring life, and his father of the white hair, both of them I guess at that lake of beer in heaven with Brigid herself. I danced at Angie's on the corner where my father would have to be dragged home after having spent his pay once again. I danced at the Audubon Ballroom, the one where Malcolm X was shot a few years later. I danced with all the boys who would be men and dance slowly or not at all. I danced along Broadway with a thousand fellows coming home on a thousand early mornings before the sun rose, and along Bailey Avenue where I lived, and on beaches and playgrounds, at wakes, and weddings and, yes, funerals. As the last chorus faded out from the gift of an old man and a young woman I couldn't stop crying and smiling. I walked to the old man’s turntable and the young woman’s gift and placed the needle in the groove and played it again. Those of you around when I’ve become bloody well dead may wish to raise a jar some day and sing, along with Tommy and the lads, “Isn’t it grand boys…” I’ll join in.” This is a track from the Wilkinson’s collection. The Clancy Brothers are a family of singing Irish expatriates who have been important figures in re-popularizing their native music in North America and are still among the most internationally renowned Irish folk bands. Some even credit the band as important figures in starting the folk revival of the '50s and '60s. The Clancys, Tom, Pat and Liam were born in Carrick-on-Suir, County Tiperrary, Ireland to a family of nine, all of whom were musically inclined. Tom and Pat emigrated to New York around the early '50s to become actors. Liam and his friend Tommy Makem, born in Keady, County Armagh the son of noted balladeer Sarah Makem, came to the U.S. in 1956. Before Liam emigrated, he had founded a dramatic society and had put on a play taking over the direction, producing and set design himself. He had also acted at the famed Gaiety Theatre in Dublin. Both he and Makem also hoped to have acting careers in New York. The Clancy Brothers with Tommy Makem (as they were first billed) came together to sing fund-raising concerts for the Cherry Lane Theater and at the Guthrie benefits. Forgoing the stereotypical maudlin Irish ballads in favor of lusty party songs, traditional American and Irish folk songs and even protest tunes sung in close harmony and performed most theatrically, the Clancys soon became popular folk performers around Greenwich Village. In the mid-'50s, Pat founded Tradition Records so the Clancys and Makem could begin recording. Early recordings include "The Rising of the Moon" and "Come Fill Your Glass with Me." By recording and touring often, the Clancys continued to become more and more popular in Eastern and Midwestern clubs, but it was their debut on the Ed Sullivan Show in 1961 that brought them national exposure. Originally scheduled to only play three minutes, they ended up playing for 16 minutes and became an instant national sensation and soon signed a major contract with Columbia Records. The Clancys continued recording and performing together through 1969. That year Makem left to pursue his solo career. In 1975, Liam departed; he and Makem were replaced by brother Bobby Clancy and their nephew Robbie O'Connell. Since then, the original members have occasionally regrouped for reunion concerts. Tom Clancy died in 1990 but the band continues on. 06 Confessin' The Blues – Jay “Hootie” McShann 1941-1943 (1941-43) Ah, “Hootie”; I love Hootie. I have about 30 Hootie tracks; 20 of ‘em rated Very Good or higher. Yeah, I like Hootie. I managed to narrow his selections to a meager 3, but picking one of them is most difficult. The three I picked are: Hands Off, Once Upon A Time, and Confessin’ The Blues. Hands Off is a clear winner, but it is sung by an unknown female, not Hootie. Once Upon A Time is really, really good, but very, very slow. I had two versions of Confessin’ The Blues: both with Hootie on vocal; one with violin; the other with more traditional jazz instruments. I opted for the live version with the violin. It has Hootie’s typical rolling beat with his piano lead and features his more youthful voice. Ah, but the other two will show up on future Naweedna compilations. This live version of Confessin’ The Blues was downloaded. McShann’s “Hold ‘Em Hootie” was on Naweedna 2002 A. The great veteran pianist Jay McShann (also known as Hootie) has had a long career and it is unfair to primarily think of him as merely the leader of an orchestra that featured a young Charlie Parker. He was mostly self-taught as a pianist, worked with Don Byas as early as 