1. Back to the Land
2. Constantinopole
3. You Got It
4. St. James Infirmary
5. Follow the Leader
6. Ow!

Personnel:
    Count Basie - piano
    Dizzy Gillespie - trumpet
    Joe Pass - guitar
    Ray Brown - double bass
    Mickey Roker – drums

I stumbled across this disk through recommendations. When, I saw it had Dizzy and Baise together on the same CD. I thought dang it must be good! I've never even heard of a collaboration between the two untill now. On the CD Ray Brown keeps the rhythm simple and upbeat with his amazing talent on that instrument. Mickey Roker is on drums, to me on the album it seems he is holding back something. The drumming is good but its like he's scared because he's in the same room with the two of the greats. That's just me, tho. If you want some good drummers check out Krupa, Tony Williams, or Philly Joe Jones. They will knock you out. Three of the songs on the CD, Back to the land, You got it, and Follow the leader, are all written by diz and baise. They are great kicking tracks that will make you feel good and get up out of your chair and start dancing. They also have an interesting intrepration of "St. James Infirmary." Diz's playing on the cd seems as good as ever and Baise just kicks back, and lets his fingers on the piano do the talking. It would have been alot better album if they had someone like philly joe jones on the drums. Other than that, the playing is great and goes right into my Jazz collection of greats. So check it out already! --- "lildjbrain", amazon.com

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1. Swinging The Blues
2. John's Idea
3. Blue & Sentimental
4. Texas Shuffle
5. Panassie Stomp
6. Sent For You Yesterday
7. You Can Depend On Me
8. Every Tub
9. Jumpin' At The Woodside
10. Time Out
11. Jive At Five
12. Oh Lady Be Good
13. Shorty George
14. Out The Window
15. Topsy
16. Doggin' Around

Count Basie and his Orchestra : 
Buck Clayton, Joe Keyes, Carl Smith, tp; 
George Hunt, Dan Minor, tb; 
Caughey Roberts, as; 
Lester Young,Herschel Evans, Ts; J
ack Washington, bs, as; 
Count Basie, p; 
Claude "Fiddler" Williams, g; 
Walter Page, b; 
Jo Jones, d.

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. Basie led his jazz orchestra almost continuously for nearly 50 years. Many notable musicians came to prominence under his direction, including tenor saxophonists Lester Young and Herschel Evans, guitarist Freddie Green, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams. Basie's theme songs were "One O'Clock Jump" and "April In Paris".

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1.	Perdido
2.	Lover Man	
3.	I Cried for You	
4.	Alone	
5.	There Are Such Things	
6.	Mean to Me	
7.	Gentleman Is a Dope, The	
8.	You Go to My Head	
9.	Until I Met You
10.	You Turned the Tables on Me	
11.	Little Man (You've Had a Busy Day)	
12.	Teach Me Tonight - (bonus track)	
13.	If I Were a Bell - (bonus track)	
14.	Until I Met You - (alternate version)

Personnel: 
Sarah Vaughan, Joe Williams (vocals); Frank Foster (arranger, tenor saxophone);
Thad Jones (arranger, trumpet); Ernie Wilkins (arranger); 
Frank Wess (alto & tenor saxophones, flute); Marshall Royal (alto saxophone, clarinet); 
Billy Mitchell (tenor saxophone); Charlie Fowlkes (baritone saxophone, flute); 
Sonny Cohn, Joe Newman, Snooky Young (trumpet); 
Henry Coker, Al Grey, Benny Powell (trombone); Kirk Stuart (piano); 
Freddie Green (guitar); Eddie Jones (bass); Sonny Payne (drums).

Recorded at Capitol Studios, New York in July 1960 and January 1961

While this album is misleadingly titled ( Count Basie doesn't appear on the record at all - the piano is actually played by Kirk Stuart ), it's a brilliant teaming of the Count Basie Orchestra and the legendary Sarah Vaughan. Basie's legacy was largely due to his band leading skills, and he rarely featured himself on record or in concert; to hear the sound and approach that Basie's sidemen use is to hear the musical conception and style of Basie himself.

"Perdido" and "Alone" showcase Sarah Vaughan's incredible range and perfectly controlled vibrato, and "Teach Me Tonight" and "If I Were a Bell" feature Vaughan with Joe Williams, the latter featuring the two singing icons trading lyrics back and forth. Marked by wonderful Thad Jones arrangements, COUNT BASIE AND SARAH VAUGHAN swings hard, and melts the heart.

