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Album Savings: £5.93 compared to buying all songs
- Original Release Date: 6 July 2000
- Format - Music: MP3
- Compatible with MP3 Players (including with iPod®), iTunes, Windows Media Player
- Also available in CD Format
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Customer Reviews
Most Helpful Customer Reviews
21 of 21 people found the following review helpful
Format:Audio CD
"Ella and Basie!" is a triumph in most respects. A monumental meeting of three giants of swing music.
First of all, not much needs to be said at all of the personnel involved, other than it meets the high standards already set by all involved. The band are on no less than top form, and absolutely breeze through the material, tighter than ever.
This represents possibly the best ever, in my opinion, of the New Testament Basie band: The rhythm section by now, have established a close rapport and support the band superbly, the understated/underrated chunking of Freddie Green's guitar, the exuberant rock solid thumping of Sonny Payne's drums, and the charismatic touches of Basie's piano, it's all here. As explained in the new liner notes, the Count often used a subbing pianist to imitate his style, but not at this session.
This album acts as the perfect antidote to the going-through-the-motions feel that sometimes was felt with Ella's preceding series of Songbooks: Ella is ecstatic, and nothing but spot on in every respect. Unlike in the songbook albums, she is allowed free-reign, and this culminates in countless scat exchanges between her and the band, or her and a particular soloist, such as Thad Jones, Joe Newman or Frank Foster (all of which shine throughout).
The arrangements by Quincy Jones were a healthy change for Ella from the swing arrangements (Paul Weston, Buddy Bregman, Nelson Riddle) she had used for the past eight years, being bluesy and brimming over with sizzling ensemble passages, just up the Basie Band's street.
The production on the album could not have been better, in my opinion. Norman Granz, who was responsible for the concept, has given us a dry, clean sound, devoid of reverb and extraneous noise that might clutter the slick sound.
And this sumptous reissue comes to us complete with six extra tracks, complete with studio chatter and false starts, etc.
At this point in time, a year after the Beatles had hit the charts for the first time, and in the middle of Elvismania, who might expect a rash last-hope grab by such Jazz stars, who have reigned supreme for so long. Especially Norman Granz, who has been criticised for making a commercial spectacle of Jazz music. But no. They did the best thing imaginable: A fresh revamping of some golden swing material, with two of the biggest veterans in their own fields.
It must have been a glorious sight to behold.
First of all, not much needs to be said at all of the personnel involved, other than it meets the high standards already set by all involved. The band are on no less than top form, and absolutely breeze through the material, tighter than ever.
This represents possibly the best ever, in my opinion, of the New Testament Basie band: The rhythm section by now, have established a close rapport and support the band superbly, the understated/underrated chunking of Freddie Green's guitar, the exuberant rock solid thumping of Sonny Payne's drums, and the charismatic touches of Basie's piano, it's all here. As explained in the new liner notes, the Count often used a subbing pianist to imitate his style, but not at this session.
This album acts as the perfect antidote to the going-through-the-motions feel that sometimes was felt with Ella's preceding series of Songbooks: Ella is ecstatic, and nothing but spot on in every respect. Unlike in the songbook albums, she is allowed free-reign, and this culminates in countless scat exchanges between her and the band, or her and a particular soloist, such as Thad Jones, Joe Newman or Frank Foster (all of which shine throughout).
The arrangements by Quincy Jones were a healthy change for Ella from the swing arrangements (Paul Weston, Buddy Bregman, Nelson Riddle) she had used for the past eight years, being bluesy and brimming over with sizzling ensemble passages, just up the Basie Band's street.
The production on the album could not have been better, in my opinion. Norman Granz, who was responsible for the concept, has given us a dry, clean sound, devoid of reverb and extraneous noise that might clutter the slick sound.
And this sumptous reissue comes to us complete with six extra tracks, complete with studio chatter and false starts, etc.
At this point in time, a year after the Beatles had hit the charts for the first time, and in the middle of Elvismania, who might expect a rash last-hope grab by such Jazz stars, who have reigned supreme for so long. Especially Norman Granz, who has been criticised for making a commercial spectacle of Jazz music. But no. They did the best thing imaginable: A fresh revamping of some golden swing material, with two of the biggest veterans in their own fields.
It must have been a glorious sight to behold.
4 of 4 people found the following review helpful
Format:Audio CD|Amazon Verified Purchase
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.
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.
1 of 1 people found the following review helpful
Format:Audio CD
Much underrated collection. I much prefer this to the Songbook albums which get greater critical attention. This sounds like everyone involved was having fun whereas some of the Songbooks had a bit of a production line feel. The singing and arrangements are fantastic and some of the playing is exceptional. This album benefits from less familiar songs. Recommended for all who like jazz, big band and swing.
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