1931 and played throughout the Midwest before settling in Kansas City in 1936. McShann formed his own sextet the following year and by 1939 had his own big band. In 1940 at a radio station in Wichita, KS, McShann and an octet out of his orchestra recorded eight songs that were not released commercially until the 1970s; those rank among the earliest of all Charlie Parker records (he is brilliant on "Honeysuckle Rose" and "Lady Be Good") and also feature the strong rhythm-section team McShann had with bassist Gene Ramey and drummer Gus Johnson. The full orchestra recorded for Decca on two occasions during 1941-42 but they were typecast as a blues band and did not get to record many of their more challenging charts (although very rare broadcasts have since surfaced and been released on CD by Vintage Jazz Classics). In addition to Bird (who had a few short solos), the main stars were trumpeter Bernard Anderson, the rhythm section and singer Walter Brown. McShann and his band arrived in New York in February 1942 and made a strong impression but World War II made it difficult for any new orchestras to catch on. There was a final session in December 1943 without Parker but McShann was soon drafted and the band broke up. After being discharged later in 1944, McShann briefly reformed his group but soon moved to Los Angeles where he led combos for the next few years; his main attraction was the young singer Jimmy Witherspoon. McShann was in obscurity for the next two decades, making few records and mostly playing in Kansas City. In 1969 he was rediscovered and McShann (who had first sung on records in 1966) was soon a popular pianist/vocalist. Sometimes featuring violinist Claude Williams, he has toured constantly, recorded frequently and appeared at many jazz festivals since then, being active into the mid-'90s. Jay McShann, who has recorded through the years for Onyx (the 1940 radio transcriptions), Decca, Capitol, Aladdin, Mercury, Black Lion, EmArcy, Vee Jay, Black & Blue, Master Jazz, Sackville, Sonet, Storyville, Atlantic, Swingtime and Music Masters among others, is a vital pianist and an effective blues vocalist who keeps a classic style alive. Jay McShann - 1941-1943 Jay McShann & His Orchestra 1941-1943 Release Nov 19, 1996 inprint AMG Rating 4.5 * Jazz Time 60:12 Twenty-one sides cut by Jay McShann and His Orchestra and the Jay McShann Quartet for Decca Records between 1941 and 1943, with Charlie Parker on about half of what's here, and stretching out on a handful of cuts. The highlight is the group's recording of "Confessin' the Blues," which was a huge hit and resulted in their recording of more than half a dozen similar vocal blues numbers, featuring Walter Brown (who wrote "Confessin'") on vocals. The material here is pretty much weighted to jump blues and boogie-woogie-style numbers, all of it hot and extraordinarily well-played. The pity is, between Decca's insistence on more songs like "Confessin' the Blues" (which was later covered by Chuck Berry and the Rolling Stones, among others) and the 1942 recordings band, not much of McShann's repertory or Parker's more outstanding material from the period was laid down. What is here, however, is extraordinary, some of the tighted, bluesiest jazz you'll ever here, all in excellent sound as well, and Parker does soar on a large handful of these tracks. - Bruce Eder 1. Swingmatism (McShann) - 2:36 2. Hootie Blues (Brown/McShann) - 2:53 3. Dexter Blues (McShann) - 2:53 4. Vine Street Boogie (McShann) - 2:34 5. Confessin' the Blues (Little Walter/McShann) - 2:50 6. Hold 'Em Hootie (McShann) - 2:37 7. One Woman's Man (Brown/McShann/Tums) - 3:01 8. 'fore Day Rider (Brown/McShann) - 2:53 9. So You Won't Jump (McShann/Ramey) - 2:36 10. New Confessin' the Blues (Brown/McShann) - 3:04 11. Red River Blues (Nelson) - 2:53 12. Baby Heart Blues (Brown/McShann) - 2:44 13. Cryin' Won't Make Me Stay (Williams) - 2:29 14. Hootie's Ignorant Oil (Anderson/McShann) - 2:41 15. Lonely Boy Blues (Brown/McShann) - 2:54 16. Get Me on Your Mind (Johnson/Tums) - 3:01 17. The Jumpin' Blues (McShann) - 2:59 18. Sepian Bounce (Hall/McShann) - 3:06 19. Say Forward, I'll March (Hall/McShann/Ramey) - 3:06 20. Wrong Neighborhood (Hall/McShann/Merrill) - 3:18 21. Hometown Blues (Brown/McShann) - 3:04 07 Goin' Nowhere - Chris Isaak Forever Blue (1995) Got this from both Spollen & Heisig. Paul’s CD didn’t have it attributed, so we played it for Mahoney: “Sounds like Chris Isaak.” Sure enough, I checked Joe’s stuff and found this very track. Okay, so Joe, Paul, and Bob like it and so do we. It was an easy