Top Artists – Count Basie

Count Basie Big Band – Farmers Market Barbecue

More Count Basie

More Big Band Jazz

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  • Stunning Triple Plus (A+++) sound or close to it from beginning to end on this famous Pablo, one we consider The Best Basie Big Band Record We’ve Ever Played
  • Both sides are exceptionally clear, rich, and full of Tubey Magic, with a solid bottom end and huge amounts of three-dimensional studio space
  • Demo Disc sound – guaranteed to beat the pants off of any Heavy Vinyl pressing, at any speed, of any title
  • Allmusic: “This was an excellent outing by the Count Basie Orchestra during its later years.”

Musically FMB is a Top Basie Big Band title in every way. This should not be surprising: many of his recordings for Pablo in the mid- to late-’70s through the early ’80s display the talents of The Count and his band of veterans at their best. Sonically it’s another story. Based on our recent shootout for this title, in comparison to the other Basie titles we’ve done lately, we would have to say that FMB is the best Basie big band title we’ve ever played. Since so many Basie big band recordings are so good, we don’t want to get ahead of ourselves — after all, we haven’t done shootouts for all of his Pablo large group recordings. To be safe we’ll just call this one First Among Equals.

And when you hear it sounding as good as it does here, it truly qualifies as a Big As Life DEMO DISC. (more…)

Frank Sinatra and Count Basie – Sinatra-Basie

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  • You’ll find Shootout Winning Triple Plus (A+++) sound on both sides of this beloved Sinatra/Basie collaboration
  • Tubey, warm and smooth, with an extended top and solid down low, the louder you play this record the better it sounds, because it’s recorded, mastered and pressed properly
  • 4 stars: “The long-awaited first collaboration between two icons did something unique for the reputations of both. For Basie, the Sinatra connection inaugurated a period in the 1960s where his band was more popular and better-known than it ever was, even in the big band era. For Sinatra, Basie meant liberation, producing perhaps the loosest, rhythmically free singing of his career.”

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Count Basie / Kansas City 3 – For The Second Time

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Super Hot Stamper sound on both sides of this killer piano trio recording. It’s a joy to hear Basie perform as a frontman, stretching out on tunes that were no doubt dear to him. Veterans of hundreds of sessions, Ray Brown and Louis Bellson are just as interesting as Basie, high praise. Recorded by the legendary engineer Ed Greene (Stan Getz/Charlie Byrd – Jazz Samba) – that accounts for the exceptional sound.

Naturally we pick up all the Pablo Basie titles we can get our hands on these days, having had very good luck with a great many of them. When we dropped the needle on a copy of this one a few years back we were amazed at the sound. My post-it, still on the record, reads “SUPERB DEMO DISC.” It certainly is. (more…)

Count Basie – Basie Plays Hefti

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  • The first copy to hit the site in years and boy does our Shootout Winner here have STUNNING sound – it earned Triple Plus (A+++) grades from start to finish – exceptionally quiet vinyl too
  • If all you’ve ever heard is the Roulette original (or the wacky MoFi, or whatever current Heavy Vinyl pressing is being made, this LP is guaranteed to be a REVELATION
  • Basie Plays Hefti catches Basie’s band at the peak of their powers in 1958, and in this All Tube Recording you get every bit of the magic they made in the studio
  • “The Count Basie Orchestra was in top form for this set of Neal Hefti arrangements. Hefti had been one of the main architects of the new Basie sound of the ’50s… “Cute” (heard here in its initial recording) became a standard.”

This is the followup to the smash Basie album The Atomic Mr. Basie, an album we would love to make available if we could ever find a clean, good sounding copy to play. The liner notes tell the story of this album well. Click on the tab above to read them.

Basie was recording like a madman back in the late ’50s and even all through the ’60s. In 1958, the year of this release, he put out seven (7!) albums on the Roulette label. We’ve played quite a number of them over the years and found relatively few with audiophile quality sound.

Including the original Roulette pressing of this very title. We’ve only heard a few, and had only one for our shootout, but it was awful enough to make us swear off buying more, especially considering the prices vintage jazz albums are going for these days. Hard and sour brass, no real top or bottom, it’s the sound of a poorly mastered Old Jazz Record, fine for the consoles of the day, not so good on today’s advanced stereo systems. Emus seems to be the only way to go.

The sound is tonally correct, Tubey Magical and above all natural. The timbre of each and every instrument is right and it doesn’t take a pair of golden ears to hear it. So high-resolution too.

And of course we absolutely loved the music. I had a chance to see the Basie Big Band perform not long ago at Disney Hall and a fairly large chunk of the music and arrangements they play these days are Neal’s, practically half I would venture to guess. Meaning simply that Hefti’s music has clearly stood the test of time. Play this album and you’re sure to see what I mean. (more…)

Count Basie – Basie Plays Hefti – Original Versus Reissue

The original pressings are the best, right?

Not in our experience. It’s (probably) just another Record Myth.

Basie was recording like a madman back in the late ’50s and even all through the ’60s. In 1958, the year of this release, he put out seven (7!) albums on the Roulette label. We’ve played quite a number of them over the years and found relatively few with audiophile quality sound.

Including the original Roulette pressing of this very title. We’ve only heard a few, and had only one for our shootout, but it was awful enough to make us swear off buying more, especially considering the prices vintage jazz albums are going for these days.

