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A really wonderful back to basics session for Basie – featuring arrangements by longtime band members Frank Foster, Erick Dixon, Bobby Plater, and Thad Jones! The set also features vocals on 2 tracks by bluesy vocalist Richard Boone – a singer with a really great scatting approach – but overall, the real strength is the horn section, particularly Al Aarons, Dixon, and Eddie Lockjaw Davis – who all get in some very nice solo work. Tracks are mostly older numbers, Basie-ized – and played with a laidback tone that's a real contrast from the higher energy early 60s recordings. Titles include "Squeeze Me", "Frankie & Johnny", "Boone's Blues", "I Got Rhythm", and "Hey Jim".

A very handsome collection of Count Basie material for Roulette – easily some of our favorite Basie recordings ever!

Basie hits the hits of the 50s and early 60s – working here with some tight Billy Byers arrangements that really help transform the tunes! The groove is upbeat, bright, and brilliantly soulful – that punctuated Basie groove first formed when Neal Hefti was with the group, still carried off here wonderfully by a lineup that includes Frank Wess and Frank Foster on saxes, Snooky Young and Al Aarons on trumpets, Benny Powell and Henry Coker on trombones, and Freddie Green on guitar. Titles include "The Second Time Around", "Hey Jealous Lover", "All Of Me", "This Love Of Mine", "Saturday Night", "Come Fly With Me", and "South Of The Border" – almost a Sinatra album in spirit, given the choice of tunes like these!

Count Basie goes pop, and the results are mighty nice – a hard-swinging take on familiar tunes from the 60s, but all re-tooled the jazzy Basie way! The vibe here is right up there with the best Neal Hefti moments with the group – and although the arrangements are by Billy Byers, they've got that sense of tightness that Hefti first help bring to the band – a great setting for the inventive solos, and all the cool little twists and turns that make a record like this so great. And while you might think of the setting, or the title, as some sort of sell-out on the Count's part – the album's instead a perfect way to hear what made the Basie band so great – how they could completely transform tunes like "Pretty Woman", "Bye Bye Love", "Doo Wah Diddy Diddy", "At Long Last Love", and "Go Away Little Girl".

An excellent gimmick – and yet another way that United Artists was trying to push its "Bond" catalog in the 60s! Count Basie brings a soulful swing to the work of John Barry – hitting hard on the tracks with his own smoking piano, and an orchestra filled with some of his best players, like Al Grey, Eric Dixon, and Freddie Green – as well as Eddie Lockjaw Davis, an artist who wasn't credited on the session at he time. Arrangements are by Chico O'Farrill and George Williams – and titles include "Thunderball", "From Russia With Love", "007", ""Dr Know's Fantasy", "Girl Trouble", and "Goldfinger". This CD includes the bonus "Dr Know's Fantasy (First Version)".

An amazing little record – with results that are even greater than the sum of its parts! As you'd guess from the title, Count Basie takes on the 60s sounds of The Beatles – but he's doing so with arrangements from the great Chico O'Farrill – who really keeps things interesting throughout – throwing in those hip rhythms and odd twists and turns he first forged with his Latin recordings – in ways that definitely live up to the groovy pedigree of the tunes. And the Basie group's got a groovier sound than usual – probably due to the arrangements – and Basie plays some nice organ riffs on a number of the album's tracks – one of the Count's rare outings on the instrument, always a treat. Titles include "Help!", "Can't Buy Me Love", "I Wanna Be Your Man", "All My Loving", and "And I Love Her". Proof that The Beatles' influence was way farther reaching than you'd ever expect!

Live material recorded in Germany in the early 70s – also featuring Eddie Lockjaw Davis on tenor and Al Grey on trombone!

Titles include "Strike Up The Band", "Guess I'll Have To Change My Plans", "Poor Little Rich Girl", "Are You Havin Any Fun", "Anyting Goes", and "With Plenty Of Money".

Lead by Frank Foster, these tracks are taken from the Denon releases Long Live The Chief and The Legend The Legacy.

Classic trio work by Davis, recorded here with Shirley Scott on organ and Joe Newman joining in on trumpet! The cover's got a picture of Joe standing next to Basie, but the set's all Joe's –although it's also very much in a Basie bag. The tunes are all organ/tenor drivers – with short format and tight hooks – of the sort that would have been popular with Roulette's Birdland crowd. Titles include "Farouk", "Lock Up", "Telegraph", and "A Misty One".