choice. Chris Isaak clearly loves the reverb-laden rockabilly and country of Sun Studios. In particular, he transfers the sweeping melancholy of Roy Orbison's classic Monument singles ("Crying," "Oh, Pretty Woman," "In Dreams") to the more stripped-down, rootsy sound of Sun. His stylized take on '50s and '60s rock & roll eventually made him into a star in the early '90s, thanks to the hit single "Wicked Game." Isaak began performing after he graduated from college, forming the rockabilly band Silvertone. The group, which featured guitarist James Calvin Wilsey, bassist Rowland Salley, and drummer Kenney Dale Johnson, would become the singer/guitarist's permanent supporting band. Isaak released his first album, Silvertone, on Warner Bros. in 1985. It was critically well received, yet it didn't sell. Two years later, he released Chris Isaak, which managed to scrape into the Top 200 album charts. After its release, the singer began an acting career with a bit part in Jonathan Demme's 1988 film Married to the Mob; he would later have parts in Wild at Heart, The Silence of the Lambs, and A Dirty Shame, as well as starring in his own situation comedy series for the Showtime cable network. Released in 1989, Heart Shaped World initially sold more than Chris Isaak, yet it didn't manage to break big until late 1990, when the single "Wicked Game" was featured in David Lynch's Wild at Heart. Soon, the single became a Top Ten hit; the album also made it into the Top Ten and sold over a million copies. Both 1993's San Francisco Days and 1995's Forever Blue mined essentially the same vein as Heart Shaped World, yet both went gold and spawned a handful of hits. In 1996, Isaak released The Baja Sessions; Speak of the Devil followed two years later. Isaak's busy touring schedule and growing visibility as an actor kept him out of the recording studio until 2002, when he released Always Got Tonight, though in 2004 he did find time to cut his first seasonal album, Chris Isaak Christmas, which featured five new Yuletide tunes along with a batch of holiday favorites. 08 Hey Negress (Cajun Patois For Best Girl) – Queen Ida Zydeco (1976) I’ve wanted to include a Cajun track from the beginning. What one? I settled on Queen Ida for historical reasons: my first Cajun album was Queen Ida’s Zydeco ’76. I now have an extensive Cajun collection and, once I’d settled on Queen Ida, it was equally difficult to decide which of her tracks to include. I picked Hey Negress because it has always been a favorite, she’s done it a couple times on PHC, and it represents her style. However, another Zydeco piece from PHC is also very good … maybe next time ;-) ZYDECO is an expression exercised at Cajun/Creole dances in Louisiana used much in the manner as we might hear: ‘Let’s get down’, “Let’s boogie’, at American dance functions today — LET’s ZYDECOl! Zydeco is Bayou patois for haricot which is French for string bean. The Zydeco music is of Cajun origin and brought to Louisiana from French Canada by the Acadians. (The word Cajun is a corruption of “Acadian.”) The Creoles adopted the music and added their cultural flavor making Zydeco a Cajun/Creole multi-cultural music. The term Zydeco has come to identify the music which is played at these dances. Vocally Zydeco lyrics are usually expressed in French, primarily because the music is French based, and secondly because of the staccato melodies created by the choppy push-pull action of the diatonic accordion. The translation into English is most difficult and somewhat alters the expression of the melody. Originally the lead instrument was the German made Hohner diatonic (push-pull) accordion. The percussion instruments that accompanied it were either or both the rub-board and the triangle. Queen Ida was the first female accordion player to lead a zydeco band. Favoring a 31-button accordion, she is noted for her melodic playing, and for focusing on the treble side of her instrument, which makes her style similar to Mexican playing styles. Though like many other zydeco artists of the '80s, her music was well grounded in Creole traditions, she also integrates Caribbean, Cajun (with the addition of a fiddle to her Bon Temps Zydeco Band), blues and other genres. She came to music rather late in life. Born Ida Guillory to a musically talented family in Lake Charles, LA, she learned to play accordion from her mother after she spent a few years learning the piano. Her family moved to Beaumont, TX, when she was ten and eight years later moved to San Francisco. Her first language is French, and wherever they went, took their