Artist: Count Basie Orchestra

Bristling with excitement and electricity, The Complete Atomic Basie represents the finest accomplishment of Count Basie's "New Testament" big band. His "Old Testament" band of the late 1930s, featuring stars Lester Young, Herschel Evans, Dickie Wells and Buck Clayton, perfected the blues-drenched, straight 4/4 rhythm of Kansas City swing. Building on the blues foundation; this 1950s band features more ambitious compositions and a more dynamic sound and incorporates more modern developments. One constant, however, is the anchoring rhythm guitar of Freddie Green. As always, Basie can dig deeply into robust stride statements or choose each note as if he had to pay for them separately. Neal Hefti, the primary composer and arranger here, marvellously captures the strengths of each individual musician. His arrangements sparkle exuberantly on the up tunes and create vivid and exotic moods on the slower ones; clever and innovative without ever being overblown. Beefy tenor Eddie "Lockjaw" Davis, who was only in the band for a relatively short period, offers the most valuable and vital solo contributions, recalling Ben Webster's tenderness at times, squeaking and honking like an R&B ...
A masterclass in Jazz., 2010-02-12
I had this on vinyl and had played it until it was grey despite the fact that it was not my"sort"of jazz.I was more interested in the New Orleans revival stuff.Be that as it may,this CD demonstrates just about everything that is good about Jazz.here you have perfect arrangements that do not impair the inspirational improvisation of the soloists and the whole is driven along by,what must be,the finest rhythm section of any style of jazz anywhere in the world.A sweeping statement?Perhaps, but just listen and you will have to admit that I might be justified in making it.Payne,Jones and Green just POWER along without being noisy or brash whilst the Count ripples on top like the bubbles in a glass of champagne. I will not attempt to "review" the soloists;they are the aces in the pack,each and every one of them. This disc makes me glad that I am old enough to have heard this band live on more than one occaision.If you didn't(or if you did)and don't yet have this CD then buy it,buy it,BUY IT!! and you will have the nearest thing to a live performance. It is a must for anyone's record collection.

Artist: Duke Ellington

magnificent masterpieces, 2009-08-05
For many years I have been searching for early and mid-period Ellington recordings that are not distorted by surface noise. These masterpieces from 1926-49 are magnificently clear,with only a little surface noise on the earliest recordings. Almost all of the tunes are masterpieces and I particularly like the orchestration of "Daybreak Express" and the swing of "Cottontail" to name but two. Every jazz fan should have these recordings.

Artist: Nat 'King' Cole

Commemorating the 40th anniversary of Nat King Cole's death in 1965, this compilation is the CD companion of an excellent DVD/documentary. Produced with the blessing of his estate, this disc is a thorough survey of his timeless genius--all recorded on the Capitol label. It captures his sumptuous and soothing tenor voice crooning on the pop tunes he made famous, like the ethereal "Nature Boy," the melancholy "Mona Lisa," and the bouncy "Straighten Up and Fly Right," and "Route 66." It also features Cole's often-overlooked skills as an Earl Hines-style pianist. "Quizas, Quizas, Quizas (Perhaps, Perhaps, Perhaps)," and "Darling, Je Vous Aime Beaucoup," attest to his international appeal, and see if you can keep a dry eye when you listen to Natalie Cole's posthumous, digitally-enhanced duet with her father on "Unforgettable." From strings to big bands, Nat King Cole is never out of style. --Eugene Holley, Jr.
smooth..smooth...smooth..The voice of Nat King Cole, 2010-08-13
I love Nat King Cole and this cd is BRILLIANT..Worth every penny. From listening to in the car coming back from work or having a dinner party(great background music) to create a chilled mood.

Artist: Nat 'King' Cole

It would be difficult to think of a more perfectly matched pair than this. Shearing and Cole had so much in common--both were brilliant pianists, both had combined good jazz with popular success. They were even born in the same year. Nat Cole's velvet voice sounds even better with the rhythmic spice of Shearing's quintet, plus strings and percussion. The numbers on this 1961 album are all superb examples of classic American song, by such composers as Ellington, Kern and Matt Dennis, and each one is given a fresh and original treatment by arranger Ralph Carmichael. One of the tracks, "Let There Be Love", went on to become a hit single. The overall impression is of emotional warmth beneath a cool and elegant surface. Not surprisingly, Shearing still cherishes this album as one of his favourites in a long career. All that plus three bonus tracks. Unmissable. --Dave Gelly
Nat and George perfect!, 2010-01-04
Wonderful relaxing combination of both artists at their best, I cant stop playing it in the evenings, real unwinding music! Highly recommend!

