Count Basie Albums (99)
What The Critics Say
The Count Basie/Oscar Peterson set was a sheer classic -- very possibly the most completely-stimulating and totally-swinging jazz LP to come along this decade ('70s). Start with the beautifully balanced rhythm section. Bassist Ray Brown put a firm, unwavering bottom under everything. Drummer Louis Bellson hadn't been so well captured in years. His touch combined the light subtlety of Jo Jones with the charging bite of Buddy Rich. Topping it all off and keeping everyone firmly together, was guitarist Fred Green, who put a rapier sharp cutting edge on Brown's rich, rock-solid pulse. "Jumpin' At The Woodside" never sounded so intense. Each played a chorus and then traded fours. And more thrilling fours there've never been. Basie laid down four bars of spare, bare-boned logic. And Peterson came soaring out of his last notes in a swirl of expansive flight. Even more thrilling were the moments of collective improvisation. "Woodside," "RB Burning" and "Lester Leaps In" contain sustained intervals that were among the most electrifying ever produced by two jazz musicians. ~ John Mcdonough, Downbeat, All Music Guide
'At the Bluenote'
Release Date 6/20/2006
Tracks 11
Label Sounds of Yesteryear
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'At the Aquarium 1946'
Release Date 10/7/2003
Tracks 21
Label Storyville
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What The Critics Say
This CD of live broadcasts by Count Basie was drawn from a series called One Night Stand that featured regular remotes from nightclubs during the 1940s. This was a Basie band in transition, with new musicians and older ones returning from military service after World War II. The trumpet section is particularly strong, with Harry "Sweets" Edison, Joe Newman, Snooky Young, Emmett Berry, and Ed Lewis (the latter of whom contributed "San Jose"). Illinois Jacquet and Buddy Tate are two potent tenor saxophonists, while a young J.J. Johnson is among the trombonists. The normally subdued Basie shows off a bit in his "Red Bank Boogie," while vocalist Jimmy Rushing steals the show with his bluesy "Take Me Back" and a moving "Blue Skies." Although guitarist Freddie Green penned "Down for Double," he stays in a timekeeping role playing rhythm, ceding the spotlight to trombonist George Matthews. The band is in top form on each of the three evenings represented on this disc. The sound is typical for a transcription; it is not particularly noisy, though the rhythm section tends to be overwhelmed by the brass and reeds. ~ Ken Dryden, All Music Guide
What The Critics Say
This is a follow-up to the first Mills/Basie collaboration, The Board of Directors, a commercial success recorded less than eight months earlier. It is in the same vein, mixing a few of each artist's signature tunes ("The Glow-Worm" for the Mills Brothers, "Every Day" for Count Basie) with recent pop chart entries like "Gentle on My Mind" and "Sunny." The former fare better than the latter, but the matching exuberance of the singers and instrumentalists makes for another entertaining disc. ~ William Ruhlmann, All Music Guide
'Count Basie at Southland 1940'
Release Date 6/25/2002
Tracks 19
Label Jazz Band
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'Pleyel: 17 Avril 1972, Pt. 1'
Release Date 5/1/2001
Tracks 18
Label Trema
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'Palais de Chaillot 3-29-60: Live'
Release Date 5/1/2001
Tracks 21
Label Trema
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What The Critics Say
Europe1 regularly recorded jazz concerts for broadcast during the 1950s and '60s, so this 1960 performance by Count Basie at the Palais de Chaillot in Paris is representative of the heights of the band during the era in which Thad Jones, Joe Newman, Frank Foster, Marshall Royal and Frank Wess were all a part of the group. The set list is diverse, blending originals by bandmembers and Neal Hefti (one of the most prolific contributors to Basie at the time), favorites from other bands' repertoire and a few blues. With a rock-solid rhythm section (Freddie Green, Eddie Jones and Sonny Payne) led by Basie, the focus is on the horn soloists and the tight, consistently swinging ensembles. Highlights include the strutting "Blues in Hoss' Flat," "Makin' Whoopee" (with its delicious vocal-like muted trombone, probably by Al Grey) and band favorite "'Shiny Stockings." ~ Ken Dryden, All Music Guide