Creole culture and music with them. But while music was important to Guillory, during her young adult years while busy raising her family, she only performed for social occasions. She briefly attended nursing school but left during her first pregnancy. When her children were all school-aged, she became a part-time bus driver. As they grew, Guillory's friends began more strongly encouraging her to perform publicly. In the early '70s, she began performing with Barbary Coast Band and with the Playboys. She was in demand, not only because of her talent, but also because female accordion players were a rarity. She got her stage name in 1975 during a Mardis Gras celebration in the Bay Area. There she was formally crowned "Queen of the Zydeco Accordion and Queen of Zydeco Music." The following year she and her band played at the Monterey Jazz and Blues Festival. She also signed to GNP/Crescendo Records, a Los Angeles-based jazz label. Despite her popularity, Queen Ida never felt music was stable enough to support her children and so continued bus driving until her youngest daughter went to school. After that Ida began touring more frequently. In 1978, John Ullman became her agent. He helped make her internationally known. In 1979 she was nominated for a Bay Area Music Award. Though Taj Mahal won it, he arranged a two-week European tour for her. She continued recording and touring through the 1980s. Because she feels she and the band sound best live, most of her albums are recorded while she tours. In 1988, Queen Ida toured Japan, becoming the first zydeco artist to do so. She toured Africa the following year for the State Department and in 1990 went to Australia and New Zealand. Queen Ida has appeared in one feature film, Rumblefish, and a documentary about Louisiana music, J'ai Ete au Bal. She has also performed on television shows ranging from Austin City Limits to Saturday Night Live. For many, Queen Ida is not only an excellent musician, she is also a fine example of how a determined middle-aged woman can still find success in a youth-obsessed culture. 09 I Can't Believe That You're In Love With Me - Jimmy Rushing & Count Basie The Essential (1939-41) I just love Rushing’s “I Can’t Believe U In Love With Me” refrain. This is a great multiple-disc set I got from Milne. It is the best of the big band Basie stuff. However, the KC series (KC 3, 5, 6 & 7 – the numbers refer to the sidemen on the set) is the best Basie I have. There will be more Rushing (Mr 5x5) in the future. Count Basie was among the most important bandleaders of the swing era. With the exception of a brief period in the early '50s, he led a big band from 1935 until his death almost 50 years later, and the band continued to perform after he died. Basie's orchestra was characterized by a light, swinging rhythm section that he led from the piano, lively ensemble work, and generous soloing. Basie was not a composer like Duke Ellington or an important soloist like Benny Goodman. His instrument was his band, which was considered the epitome of swing and became broadly influential on jazz. Both of Basie's parents were musicians; his father, Harvie Basie, played the mellophone, and his mother, Lillian (Childs) Basie, was a pianist who gave her son his earliest lessons. Basie also learned from Harlem stride pianists, particularly Fats Waller. His first professional work came accompanying vaudeville performers, and he was part of a troupe that broke up in Kansas City in 1927, leaving him stranded there. He stayed in the Midwestern city, at first working in a silent movie house and then joining Walter Page's Blue Devils in July 1928. The band's vocalist was Jimmy Rushing. Basie left in early 1929 to play with other bands, eventually settling into one led by Bennie Moten. Upon Moten's untimely death on April 2, 1935, Basie worked as a soloist before leading a band initially called the Barons of Rhythm. Many former members of the Moten band joined this nine-piece outfit, among them Walter Page (bass), Freddie Green (guitar), Jo Jones (drums), and Lester Young (tenor saxophone). Jimmy Rushing became the singer. The band gained a residency at the Reno Club in Kansas City and began broadcasting on the radio, an announcer dubbing the pianist "Count" Basie. Basie got his big break when one of his broadcasts was heard by journalist and record producer John Hammond, who touted him to agents and record companies. As a result, the band was able to leave Kansas City in the fall of 1936 and take up an engagement at the Grand Terrace in Chicago, followed by a date in Buffalo, NY, before