egroj world: Count Basie And His Orchestra • On My Way & Shoutin' Again!
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viernes, 5 de julio de 2019

Count Basie And His Orchestra • On My Way & Shoutin' Again!



Review by Michael G. Nastos
When Count Basie returned to Verve Records in 1962, Neal Hefti was contracted to write the tunes and arrangements, a revival of their partnership from the 1958 Roulette LP Basie Plays Hefti. While none of these selections is as famous as his songs like "Cute," "Little Pony," "Splanky," "Li'l Darlin'," and "Repetition," the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head. This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-"April in Paris." The band is atypically bold and brazen on the opener, "I'm Shoutin' Again," with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of "Jump for Johnny" is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during "Together Again," as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track "The Long Night," a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of "C Jam Blues"/"Duke's Place" in the low-key then blasted-out "Eee Dee," "Shiny Stockings" sprinkled about during the more typical laid-back "Rose Bud," and "Groove Merchant" or "Hallelujah, I Just Love Him So" in the easy-swinging soul groove of "Ain't That Right." Hefti's movie soundtrack experience comes to the fore on "Shanghaied," definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: "Skippin' with Skitch," led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting "Ducky Bumps," featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett. A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.

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Reseña de Michael G. Nastos
Cuando Count Basie regresó a Verve Records en 1962, Neal Hefti fue contratado para escribir las melodías y los arreglos, un renacimiento de su asociación con el LP Basie Plays Hefti de la Ruleta de 1958. Aunque ninguna de estas selecciones es tan famosa como sus canciones como "Cute", "Little Pony", "Splanky", "Li'l Darlin'" y "Repetition", la originalidad sustancial de esta música es difícil de negar, sin mencionar que los expertos músicos que tocan su música dan vida a estos temas de una manera más animada que la mayoría de las relajadas sesiones de estudio de Basie. De hecho, tiene la sensación de una fecha de concierto que supera el entorno más limpio y controlado de una sesión que se grabó en un carrete de tres pistas. También hay mucho espacio para solos excepcionales de la mayoría de los participantes, ya que Hefti es consciente de quién está en la banda y cómo podría sonar cada músico cuando se le da su cabeza. Esta es una música moderna de big-band, probada y orientada al swing, que en realidad suena avanzada para su época, y es sólida como todo lo que Basie ha hecho después de "April in Paris". La banda es atípicamente audaz y descarada en el estreno, "I'm Shoutin' Again", con Frank Wess en saxo alto (no tenor) por su enérgico solo. La gran carta de "Jump for Johnny" es un bopper duro para Johnny Carson, Basie básico con el saxofonista tenor Frank Foster y el trompetista Sonny Cohn intercambiando lame. El mejor trabajo de Hefti se exhibe durante "Together Again" (Juntos de nuevo), en el que los metales saltarines y las trompetas que cantan toman giros y giros sinuosos. Este set también incluye el tema clásico "The Long Night", un famoso blues con la astuta flauta de Wess frente a la sección de trompeta y un magistral solo silenciado por el trompetista Thad Jones. Hay otras melodías que son derivadas, como se puede escuchar claramente las frases prestadas de "C Jam Blues"/"Duke's Place" en el bajo perfil luego lanzado "Eee Dee", "Shiny Medias Brillantes" rociadas durante el más típico y relajado "Rose Bud," y "Groove Merchant" o "Hallelujah, I Just Love Him So" en el ritmo de alma de fácil balanceo de "Ain't That Right". La experiencia de la banda sonora de la película de Hefti se pone de relieve en "Shanghaied", música de espías con las fobias y la paranoia de Cohn, que enmascara la trompeta silenciada. Hay dos bonitas melodías: "Skippin' with Skitch", dirigido por tres flautas (Wess, Eric Dixon y Charlie Fowlkes); y el ligeramente pavoneado "Ducky Bumps", con el trombón de Henry Coker, con breves solos del piano de Basie y el bajista Buddy Catlett. Un álbum sólido y valioso que ha estado fuera de circulación durante demasiado tiempo, esto será una adición bienvenida a la colección de cualquier amante de Basie, y viene altamente recomendado para cualquiera que esté ligeramente interesado en el excelente jazz convencional de conjunto grande.


Discogs ...  


Tracklist:
1 - I'm Shoutin' Again - 3:50
2 - Ducky Bumps - 3:35
3 - The Long Night - 3:43
4 - Jump For Johny - 3:17
5 - Ain't That Right - 2:51
6 - Together Again - 2:45
7 - Shanghaied - 3:34
8 - Skippin' With Skitch - 4:02
9 - Eee Dee - 3:04
10 - Rose Bud - 3:39


Credits:
    A&R [Reissue A&R Coordination] – Kyle Benson
    Art Direction [Reissue] – Hollis King
    Bass – George (Buddy) Catlett
    Coordinator [Reissue Production Coordinator] – Andy Kman
    Design [Reissue] – Isabelle Wong
    Drums – Sonny Payne
    Engineer [Director Of Engineering] – Val Valentin
    Engineer [Recording] – Bob Arnold
    Flute [Doubles Baritone] – Charlie Fowlkes, Marshal Royal
    Flute [Doubles] – Eric Dixon, Frank Wess
    Leader, Piano – Count Basie
    Mastered By – Kevin Reeves
    Photography By [Cover Photograph By] – Roy Decarava
    Producer – Jim Davis
    Saxophone [Saxophones] – Frank Foster
    Supervised By [Reissue] – Harry Weinger
    Trombone – Benny Powell, Grover C. Mitchell, Henry Coker
    Trumpet – Al Aarons, Ernie Royal, Fip Ricard, George Cohn, Thad Jones
    Written-By, Liner Notes – Neal Hefti

Notes:
Count Basie And His Orchestra Play Music By Neal Hefti.
Originally released as Verve V6-8511 (1962).
Recorded November 2, 3 and 5, 1962 in New York City.




Label: Verve Records ‎– B0012368-02
Series: Verve Originals –
Released: 27 Jan 2009
Genre: Jazz
Style: Big Band, Swing























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