The first DVD of Ralph Gleason's Jazz Casual TV series combines three separate 30-minute programs previously available individually as videos; obviously this is the better way to acquire them, both financially and from a preservation standpoint. Count Basie's appearance is a bit unusual. Gleason parks himself next to the piano following the opening number and remains there throughout the show, making Basie seem nervous and rather uncomfortable with his host during the interview excerpts and rarely, if ever, looking Gleason in the eye while talking to him.
Features 24 bit remastering and comes with a mini-description. A rare 50s performance – featuring a smoking version of "The Afro Suite" – plus some more boppish numbers too! Dizzy Gillespie was recruited as a special guest to perform on March 13, 1955, in concert with the Orchestra (a Washington, D.C., big band), a date that was recorded by Bill Potts and not initially released until 1983 by Elektra Musician. Although there was only a brief rehearsal of Gillespie with the band prior to their performance of the trumpeter's "The Afro Suite" (which includes "Manteca" plus a trio of pieces written in collaboration with Chico O'Farrill), they provide excellent support for this extended work, which features the composer extensively.
Concord Music Group will release five new titles in its Original Jazz Classics Remasters series on September 17, 2013. Enhanced by 24-bit remastering by Joe Tarantino, bonus tracks (some previously unreleased), and new liner notes to provide historical context to the originally released material, the series celebrates the 40th anniversary of Pablo Records, the prolific Beverly Hills-based label that showcased some of the most influential jazz artists and recordings of the 1970s and '80s.
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…
"A Classy Pair" is a most apt title for this session, which features Ella Fitzgerald and the final incarnation of the Count Basie Orchestra, perhaps the last major big band to exist under the baton of its namesake. Recorded in February 1979 and produced by the legendary Norman Granz, these nine tracks show Fitzgerald in a somewhat better light than the orchestra.
It's 1940s and Dizzy Gillespie's big band are at their absolute peak! Listening to this record makes me wonder why there ever became such a thing as jazz snobbery. This music doesn't sound like the domain for snobs. In fact it showcases jazz in a crucial and innovative place. Here we are in this place where swing and be-bop have long ago cross polinated eachother (one needed to have the other anyway:we all know in what way",you've got Dizzy whose at once both a great intellectual musician as well as being able to make it move. And here you have him playing with these…well nowadays you'd have to call them all stars such as Dexter Gordon, Milt Jackson, Charlie Parker, Cozy Cole, Sonny Stitt, Kenny Clarke…the list goes on like that and BIM BAM BOOM you've got big band be-bop!
When Detroiter David Usher and Dizzy Gillespie founded the Dee Gee record label, they might have had an inkling that their project could, and would, fail financially due to poor distribution, the conversion from 78s to LPs, and the heavy hammer of the taxman. They might have felt, but could not have imagined, that they would create some of the most essential and pivotal jazz recordings for all time, not to mention some of the last great sides of the pioneering bebop era. Gillespie's large ensembles brought to public attention the fledgling young alto and tenor saxophonist John Coltrane, such Detroiters as guitarist Kenny Burrell or pianist/vibraphonist Milt Jackson, and vocalists Joe Carroll, Freddy Strong and Melvin Moore. Considering the years – 1951 and 1952 – this was revolutionary breakthrough music from a technical and entertainment aspect, delightful music that has stood the test of time and displays the trumpeter in his prime as a bandleader.
This edition presents, for the first time ever on CD, Dizzy Gillespie's complete performance at the 1961 Monterey Jazz Festival. While humorously introduced by Diz as “A Musical Safari”, the set is a mixture of the repertoire the quintet was playing during that period, including an excursion into the realm of bossa nova. The quintet features the wonderful Leo Wright and Argentinean pianist Lalo Schifrin, as well as singer Joe Carroll on one track.
Some of Count Basie's finest recordings were cut for the Roulette label during 1957-1962, and all of his studio performances are included on this massive Mosaic ten-CD boxed set. Among the classic former LPs that are reissued here are The Atomic Mr. Basie, Basie Plays Hefti, Chairman of the Board, Everyday I Have the Blues, and Kansas City Suite. With such soloists as trumpeters Thad Jones and Joe Newman, the tenors of Frank Foster and Eddie Lockjaw Davis, Frank Wess on alto and flute, vocals by Joe Williams, and the timeless arrangements of Neal Hefti, Thad Jones, Frank Foster, Ernie Wilkins, and Frank Wess among others, this essential (but unfortunately limited-edition) set features the second Count Basie Orchestra at its very best.