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Duke Ellington with Count Basie's Orchestra - First Time! The Count Meets the Duke Audio CD

A fair review of the Duke Ellington with Count Basie's Orchestra "First Time! The Count Meets the Duke" Audio CD. Please note that the below review is the views of the authors, and authors only. You can get a complete list of all Duke Ellington with Count Basie's Orchestra reviews here, or go back to the Duke Ellington with Count Basie's Orchestra tabs.

Duke Ellington with Count Basie's Orchestra Band: Duke Ellington with Count Basie's Orchestra
Title: First Time! The Count Meets the Duke
Rating:
Release Date: 2008-02-01
Media: Audio CD

Tracks: 1: Battle Royal 2: To You 3: Take the "A" Train 4: Corner Pocket (AKA Until I Met You) 5: Wild Man (AKA Wild Man Moore) 6: Segue in C 7: B D B 8: Jumpin' at the Woodside

package was empty
There was no cd in package,only the case,the seller said it may have been tamper with,i don't really know,all i know is i didnt get what i paid for and probably wont order from this seller again.


The Best
It's at the top of my list of big band recordings. This is a classic. I believe it is the only time these two great bands recorded together. . 1961. The arrangements are spectacular. . . especially on Frank Wess' best ever
Segue in C. It dosen't get any better than this.


A Real Swingeroo of a Recording
On Jumping at the Woodside, both bass players could be heard playing at the same time. Here is an excellent record of something unprecedented in the history of jazz or classic big band music, two bandleaders, each with a different style of his own, getting their two bands together to play as one thirty piece orchestra, with the rythm sections of each band taking turns on their leader's pieces, highlighted by the two top drummers of their time, Sonny Payne (of the Basie orchestra) and Sam Woodyard of the Ellington group showing their stuff as only they could. These two bands were made up of some of the best men in the business, each of who was a star his own right, especially Johnny Hodges, Sam Woodyard and their two leaders.


A Wonderful Meeting
d. This is a c. that I have on the Columbia Jazz Masterpieces series from the L. P. days. I purchased this copy for a gift, Phil schapp's involvement,and the bonus material. The original material is wonderful, and I never felt this was much of a battle(as some folks do). All the participants are in fine form,and both camps swing madly. The delivery service was fine,and thanks for keeping this session available.


A Royal Ball (one casualty)
Think of it as one large ensemble (like Kenton's 40+ piece mellophone orchestra) commanded by a first captain (Ellington) and two assistant directors (Basie and Strayhorn). This is not the cacophonous circus that two big bands playing together (for the first time, without rehearsal, and in one 12-hour session) might have become. Basie, the spokesperson for understatement, and Ellington, the supreme creator of small ensembles within larger ensembles: the result is sensible, swinging, and frequently exhilarating music--with enough spontaneity to satisfy even a Charles Mingus.

In fact, Mingus was the only musician the ultra permissive Ellington ever fired from his band--at the insistence of Juan Tizol, after the volatile bassman had come at the trombonist with a fire ax. On the occasion of this recording, Tizol again insisted that Ellington fire someone--trumpeter Cat Anderson, who had nearly sliced off his head with a spiraling Sam Woodyard cymbal. " It's him or me," said Juan. Ellington may have been agreeable, but the Maestro was not about to submit to an ultimatum issued in public by his trombonist. So "First Time" was the last time for Juan Tizol.

Musical highlights include some heated exchanges between the two bands' top soloists, especially Thad Jones vs. Cat Anderson, and Frank Foster + Frank Wess vs. Paul Gonsalves (who could hold his own in any company). Also, Wess' flute (an instrument that didn't interest Ellington) and Jimmy Hamilton's clarinet do a memorable "pas de deux. " At the same time, not bringing together the lead altoists--Johnny Hodges and Marshall Royal--is a wasted opportunity. On the whole, the affair favors Basie over Ellington, whose subtle, nuanced palette and sophisticated compositional genius are less apparent than usual. The Freddie Green rhythm guitar would all but clinch it as a primarily Basie date were it not for the rich percussive colors and personal back-beat (as opposed to Sonny Payne's broader stroke) of Sam Woodyard.

A minor disappointment is the audio on this 2008 edition. There's some breaking up of the sound during the climactic ensemble passages of the main burner, "Battle Royal. " Perhaps mine is a defective copy, because after the perfect sound of the digitalized and reissued "Ellington at Newport 1956," a buyer would have the right to expect as much of a 1962 date. Otherwise, the reissue presents complete tracks for the first time and adds 11 tracks to the 8 on the original album. The notes are copious, informative, and frequently absorbing.

Like the Ellington/Coltrane meeting, this is not an Ellington essential, but then again it's one no fan of either member of the royal pair would want to be without.


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