One of Sinatra's greatest records ever – pure genius all the way through! Frank's backed here by the orchestra of Count Basie, with some incredible arrangements by Quincy Jones that really have a jazzy, syncopated kick to them. The move seems to be an unintentional way of covering for Frank's slightly failing pipes – but it also picks up on a seminal beat change in 60s pop, the same sort of gentle snapping groove that you'd find in the best work by Bacharach, a shift that really infuses Frank's vocals with a whole new sound, one that shows that he's ready to keep on growing and growing after being stuck in a Nelson Riddle rut. All tracks are superb – hip 60s pop and showtunes, like "I Believe In You", "Fly Me To the Moon", "More", "The Good Life", "Wives & Lovers", and "I Wanna Be Around".

A great date from the non-Louis Prima years of Keely Smith – a rare radio performance done with backing from the Count Basie Band! Both Keely and Basie are at the height of their powers here – and the album has a format that alternates vocal numbers with some equally great instrumental tracks – played by the Count's group with all the soulful, dynamic qualities of their best recordings for Roulette Records! Given the radio presentation, the recording quality is great – and the combination of talents makes for a really unique date that's quite different than any of Smith's other solo records. Titles include "Corner Pocket", "Cherry Point", "Gonna Build A Mountain", "Crazy He Calls Me", "Basically Blue", "Why Not", "Make The Man Love Me", and "My Heart Cries For You".

A pretty darn great album – way better than some of the snoozier 60s work by both of the artists involved! Basie's group gets hard and soulful on the record – and even a little funky on the best cuts – and Jackie's in a raw bluesy vocal style that recalls the best moments of his earlier Brunswick singles. The record's clearly an attempt to cash in on big soul albums by other artists of the 60s – but we'll forgive them that crime because the music's so great! Jackie blows it out over the top on great versions of "Funky Broadway", "Ode To Billie Joe", "I Was Made To Love Her", "Even When You Cry", and "Respect". Also features a version of "For Your Precious Love" that was a bit of a hit for the pair.

One of Basie's biggest albums – but still a work of pure genius! "April In Paris" is one of the darkest jazz standards ever written, and it never sounded better than in this original version, which features that great ending in which Basie and the band stop, then start, then stop – leaving you completely unresolved at the finish. The group's a strong one – with Frank Foster, Frank Wess, Freddie Green, Sonny Payne, Marshall Royal, Henry Coker, Joe Newman, and Thad Jones – and tracks include "Shiny Stockings", "Midgets", "Mambo Inn", "Sweety Cakes", and "Corner Pocket".

A really great collection of some of Basie's first important material – 2LPs worth of classics that set the tone for generations to come!

Includes Fredie Green on guitar, Walter Page on bass, and Joe Jones on drums.

Hard to believe it took a few decades in the careers of both players for them to record together – but that's exactly what you've got here – a landmark meeting of Count Basie and Duke Ellington from the early 60s, near the tail end of Duke's classic stretch on Columbia! Teo Macero produced the session with just the right amount of care and class to keep the whole thing from being an exercise in cliche – and there's a surprising amount of depth here that you might not expect – the best modern elements of Duke's orchestra on Columbia, coming into play with a bit more of the fire and vamp of the Basie group at the time! Titles include "Battle Royal", "Wild Man", "Segue In C", "Jumpin At The Woodside", "To You", and "Take The A Train".

Quincy Jones handles the arrangements, so the set's got plenty of soul – and the band really swings on titles that include "Tea For Two", "Deed I Do", "My Last Affair", "I'm Beginning To See The Light", "Into Each Life Some Rain Must Fall", and "Shiny Stockings".

A very unusual twin-piano album – one that features the talents of Oscar Peterson and Count Basie on the keys, with just bass and drums to back them up! The format's one of the most relaxed you'll hear from Pablo Records, and it makes for a really unique look at both players – especially Basie, who's often comping the keys behind a much larger band. The Count definitely brings a rhythmic flow to the record, and Peterson opens up nicely in the setting – and each player handles an electric piano on a track apiece, too. Titles include "Red Wagon", "Roots", "Lil Darlin", "Cherry", "Lady Fitz", and "Lester Leaps In".

Count Basie plays the piano and Joe Williams sings in his bluesy way and they are backed by a slew of musicians who include Thad Jones on trumpet, Ben Powell on trombone, Frank Foster on tenor saxophone, Sonny Payne on drums and many, many others. Frank Foster did all of the arrangements and the tracks include Williams' "My Baby Upsets Me", "Ev'ry Day", "April In Paris", and "Please Send Me Someone To Love".

George Benson more than earns the title on this one – given that most of the tracks feature backings from the Count Basie Orchestra under the direction of Frank Foster – a great ensemble who really help keep things soulful throughout! Despite the date of the set, the feel here is a bit more classic than most of Benson's work from the time – as the group bring a full acoustic soul to the record – a swelling, swaying brace of horns that seems to push George's vocals a bit more than usual – past that simply sweet style that was the usual Benson bag. There's a range and depth here that's really surprising – a quality that goes past the hokey title, which might make you expect less from the record – and although there's a few brief moments that get slightly contemporary, these pass quickly in favor of a classic groove. Titles include "On Green Dolphin Street", "Without A Song", "Ready Now That You Are", "Basie's Bag", "Skylark", and "How Do You Keep The Music Playing".