The thing that always seems to get overlooked in any discussion of Basie's music is his extraordinary taste as an accompanyist. What we all recognize as the classic, minimalist "Count Basie style" of piano playing actually evolved from his role as a supporting commentator to his soloists. In "Basie II," where the whole band became an extension of the leader's style, it comes as no surprise that the Basie Band became the premiere big band for accompanying singers. EVERYBODY, from B. B. King to Frank Sinatra, wanted to record with the Basie Band. So, putting Sarah Vaughan out front of the orchestra proves to be a particular stroke of genius.

Sarah was, as everybody knows by now, an "unlimited" vocalist, with complete control over her incredible 3 1/2 octave range. She came up in the same Earl Hines Band that was "the incubator of bebop," producing such talents as Lucky Thompson, Charlie Parker, Dizzy Gillespie and Art Blakey, to name just a few. Dizzy's famous "A Night In Tunisia" was originally written as a vocal feature for Sarah Vaughan. Her chops on all of these songs combine with a rare gift for getting to the emotional and musical core of things that is simply astounding. Even superficial show-tunes, like "The Gentleman Is a Dope," emerge as major revelations the way she sings them. Meanwhile, the Basie Band supports her with just the right mix of drama and tone color throughout. Basie insists on honest JAZZ performance on every number, so that even the more sentimental numbers emerge as standout vocal stylings. There is none of the pop schmaltz which too often invades Sarah's recordings with others. So, what we get here is perhaps the most unlimited jazz singer ever, doing what only she can do, while the Basie Bands supports her with powerful, punchy, TASTEY charts, executed with the usual phenomenal precision. Give one listen to "You Turned the Tables on Me" and you'll know why this CD belongs in your collection. --- D. J. Zabriskie, Rovi

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1.Little Pony 
2.Basie 
3.Blues Backstage 
4.Blee Blop Blues 
5.Whirly-Bird [Vocal Version] 
6.One O’Clock Jump (Theme) 
7.Good Time Blues 
8.Segue in C 
9.One O’Clock Jump               play
10.Easin’ It 
11.A Little Temp, Please 
12.Corner Pocket 
13.I Needs to Be Bee’s With 
14.Discommotion                 play
15.Segue in C 
16.Whirly-Bird 
17.One O’Clock Jump (Theme) 

Personnel:
Count Basie - Piano 
Eddie Jones - Bass 
Marshall Royal – Clarinet, Sax Alto 
Sonny Payne - Drums
Frank Wess - Flute, Sax Alto and Tenor 
Freddie Green - Guitar
Charlie Fowlkes - Sax Baritone 
Frank Foster - Sax Tenor 
Budd Johnson - Sax Tenor 
Henry Coker - Trombone 
Quentin Jackson - Trombone 
Benny Powell - Trombone
Sonny Cohn - Trumpet
Lennie Johnson - Trumpet 
Thad Jones - Trumpet
Snooky Young - Trumpet 
Jon Hendricks - Vocals.

Yes, the New Testament Basie orchestra could really swing (particularly in live recordings, I think) and this is an explosive and swinging album with (as if things weren't swinging and hip enough) Jon Hendricks taking a virtuoso vocal flight on "Whirly-Bird", interacting beautifully with the very much live orchestra... ---Nikica Gilic

Count Basie is *the* name for Big Band jazz. This album gives a great look at his work and influence over all the Basie bands. The quality of the recorded songs is far higher than other Basie albums. I run Linux (Fedora), and since Amazon is dragging their feet on a Linux Album Downloader I ran it through Wine and downloaded the album. It was worth it! If you want some amazing jazz tracks recorded at high quality, this is the album to get. ---M. Cronenworth

When this album was recorded (live) in 1961, the Count Basie orchestra was experiencing a massive resurgence. No longer known only as "one of the stars of the Swing Era," Basie's big band got a major shot in the arm (in the late '50s & early '60s) via the dynamic compositions and arrangements of Neal Hefti, Frank Foster (also tenor saxophonist), and Ernie Wilkins. (A few years hence, Basie and band would go on to accompany Ol' Blue Eyes himself, Frank Sinatra, both live and in the studio.) Basie's outfit of the day featured such talents as Thad Jones, Frank Wess, and guest singer Jon Hendricks. Which isn't to say the Count wouldn't revisit his own past triumphs--such as "One O'Clock Jump"--but BIRDLAND is primarily the "new" Basie outfit in all its roaring, hard-swinging glory.