Artist: Nat 'King' Cole

Nat King Cole 20 Golden Greats, 2010-07-19
I have been searching for a Nat King Cole CD, which contained the song "Dance Ballerina Dance", on this CD I found it along with a further excellent Nat King Cole songs, a must for any Nat King Cole fan.

Artist: Nat 'King' Cole

One of the finest singers of his--or any--age, Nat "King" Cole performed the definitive versions of many vocal standards. This collection gathers 22 of the velvety-voiced crooner's most popular favourites: "Let There Be Love", "Mona Lisa", "Unforgettable", "Let's Face The Music And Dance", to name a few. The choice of songs, as well as the superb quality of these recordings, both make The Ultimate Collection one of the better Nat "King" Cole compilations available. --Ted Kord
One of the best ever!!, 2009-05-30
Perfect for an evening in. Light the candles, open the wine and enjoy one of the best performances ever.

Artist: Duke Ellington

Such Sweet Thunder was, like Black, Brown and Beige and the later Far East Suite and other works of the late-1950s and on, a long-form study broken into identifiable miniatures that could stand alone as tunes. But this one was far more unlikely than Ellington and co-composer Billy Strayhorn's other suites, with its focus on characters developed by William Shakespeare. Pieces were scripted for both centuries-old characters and Ellington band members; for example, Paul Gonsalves's tenor sax and Johnny Hodges's alto parry as a musical Romeo and Juliet on "Star-Crossed Lovers". Surely this description of the CD makes it sound stiff, even pretentious, but the music gives the lie to such an assumption. Ellington was a master of sectional polyphony, making sure his band's sections swung individually and then in tandem with the other sections, creating a powerful, sometimes swirling swing. But he had Strayhorn, who was also a master of creating moods and ambient textures. And that's where this session becomes fascinating, in the moments when the group creates something other than rhythmic propulsion, standard harmony or even focused melody. Rounding out t...
Duke does Shakespeare, 2009-11-17
No, if it weren't for the liner notes I would NEVER have guessed that Shakespeare is the inspiration for Ellington's (and Strayhorn's) work here. But, it of small consequence to my listening enjoyment. Mature composer/arranger, Ellington reaches yet another of his peaks ("Blues in Orbit", "Black Brown&Beige", "Uptown", "Jazz Party"...) one can never get tired of.

Aided by the usual pack of great players - Johnny Hodges, Harry Carney, Paul Gonsalves... - the big band gives a richness of emotion, wide array of tones and musical innuendo;
something for every Ellington fan, recommendable to fans of swing and modern jazz alike.
The bonus tracks give additional pleasure.

Artist: Ella Fitzgerald, Count Basie

This 1963 session is a fine meeting of two great performers with a single-minded devotion to swing, a high point for both in the decade. The tunes are all familiar standards, many with roots in jazz, while the arrangements by Quincy Jones seem ideal. They are perfectly matched to Count Basie's idiom while providing a fine complement to Ella Fitzgerald's vocal leads. They may possibly be the best settings ever constructed for her scat singing. Fats Waller's "Honeysuckle Rose" swings infectiously and has Fitzgerald scatting ebulliently, while his "Ain't Misbehavin'" becomes a gentle ballad. The same depth of feeling colours "Into Each Life Some Rain Must Fall", while "Satin Doll" insinuates and "Them There Eyes" bounces infectiously from the first beat. --Stuart Broomer
Ella and Basie, Ella Fitzgerald and Count Basie - A dream recording from a dream team, 2009-09-21
Taking a break from the ongoing triumph that was the `Songbooks' series, Ella Fitzgerald teamed up with Count Basie to make this swinging album. Always a class act anyway, Ella always stepped up a gear when working with artists of equal stature (listen to her collaborations with Louis Armstrong or Duke Ellington for example), and this is no exception.