Amazing work from guitarist Charlie Christian – an artist who only recorded for a few short years before an untimely early death – but a player whose work went onto have a huge impact on both the guitar and jazz music in general for years to come! Charlie's playing has a sharp edge that's undeniable – an approach to the guitar that's definitely jazz, yet also finds a place for bluesy inflections too – in styles that no doubt influenced later players like Grant Green or Tal Farlow – and which may have also been an inspiration to electrified bluesmen in the 50s, too. This package brings together a huge amount of Christian's crucial sides for the Columbia label – material that features his raw electric instrument in the company of the Benny Goodman sextet, where Charlie could really shine – and a bit in Benny's larger group too. The package also features raw material that has Christian playing with Count Basie & Lester Young, and the Metronome All Stars – plus detailed notes too. 98 tracks in all – and a much better design than the previous box – with each CD in a smaller sleeve inside the box.

Classic Jam Session work from Norman Granz – featuring a group with Stan Getz, Harry Edison, Wardell Gray, Benny Carter, Willie Smith, Buddy De Franco, Count Basie, and Freddie Green – on two long tracks, "Oh Lady Be Good" and "Blues For The Count". The session's got a number of interesting aspects – Basie plays organ, Getz is a bit harder than usual, and Willie Smith sounds great, as always, in one of his rare appearances from the time.

One of the first albums ever by this legendary jazz vocal group! LHR do the incredible – and create a set of vocal renditions of standards by the Basie band, putting jazzy lyrics in to replace the instrumental solos, but keeping the same vibe as the original tracks. The sound and approach is amazing – and it's no wonder this record made them instant legends. Titles include "Down For The Count", "Fiesta In Blue", "Blues Backstage", and "It's Sand, Man!"

The title tells the tale on this one – as the session's a studio meeting of players all associated with Count Basie over the years – captured here in a style that's much more laidback and relaxed than the usual Basie set! The album's got the feel of some of Prestige's best work in the Swingville series, but also has an approach that's almost in the blowing session mode – with long tracks on the album that really let each player step out in their own voice. The lineup includes Paul Quinichette on tenor, Buck Clayton and Shad Collins on trumpet, Jack Washington on baritone sax, Nat Pierce on piano, Freddie Greene on guitar, and Jo Jones on drums – and titles include "Blues I Love To Hear", "Love Jumped Out", "John's Idea", and "Baby Don't Tell On Me".

One of those classic 50s sessions in which a bunch of Count Basie players split off from the bigger group and do some great small combo work on their own! The album is leader-less in its billing – but only because all the players are so well tuned to each other, and have such a simpatico relationship that there's no need for egos to drive the record. Tracks are longish and more open than any Basie setting – and players include Frank Wess on flute and tenor, Kenny Burrell on solo guitar, Freddie Green on rhythm guitar, and Joe Newman on trumpet. Wess' solos are often out in the lead, but Burrell and Newman also get in some nice licks – and titles include "Pin Up", "Playboy", "Miss Blues", and "Blues For A Playmate".

Stanley Wilson conducted the music to this 50s cop show called M-Squad, but the music was composed by him, Count Basie, and Benny Carter. Carter plays with the group, which also includes Red Mitchell, Pete Candoli, Frank Rosolino, and John Williams – and he's the only reed player, which gives his solos a nice prominence. The sound of the music is mostly 50s crime, with a few dramatic themes thrown in. Most of the cuts are fairly jazzy, including "M Squad Theme", "The Chase", "Phantom Raiders", and "The Juke Box".

Seminal sides cut with Count Basie at the end of the 30s – presented in a package with very detailed liner notes!

The liner notes indicate that this was an unrehearsed, spontaneous session with Dave Brubeck and his Quartet with swing singer Jimmy Rushing, a former Count Basie frontman. They do a slew of standards such as "There'll Be Some Changes Made", "My Melancholy Baby", "Blues In The Dark", "I Never Knew", "Aint' Misbehavin", "Evenin;", "All By Myself", "River, Stay 'Way From My Door", "You Can Depend On Me", and "Am I Blue".