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CD 1
1. There'll Be Some Changes Made
2. You Betcha My Life
3. Tuesday At Ten
4. One O'Clock Jump
5. Yes Indeed
6. Tom Thumb
7. 9:20 Special
8. Basie Boogie
9. Gone With 'What' Wind
10. Diggin' For Dex
11. Be Fair
12. Love Jumped Out
13. Tune Town Shuffle
14. My Melancholy Baby
15. Every Tub
16. You Can't Run Around
17. Jumpin' At The Woodside
18. One O'Clock Jump

CD 2
1. Out Of The Window
2. I Want A Little Girl
3. Rockin' The Blues
4. What Word Is Sweeter Than Sweetheart
5. Something New
6. Topsy
7. Air Mail Special
8. Board Meeting
9. Down, Down, Down
10. Take Me Back Baby
11. Broadway
12. Down For Double
13. This Time The Dream's On Me
14. Elmer's Tune
15. H & J
16. Diggin' For Dex
17. Goin' To Chicago
18. Baby, Don't Tell On Me
19. Swinging The Blues 
20. One O'Clock Jump

Buck Clayton, Harry "Sweets" Edison, Al Killian, Ed Lewis (trumpet), 
Robert Scott, Eli Robinson, Dicky Wells (trombone), 
Earl Warren (alto saxophone, vocals), 
Tab Smith (soprano & alto saxophone), 
Buddy Tate, Don Byas (tenor saxophone), 
Jack Washington (baritone saxophone), 
Count Basie (piano),
Freddie Green (guitar), 
Walter Page (bass), 
Jo Jones (drums), 
Jimmy Rushing (vocals).

This double CD contains numerous radio transcriptions of Count Basie and his band from their prime years. In that sense, it isn't particularly special. On the other hand, the period captured here -- from September 19 through October 25, 1941 -- was a special one for the band. It was during this period that they performed a seven-week engagement at New York's Cafe Society (Uptown), one of the most prestigious performing venues in the city. The worsening war situation in Europe and Asia aside, this was an idyllic time for the band, and it certainly seems it in these performances. Though the band wasn't at top strength -- Lester Young having departed nearly a year earlier -- the lineup was still one to be reckoned with, featuring Buck Clayton, Harry "Sweets" Edison, Earle Warren, Don Byas, Jo Jones, and Jimmy Rushing. The performances swing with a quiet elegance, and the legendary Basie rhythm section (with Jones kicking the hell out of his drum kit) is in full force, driving the beat behind "There'll Be Some Changes Made," "You Betcha My Life," "Yes Indeed" (a tune never otherwise recorded by the band), "9:20 Special," "Jumpin' at the Woodside," "Rockin' the Blues," "Swinging the Blues," and more than two dozen others -- and a few, like "Gone With What Wind," that are priceless for their good humor and high spirits. These transcriptions have surprisingly good fidelity (Basie's piano seems to have been particularly well miked), though they're lacking a certain degree of presence and some treble response, but these are easily compensated for. The only flaw in the material, apart from the fact that "One O'Clock Jump" never gets a full performance in three appearances here, is that because these were radio broadcasts, an announcer intrudes into the program every number or so to give us the name of the piece about to be played. ---Bruce Eder, AllMusic Review

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1. Lullaby of Birdland
2. Summertime
3. These Foolish Things
4. Basie Jingle Bells
5. One Note Samba
6. One O’Clock Jump
7. Makin’ Whoopee
8. The Touch of Yours Lips
9. April in Paris
10. Jumping At the Woodside
11. Ain’t Misbehavin
12. Shake, Rattle and Roll
13. Thanks for The Ride
14. I Got It Bad and That Ain’t Good
15. Lester Leaps In

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. ---itunes.apple.com

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01 - Sqabblin'
02 - Somebody Stole My Gal
03 - Moten Swing
04 - Lady Be Good
05 - One O'Clock Jump
06 - Sent for You Yesterday
07 - Every Tub
08 - Jumpuin' at the Woodside
09 - Boogie Woogie
10 - It's Sand, Man
11 - Avenue C
12 - Bassie's Basement
13 - Every Day
14 - All Right, Ok, You Win
15 - Shiny Stockings
16 - April in Paris
17 - Double-O						play
18 - The Kid From Red Bank			play
19 - After Supper
20 - Royal Garden Blues

Credits:
Bass – Eddie Jones
Compiled By – John Snell 
Drums – Sonny Payne
Flute – Frank Wess
Guitar – Freddie Green 
Piano – Count Basie
Producer – Teddy Reig
Saxophone [Alto] – Frank Wess, Marshall Royal 
Saxophone [Baritone] – Charlie Fowlkes
Saxophone [Tenor] – Eddie "Lockjaw" Davis 
Trombone – Al Grey, Benny Powell, Henry Coker
Trumpet – Snooky Young, Joe Newman , Thad Jones, Wendell Culley

William "Count" Basie (August 21, 1904 – April 26, 1984) was an American jazz pianist, organist, bandleader, and composer. Basie led his jazz orchestra almost continuously for nearly 50 years. Many notable musicians came to prominence under his direction, including tenor saxophonists Lester Young and Herschel Evans, trumpeters Buck Clayton and Harry "Sweets" Edison and singers Jimmy Rushing and Joe Williams. Basie's theme songs were "One O'Clock Jump" and "April In Paris".