Basie and band lay down a superbly swinging backing, perfect for Ella's voice. Ella gives it her all, and the results are just magical. Things are helped along by the presence of the great Quincy Jones, who did the arrangements.

The Album kicks off as it means to go on, with a swinging version of `Honeysuckle Rose'. I defy you to not be tapping your foot to this! The album then moseys on through a set of standards, including a wonderful version of `Dream a Little Dream Of Me' (Mama Cass? Nah, this song belonged to Ella. Also check out her earlier recording of the same number with Louis And the Sy Oliver orchestra), a couple of Duke Ellington numbers (`Satin Doll' and `I'm Beginning To See The Light') and the definitive version of Fats Waller's `Ain't Misbehaving'.

This delivers what it sets out to deliver - an album of fun. An album to get you up and dancing. An album to make you happy.

The digital remastering is superb, and the disk is nicely presented with a reproduction of the original sleeve and a booklet with a few notes about Ella, Basie and Verve records.

Five stars with no hesitation.

Artist: Duke Ellington

As a composer and bandleader associated indelibly with the nightclub scenes of pre-Swing Era jazz, Duke Ellington would have a difficult time getting respect in the button-down world of concert music. And when Ellington premiered his first long- form piece, Black, Brown and Beige, in 1943 (available on the stunning Carnegie Hall Concerts, January 1943), he was considered a dilettante. He laid the work aside until this recording, which came in early 1958--with the added oomph of gospel vocalist Mahalia Jackson on board for all the suite's vocal parts. On this expanded reissue, there's an alternate take of the entire piece as well as two unrelated tracks recorded during the Black, Brown sessions but never before released. The suite is an expansive look, from Ellington's vantage, of course, at the evolution of African American history and culture. So there are ripples of spirited tone poetry, soaring gospel vocals from Jackson (with spare, aching piano from Ellington in spots), thundering horn-fronted swing from the band, and a consistency and unity on par with any symphonic work of the modern era. Ellington was always sensitive about this piece. Afte...
Lovely, lovely, lovely!, 2009-11-04
Mahalia, generally speaking DIDN'T record (or sing for that matter) jazz, soul, r&b and other genres;
but she had a high opinion of Duke's work and Duke's orchestra (not a huge surprise there) and he did give her a role that goes well with her religious convictions: she was to sing the religious segment of the African American historical experience... Something she was famous for...
So, this is not a typical Ellington orchestra album, but it's a great album nevertheless, with LOVELY and emotional contributions by Ray Nance, Harry Carney, John Sanders, Quentin Jackson, Cat Anderson, Shorty Baker (...) and the Duke himself.

Additional tracks (two of which I already have on "Blues in Orbit" album - Duke Ellington: Blues in Orbit (Columbia Jazz Masterpieces))
are welcome even if they sometimes dilute the sheer beauty of the core performances of the album, the selected parts from "Black, Brown and Beige" suite. For me, Ellington's music shows continuous development from the late 1920s until the 1960s (I haven't yet listened to the last few years of his orchestrations) so, this peculiar album is something that will repeatedly find its way to my CD player.

Artist: Nat 'King' Cole

Nat "King" Cole endured more than his share of scorn and rebuke from all manner of fans and critics. He wasn't jazzy enough to satisfy many, not white enough to please the pop cultural obsession with Anglo- and Euro-American stardom. In answer to all of this, Cole simply proceeded, crooning beautifully even after he'd walked away from the piano and become primarily a vocal sensation. This 1956 collection is famous as Cole's riposte to the critique that he wasn't jazzy. The session brings several Swing Era stars on board: violinist Stuff Smith, trumpeter Harry "Sweets" Edison, trombonist Juan Tizol, and alto saxophonist Willie Smith. The horns and violin fronted a semistandard jazz setup of guitar, drums, and percussion, along with Cole's own considerable chops on piano. As an improviser, Cole heavily influenced a generation of ivory ticklers, including Oscar Peterson and others, and here he shows himself a stellar pianist. His runs bespeak Cole's utter perfection on the keyboard. This is a crucial document. --Andrew Bartlett
Sheer magic, 2010-09-01
The perfect CD, showcasing the various talents of one of the greats of Show Business. The arrangements and treatments are stunning. This is a great experience; sheer magic.