coming into Roseland in New York City in December. It made its recording debut on Decca Records in January 1937. Undergoing expansion and personnel changes, it returned to Chicago, then to the Ritz Carlton Hotel in Boston. Meanwhile, its recording of "One O'Clock Jump" became its first chart entry in September 1937. The tune became the band's theme song and it was later inducted into the Grammy Hall of Fame. Basie returned to New York for an extended engagement at the small club the Famous Door in 1938 that really established the band as a success. "Stop Beatin' Round the Mulberry Bush," with Rushing on vocals, became a Top Ten hit in the fall of 1938. Basie spent the first half of 1939 in Chicago, meanwhile switching from Decca to Columbia Records, then went to the West Coast in the fall. He spent the early '40s touring extensively, but after the U.S. entry into World War II in December 1941 and the onset of the recording ban in August 1942, His travel was restricted. While on the West Coast, he and the band appeared in five films, all released within a matter of months in 1943: Hit Parade of 1943, Reveille with Beverly, Stage Door Canteen, Top Man, and Crazy House. He also scored a series of Top Ten hits on the pop and R&B charts, including "I Didn't Know About You" (pop, winter 1945); "Red Bank Blues" (R&B, winter 1945); "Rusty Dusty Blues" (R&B, spring 1945); "Jimmy's Blues" (pop and R&B, summer/fall 1945); and "Blue Skies" (pop, summer 1946). Switching to RCA Victor Records, he topped the charts in February 1947 with "Open the Door, Richard!," followed by three more Top Ten pop hits in 1947: "Free Eats," "One O'Clock Boogie," and "I Ain't Mad at You (You Ain't Mad at Me)." The big bands' decline in popularity in the late '40s hit Basie as it did his peers, and he broke up his orchestra at the end of the decade, opting to lead smaller units for the next couple of years. But he was able to reform the big band in 1952, responding to increased opportunities for touring. For example, he went overseas for the first time to play in Scandinavia in 1954, and thereafter international touring played a large part in his schedule. An important addition to the band in late 1954 was vocalist Joe Williams. The orchestra was re-established commercially by the 1955 album Count Basie Swings - Joe Williams Sings (released on Clef Records), particularly by the single "Every Day (I Have the Blues)," which reached the Top Five of the R&B charts and was later inducted into the Grammy Hall of Fame. Another key recording of this period was an instrumental reading of "April in Paris" that made the pop Top 40 and the R&B Top Ten in early 1956; it also was enshrined in the Grammy Hall of Fame. These hits made what Albert Murray (co-author of Basie's autobiography, Good Morning Blues) called the "new testament" edition of the Basie band a major success. Williams remained with Basie until 1960, and even after his departure, the band continued to prosper. At the first Grammy Awards ceremony, Basie won the 1958 awards for Best Performance by a Dance Band and Best Jazz Performance, Group, for his Roulette Records LP Basie. Breakfast Dance and Barbecue was nominated in the dance band category for 1959, and Basie won in the category in 1960 for Dance with Basie, earning nominations the same year for Best Performance by an Orchestra and Best Jazz Performance, Large Group, for The Count Basie Story. There were further nominations for best jazz performance for Basie at Birdland in 1961 and The Legend in 1962. None of these albums attracted much commercial attention, however, and in 1962, Basie switched to Frank Sinatra's Reprise Records in a bid to sell more records. Sinatra-Basie satisfied that desire, reaching the Top Five in early 1963. It was followed by This Time by Basie! Hits of the 50's and 60's, which reached the Top 20 and won the 1963 Grammy Award for Best Performance by an Orchestra for Dancing. This initiated a period largely deplored by jazz fans that ran through the rest of the 1960s, when Basie teamed with various vocalists for a series of chart albums including Ella Fitzgerald (Ella and Basie!, 1963); Sinatra again (the Top 20 album It Might as Well Be Swing, 1964); Sammy Davis, Jr. (Our Shining Hour, 1965); the Mills Brothers (The Board of Directors, 1968); and Jackie Wilson (Manufacturers of Soul, 1968). He also reached the charts with an album of show tunes, Broadway Basie's ... Way (1966). By the end of the 1960s, Basie had returned to more of a jazz format. His album Standing Ovation earned a 1969 Grammy nomination for