An excellent collection of Billie's 30s work for Columbia Records – featuring 3LPs worth of material, represented with much better sound than the original 78 rpm release of the songs. Billie's in the company of a host of great jazzmen – including Count Basie, Lester Young, Teddy Wilson, Charlie Shavers, Artie Shaw, Cozy Cole, Roy Eldridge, Red Allen, and countless others. 48 tracks in all – with titles that include "Your Mother's Son In Law", "Riffin The Scotch", "Them There Eyes", "Without Your Love", "Swing Brother Swing", "Back In Your Own Back Yard", "You Go To My Head", "Long Gone Blues", "I Can't Get Started", "All Of Me", "God Bless The Child", and "Gloomy Sunday".

The title tells the tale on this one – as the session's a studio meeting of players all associated with Count Basie over the years – captured here in a style that's much more laidback and relaxed than the usual Basie set! The album's got the feel of some of Prestige's best work in the Swingville series, but also has an approach that's almost in the blowing session mode – with long tracks on the album that really let each player step out in their own voice. The lineup includes Paul Quinichette on tenor, Buck Clayton and Shad Collins on trumpet, Jack Washington on baritone sax, Nat Pierce on piano, Freddie Greene on guitar, and Jo Jones on drums – and titles include "Blues I Love To Hear", "Love Jumped Out", "John's Idea", and "Baby Don't Tell On Me".

An amazing set throughout – not just for the musical growth of Coleman Hawkins, but also for the development of the tenor sax in jazz, too! These sides could very well be said to be THE seminal recordings for tenor – the records that helped transform the instrument from a bit of a trick noisemaker into one of the most dominant voices in jazz during the 20th century – the beginning of a rich legacy that went onto encompass Lester Young, Stan Getz, John Coltrane, and so many others! The package captures Coleman Hawkins right at the start of his career – with vital early 78rpm recordings that move from trad to swing to some of the modern combo sounds that Hawkins would blow in the postwar years. And the range of settings is amazing, too – not a loose collection or mish-mash of material, but a really thoughtful progression that has Hawkins working with Mamie Smith, Fletcher Henderson, Clarence Williams, The Chocolate Dandies, and McKinney's Cotton Pickers in the early years – then moving up to work as a leader on his own – as well as material with Lionel Hampton, Benny Goodman, Benny Carter, and Count Basie. Most of the later material is for small labels – like Baronet, Cont, Meritt, Neatwork, and others – and the early sides are for Okeh, Columbia, Vocalion, Brunswick, and other smaller imprints. Features 190 tracks in all, and very copious notes, too – an amazing package from Mosaic!

Upbeat, jazzy, and swinging – two great albums from Mel Torme's years at Verve! I Dig The Duke I Dig The Count is an album dedicated to the music of Duke Ellington and Count Basie, set to some very upbeat, jazzy backings from Johnny Mandel! The album's quite swinging at points – and given the choice of material, Mel really breaks from the familiar – stretching out nicely to reach the spirit of the famous leaders, but always with that tremendous sense of tone! Titles include "Down For Double", "I'm Gonna Go Fishin", "I Like The Sunrise", "Reminiscing In Tempo", "Oh What A Night For Love", and "In The Evening". On Swings Shubert Alley, Mel Torme takes on the sound of Broadway at the start of the 60s – but he does so in a very groovy way, thanks to hip backings from the amazing Marty Paich! The style here is as swinging and jazzy as the work that Mel and Marty cut together on the Bethlehem label in the late 50s – and the tracks have a nice sort of groove, and an overall lean feel – a sound that takes the music far from its Broadway roots! Players include Art Pepper on alto, Stu Williamson on trumpet, Bill Perkins on tenor, and Frank Rosolino on trombone – all bringing a nice sense of themselves to the set. Titles include "Lonely Town", "Whatever Lola Wants", "Old Devil Moon", "Hello Young Lovers", "Too Close For Comfort", and "Just In Time".

One of Joe Williams' standout classics from the 50s – just the sort of record that put him on top of his game at the time! The album's one of Joe's classic outings with Count Basie – one recorded for Roulette with a slightly looser, slightly rawer feel than their work together on Verve. Joe's rendition of "Everyday I Have The Blues" is a near-definitive one – tight, syncopated, and grooving in a style that stretches back to its roots, but which also steps out with a fresh sort of groove that points the way towards changes in soulful vocal styles during the 60s. Other titles work equally well in the mode – bluesy, but never hokey, all freshened up by the Basie approach of the time – and titles include "Baby Won't You Please Come Home", "Going To Chicago", "Joe Sings The Blues", and "What Did You Win".

A 60s album that brings together sides recorded by Young in earlier years for Savoy – put together as a "memorial" album after his death. Players include Count Basie on piano, Harry Edison and Joe Newman on trumpets, Buddy Tate on tenor, and Freddie Green on guitar. Includes master and alternate takes of "Tush", "These Foolish Things", "Salute To Fats", and "Basie English".