Live at Fabrik Hamburg 1981, Vol. 1 (Live) Count Basie

• 1 Bluesbird Blues (Live) 09:33
• 2 Please Send Me Someone To Love (Live) 06:02
• 3 Shiny Stockings (Live) 09:09
• 4 Everything Happens To Me (Live) 06:25
• 5 This Is All I Ask (Live) 06:37
• 6 I'm Confessin' That I Love You (Live) 08:32
• 7 Little Pony (Live) 12:20
• Total Runtime 58:38

Info zu Live at Fabrik Hamburg 1981, Vol. 1 (Live)

Sechstes Release der »Live At Fabrik Hamburg«-Serie auf Jazzline in Kooperation mit dem legendären Venue und NDR Kultur - der erste und instrumentale Teil des Auftritts der neunköpfigen Besetzung vom 05. Mai 1981.

Jazzikone Count Basie gilt nicht nur als einer der einflussreichsten Bandleader aller Zeiten, er prägte die gesamte populäre Musik als Pianist, Organist und Komponist maßgeblich, der Begründer und »King« des Big-Band-Swing hat zahlreiche weitere Weltstars bekannt gemacht. Schon zu seinen Lebzeiten gründeten sich die Count Basie Allstars mit Musikern, die teilweise über Jahrzehnte die Geschichte der Swing-Big Bands mit prägten.

Der Konzertmitschnitt aus der Hamburger Fabrik von 1981 entstand mit den Trompetern Harry »Sweets« Edison und Joe Newmann, Posaunist Benny Powell, Altsaxofonist Marshall Royal, den Tenorsaxofonisten Buddy Tate und Billy Mitchell, Pianist Nat Pierce, Bassist John Heard und Schlagzeuger Gus Johnson.

Das Repertoire basiert auf Count Basies Kompositionen und die Veröffentlichung ist in zwei Teile gegliedert: dieser erste Teil setzt sich mit den instrumentalen Stücken des Konzertes auseinander, während auf dem noch erscheinenden zweiten Teil die voluminöse Blues- und Swing-Stimme von Joe Williams zum Einsatz kommt.

Harry 'Sweets' Edison, Trompete
Joe Newman, Trompete
Benny Powell, Posaune
Marshall Royal, Altsaxophon
Buddy Tate, Tenorsaxophon
Billy Mitchell, Tenorsaxophon
Nat Pierce, Klavier
John Heard, Bass
Gus Johnson, Schlagzeug

Digitally remastered

William "Count" Basie
Though a pianist and occasional organist, William "Count" Basie's fame stems mainly from his history as one of the great bandleaders. Basie's arrangements made good use of soloists, allowing musicians such as Lester Young, Buck Clayton, Sweets Edison, and Frank Foster to create some of their best work. Although his strength was as a bandleader, Basie's sparse piano style often delighted audiences with its swinging simplicity.

Basie's first teacher was his mother, who taught him piano. Later, the informal organ lessons from his mentor Fats Waller helped him find work in a theater accompanying silent films. In 1927, Basie found himself in Kansas City, playing with two of the most famous bands in the city: Walter Page's Blue Devils and the Bennie Moten band. In 1935, Basie started his own Kansas City band, engaging the core of the Moten band. They performed nightly radio broadcasts, which caught the attention of music producer John Hammond. In 1936, Hammond brought the Basie band to New York, where it opened at the Roseland Ballroom. By the next year, the band was a fixture on 52nd Street, in residence at the Famous Door.

During this time the key to Basie's band was what became known as the "All-American Rhythm Section"––Freddie Green on guitar, Walter Page on bass, and Jo Jones on drums. The horns were also quite potent, including Lester Young, Earl Warren, and Herschel Evans on saxophones; Buck Clayton and Sweets Edison on trumpets; and Benny Morton and Dicky Wells on trombones. With a swinging rhythm section and topnotch soloists in the horn section, Basie's band became one of the most popular between 1937- 49, scoring such swing hits as "One O'Clock Jump" and "Jumpin' at the Woodside." Lester Young's tenor saxophone playing during this period, in particular on such recordings as "Lester Leaps In" and "Taxi War Dance," influenced jazz musicians for years to come. In addition, Basie's use of great singers such as Helen Humes and Jimmy Rushing enhanced his band's sound and popularity.

Economics forced Basie to pare down to a septet in 1950. By 1952 he had returned to his big band sound, organizing what became euphemistically known as his "New Testament" band, which began a residency at Birdland in New York. The new band retained the same high standards of musicianship as the earlier version, with such standouts as Frank Foster, Frank Wess, Eddie "Lockjaw" Smith, Thad Jones, and Joe Williams. Foster's composition "Shiny Stockings" and Williams' rendition of "Every Day" brought Basie a couple of much-needed hits in the mid-1950s. In addition to achieving success with his own singers, he also enjoyed acclaim for records backing such stars as Frank Sinatra, Sammy Davis, Jr., and Tony Bennett. Basie continued to perform and record until his death in 1984.

Dieses Album enthält kein Booklet