Count Basie introduced several generations of listeners to the Big Band sound and left an influential catalog. Basie is remembered by many who worked for him as being considerate of musicians and their opinions, modest, relaxed, fun-loving, dryly witty, and always enthusiastic about his music. As he summed up the key to his understated style, in his autobiography, "I think the band can really swing when it swings easy, when it can just play along like you are cutting butter".

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01. 007 
02. The Golden Horn 
03. Girl Trouble 
04. Kingston Calypso 
05. Goldfinger 
06. Thunderball 
07. From Russia With Love 
08. Dr. No's Fantasy 
09. Underneath the Mango Tree 
10. The James Bond Theme 
11. Dr. No's Fantasy [First Version] 

Count Basie - Piano
Al Aarons - Trumpet
Henderson Chambers - Trombone
George Cohn - Trumpet
Wallace Davenport - Trumpet
Eric Dixon - Sax (Tenor)
Freddie Green - Guitar
Al Grey 	- Trombone
Bill Hughes - Trombone
Norman Keenan - Bass
Grover Mitchell - Trombone
Sonny Payne - Drums
Marshall Royal - Sax (Alto)

This campy LP from the 1960s features the Count Basie Orchestra playing ten themes from four early James Bond movies, with arrangements by either Chico O'Farrill or George Williams. While it seems doubtful that Basie added any of this music to his regular band repertoire, his band does its best to do justice to the arrangements. The somewhat monotonous "007" is converted into a dramatic calypso, while "The Golden Horn" is straight-ahead swing and might surprise someone who hadn't seen the film From Russia With Love. But most Basie fans will want to know how the band handled the best-known themes. "Goldfinger" is given a low-key but swinging treatment that has a fine solo by Eddie "Lockjaw" Davis, while the foot-patting treatment of "Thunderball" focuses on Marshall Royal's soulful alto sax and a typically sparse Basie solo. This long out of print record is unlikely to resurface as a CD reissue and it can be safely bypassed by most jazz fans, but Basie devotees who have a fondness for the earliest James Bond films (Dr. No, From Russia With Love, Goldfinger, and Thunderball) might find this surprising LP worth the investment -- if they can only locate a copy. ---Ken Dryden, Rovi

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1.Jingle Bells 	2:36
2.Let It Snow 	5:55
3.It's The Holiday Season 	4:00
4.Silent Night 	3:24
5.Good "Swing" Wenceslas 	3:33
6.The Christmas Song 	3:41
7.Little Drummer Boy 	4:50
8.Sleigh Ride 	3:48
9.Have Yourself A Merry Little Christmas 	5:04
10.Winter Wonderland 	3:08
+
11.I'll Be Home For Christmas 	4:32

In celebration of the 80th Anniversary, The Count Basie Orchestra releases its first Christmas album, A Very Swingin' Basie Christmas! The 19-piece band is accompanied with the guest vocals of Johnny Mathis on "It's The Holiday Season," Ledisi on "The Christmas Song" and Carmen Bradford on "Have Yourself a Merry Little Christmas." Additionally, Ellis Marsalis (Piano) and Plas Johnson (saxophone) are guest musicians on "I'll Be Home For Christmas." ---amazon.com

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A1 	Baby Lawrence 	
A2 	Pres 	
A3 	I'll Always Be In Love With You 	
A4 	Blues In The Church 	
A5 	Lady Be Good (Concept I) 	
A6 	Lady Be Good (Concept II) 	
B1 	Blues In The Alley 	
B2 	As Long As I Live 	
B3 	Song Of The Island 	
B4 	Royal Garden Blues 	
B5 	(Un)Easy Does It 	
B6 	O. P.

Count Basie (piano)
Ray Brown (bass)
Louis Bellson (drums).

Recorded in Los Angeles, California on May 22, 1974.

Throughout his career, Count Basie was modest about his own abilities as a pianist, and his success at streamlining his style to the bare essentials often made listeners underrate his playing talents. This 1974 session was a rarity, an opportunity for Basie to be featured in a trio setting (with bassist Ray Brown and drummer Louie Bellson), during which he provides enough variety to hold one's interest and enough technique to lead many to reassess his piano skills. ---Scott Yanow, Rovi

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