Best Instrumental Jazz Performance by a Large Group or Soloist with Large Group (Eight or More), and in 1970, with Oliver Nelson as arranger/conductor, he recorded Afrique, an experimental, avant-garde album that earned a 1971 Grammy nomination for Best Jazz Performance by a Big Band. By this time, the band performed largely on the jazz festival circuit and on cruise ships. In the early 1970s, after a series of short-term affiliations, Basie signed to Pablo Records, with which he recorded for the rest of his life. Pablo recorded Basie prolifically in a variety of settings, resulting in a series of well-received albums: Basie Jam earned a 1975 Grammy nomination for Best Jazz Performance by a Group; Basie and Zoot was nominated in the same category in 1976 and won the Grammy for Best Jazz Performance by a Soloist; Prime Time won the 1977 Grammy for Best Jazz Performance by a Big Band; and The Gifted Ones by Basie and Dizzy Gillespie was nominated for a 1979 Grammy for Best Jazz Instrumental Performance by a Group. Thereafter, Basie competed in the category of Best Jazz Instrumental Performance by a Big Band, winning the Grammy in 1980 for On the Road and in 1982 for Warm Breeze, earning a nomination for Farmer's Market Barbecue in 1983, and winning a final time, for his ninth career Grammy, in 1984 for 88 Basie Street. Basie's health gradually deteriorated during the last eight years of his life. He suffered a heart attack in 1976 that put him out of commission for several months. He was back in the hospital in 1981, and when he returned to action, he was driving an electric wheel chair onto the stage. He died of cancer at 79. Count Basie was admired as much by musicians as by listeners, and he displayed a remarkable consistency in a bandleading career that lasted long after swing became an archival style of music. After his death, his was one of the livelier ghost bands, led in turn by Thad Jones, Frank Foster, and Grover Mitchell. His lengthy career resulted in a large discography spread across all of the major labels and quite a few minor ones as well. Count Basie - The Essential Release Date Aug 22, 1995 Recording Date Jun 1943 Time 114:17 Rather than release all of Count Basie's studio recordings (as Decca recently has or as French Columbia did in two large LP sets over a decade ago), CBS has put together three samplers that contain some (but not all) of the essential Basie recordings from the 1939-41 period. This first volume has Lester Young's great solo on 1936's "Lady Be Good, " and the classics "Rock-A-Bye Basie" and "Taxi War Dance, " and fine examples of the Basie orchestra throughout 1939. 1 One O'Clock Jump Basie 1:59 2 Five O'Clock in the Morning Blues Williams 2:18 3 Flight of the Foo Birds Hefti 2:39 4 Dance of the Gremlins Basie 4:15 5 You for Me Hefti 3:15 6 Cherry Point Hefti 3:03 7 That Kind of Woman Williams 1:51 8 Corner Pocket Basie 4:12 9 Chestnut Street Ramble (Vine Street Ramble) Carter 2:11 10 Dinah Akst, Lewis, Young 2:05 11 Baby Won't You Please Come Home Warfield, Williams 1:31 12 Basie Boogie Basie, Ebbins 2:05 13 Rock-A-Bye Basie Basie, Young 4:46 14 Call Me Darling (Call Me Sweetheart, Call Me Dear) Dick, Fryberg, Marbet ... 4:00 15 One O'Clock Jump Basie 2:38 16 Blues (I Still Think of Her) Basie, Rushing 3:48 17 Indian Summer Dubin, Herbert 3:14 18 Who, Me? Basie 4:26 19 Jumpin' at the Woodside Basie 4:15 20 Baby All the Time Rodney 2:56 21 Little Pony Hefti 2:44 22 Ol' Man River Hammerstein, Kern 5:36 23 One O'Clock Jump Basie 3:24 24 6:39
25 Spring Is Here Hart, Rodgers 3:35 26 Fantail Hefti 2:49 27 Teddy the Toad Hefti 2:56 28 Pensive Miss Hefti 2:56 29 Corner Pocket Basie 5:10 30 Scoot Hefti 2:54 31 Sweety Cake Basie 4:15 32 Cute Hefti 3:48 33 Lil' Darlin' Hefti 3:59 34 Low Life Mandel 2:05 Count Basie - Organ, Piano, Leader Buck Clayton - Trumpet, Arranger Harry "Sweets" Edison - Trumpet Freddie Green - Guitar Helen Humes - Vocals Jo Jones - Drums Jimmy Rushing - Vocals Buddy Tate - Saxophone, Sax (Tenor) Lester Young - Clarinet, Sax (Tenor) Andy Gibson - Arranger Benny Morton - Trombone Jimmy Mundy - Arranger Walter Page - Bass, String Bass Mike Berniker - Coordination Shad Collins - Trumpet Edward Lewis - Trumpet Dan Minor - Trombone Earle Warren - Sax (Alto) Jack Washington - Sax (Alto), Sax (Baritone) Dicky Wells - Trombone Ed Lewis - Trumpet Carl Smith - Trumpet Directory: ~boger -> SaturdayAM -> Saturday%20AM%20Downloads -> music music -> General Comments for all Naweedna cds Download 247.48 Kb. Share with your friends:
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