Hard and sour brass, no real top or bottom, it’s the sound of a poorly mastered Old Jazz Record, fine for the consoles of the day, not so good on today’s advanced stereo systems. Emus seems to be the only way to go.

Don’t buy into that record collecting / audiophile canard that the originals are better. (more…)

Tony Bennett & Count Basie – In Person!

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  • This original Six-Eye stereo pressing has insanely good sound throughout with both sides earning shootout winning Triple Plus (A+++) grades
  • The sound here is incredibly big, rich and Tubey Magical yet still open, spacious and detailed with a lovely bottom end
  • “The drive of the Bennett vocals is excellently paced by the swingin’ Basie crew. Tunes are nicely paced and varied. It’s an exciting set that builds track after track” – Billboard

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The Glorious Sound of Triple Flutes

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Another in our series of Home Audio Exercises with advice on What to Listen For (WTLF) as you critically evaluate your Basie Big Band album.

Check out the triple flutes on the first track on side two – on a copy like this you will hear some shockingly Tubey Magical, breathy, sweet, natural flutes. And there are three of them! Even large classical orchestras rarely have three flutes. The sound is to die for.

Play any number of copies and listen for the tri-flute sound – some copies are tubier and a bit smeary, some are breathier and a bit thin, some are recessed, some are more present. On a resolving system no two pressings will have those flutes sounding exactly the same.

Don’t judge the whole side by just the flutes, they are only one element in a complex array. But they are a very strong clue as to what the rest of the sound is doing better or worse. One might even go so far as to say right and wrong.

Basie Big Band is a Top Basie Big Band title in every way — musically, sonically, you name it, this album has got it going on.

If you like your brass big, rich, powerful and dynamic, you came to the right place. In practically every way this copy is Hard To Fault.

With 18 pieces in the studio (five trumpets!, four trombones!, five saxes!) this album can be a real powerhouse — if you have the right copy, and both White Hot Stamper sides here show you just how lively and dynamic this music can be. It’s got real Demo Disc qualities, no doubt about it. (more…)

Gene Harris Big Band – Tribute to Count Basie – A Concord Record that Isn’t Mediocre (!)

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Since when did Concord learn to make a record that sounds as good as this one, with inspired, energetic performances from this solid group of veterans of the jazz wars no less.

Where is the typical Concord sub-gen, opaque, closed-in, compressed and lifeless sound we’ve been hearing all our lives? This is one jazz label that has done almost nothing of any real interest from the very start, and yet somehow they not only managed to get Gene Harris and his band of All Stars to play with tremendous enthusiasm and skill, they actually managed to capture, with considerable fidelity I might add, the prodigious big band energy they produced onto a reel of analog tape. I wouldn’t have believed it if I hadn’t heard it with my own two ears.

Not only is the sound EXCELLENT, but the big band really swings. They pull out all the stops. Gene Harris, one of my favorite pianists, leads an all star crew on a series of tracks performed in the spirit of Count Basie. Not a slavish recreation, but an inspired performance in his style. This has to be one of the best sounding Concord records I’ve ever heard. Without a doubt one of the real sleepers from that label. (more…)

Count Basie – April In Paris

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  • April in Paris makes its Hot Stamper debut with outstanding Double Plus (A++) sound fon this vintage mono pressing
  • This pressing showed us the sound we were looking for – big, bold, full-bodied mono, the kind they knew how to record in 1957
  • Here is the MIDRANGE MAGIC that’s surely missing from whatever modern reissue has been made from the 60+ year old tapes (or, to be clear, a modern digital master copied from those tapes)
  • 5 stars: “April in Paris is one of those rare albums that makes its mark as an almost instant classic in the jazz pantheon… The title track has come to define elegance in orchestral jazz… Recorded in 1955 and 1956, April in Paris proved Count Basie’s ability to grow through modern jazz changes while keeping the traditional jazz orchestra vital and alive.”

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Mel Torme – I Dig The Duke – I Dig The Count

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  • Torme’s 1962 release makes its Hot Stamper debut here with STUNNING Shootout Winning Triple Plus (A+++) sound from start to finish
  • This is not one of Mel’s better known albums, but we found it to be prime Velvet Fog, right up there with the best of his work auditioned to date – if you haven’t heard the man in his prime, this would be a great place to start
  • Val Valentin did the engineering – as he often did over the course of his long and storied career, he knocked this one out of the park
  • 4 1/2 stars: “Recorded with the Johnny Mandel Orchestra at sessions in Los Angeles, it includes one half Duke Ellington and one half Count Basie… With all these things going for it, how can Tormé do wrong?”

*NOTE: A small mark in the middle of track 3, I Like The Sunshine, makes 12 moderate pops.

Sometimes the copy with the best sound is not the copy with the quietest vinyl. The best sounding copy is always going to win the shootout, the condition of its vinyl not withstanding. If you can tolerate the problems on this pressing you are in for some killer Mel Torme music with exceptional sound. If for any reason you are not happy with the sound or condition of the album we are of course happy to take it back for a full refund, including the domestic return postage.


The sound of this superb jazzy ensemble is big, lively, open and clear, with Tubey Magical richness you will not find anywhere but on these early Verve stereo LPs.

Why is that? Well, for starters, this vintage pressing has the kind of Tubey Magical Midrange that modern records rarely begin to reproduce. Folks, that sound is gone and it sure isn’t showing any sign of coming back. (more…)