Muted Trumpet 02 WAV
Muted Trumpet 02 WAV ===== https://urlca.com/2tfrzq
Almost at the exact center of the piece, Ellington does this surprising thing: twice we hear five long, harsh, dissonant chords on the trumpets and reeds. They sound like the train horn coming through the night. And in between these sets of cacophonous chords is their exact opposite: complete silence. Here are those chords with a little music before and after.
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-The Atomic BasieThe release of this album in late 1957 marked the beginning of a glorious new phase in Count Basie's career. Signed to Roulette Records, the newly formed label owned by Morris Levy, the New York recording entrepreneur, jukebox mogul, club owner, and quasi-underworld figure, it took Basie's core audience and a lot of other people by surprise, as a bold, forward-looking statement within the context of a big-band recording -- if not as daring as what Duke Ellington had done at Newport in 1956, still a reminder that there was room for fresh, even dazzling improvisation (especially courtesy of Eddie \"Lockjaw\" Davis's contribution) within the framework of a big-band jazz unit. The band and its key members were all \"on\" for these two days of sessions, and Neal Hefti's arrangements gave all concerned a chance to show what they could do. Eddie \"Lockjaw\" Davis, stands out from the get-go with his solo on \"Flight of the Foo Birds,\" a rewriting of \"Give Me the Simple Life\" on which the tenor-man shares the stage with Thad Jones's trumpet solo, but nearly knock Jones off that same stage with his pyrotechnics. Davis plunges into new territory, defining the Basie \"Atomic\" period with his solo on \"Whirly-Birds\" (originally less aptly titled \"Roller Coaster\"), which soars into the air on his break. Joe Newman and Thad Jones's muted trumpets are the featured instruments on \"Duet.\" \"The Kid From Red Bank\" offers an unusual showcase for Basie himself at the piano, playing the least number of notes possible to surprise and bedazzle the listener, while \"Li'l Darlin'\" offers the Basie band's answer to Ellington's \"Mood Indigo.\"Bruce Eder -All Music Guide-Basie Plays Hefti\"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 and on this memorable date he utilizes the flute of Frank Wess prominently. \"Cute\" (heard here in its initial recording) became a standard.\" Scott Yanow -All Music Guide-On My Way & Shoutin' Again\"Basie Plays Hefti. While none of these selections is as famous as his songs like \"Cute,\" \"Little Pony,\" \"Splanky,\" \"Li'l Darlin',\" and \"Repetition,\" the substantial originality of this music is hard to deny, not to mention that the expert musicians playing his music bring these tracks fully to life in a livelier fashion than most laid-back Basie studio sessions. In fact, it has the feeling of a concert date that trumps the more clean, controlled environment of a session that was recorded on a three-track reel-to-reel. There's also plenty of room for exceptional solos from most of the participants, as Hefti is mindful of who is in the band and how each musician might sound when given his head. This is tried and true swing-oriented modern big-band music that actually sounds advanced for its time frame, and is solid as anything Basie has done post-\"April in Paris.\" The band is atypically bold and brazen on the opener, \"I'm Shoutin' Again,\" with Frank Wess on alto (not tenor) sax for his spirited solo. The great chart of \"Jump for Johnny\" is a hard bopper for Johnny Carson, basic Basie with tenor saxophonist Frank Foster and trumpeter Sonny Cohn trading licks. Hefti's best work is showcased during \"Together Again,\" as the hopping brass and singing horns take tuneful twists and turns. This set also includes the classic track \"The Long Night,\" a famous blues featuring the sly flute of Wess in front of the horn section and a masterful muted solo by trumpeter Thad Jones. There are other tunes that are derivative, as you can clearly hear the borrowed phrases of \"C Jam Blues\"/\"Duke's Place\" in the low-key then blasted-out \"Eee Dee,\" \"Shiny Stockings\" sprinkled about during the more typical laid-back \"Rose Bud,\" and \"Groove Merchant\" or \"Hallelujah, I Just Love Him So\" in the easy-swinging soul groove of \"Ain't That Right.\" Hefti's movie soundtrack experience comes to the fore on \"Shanghaied,\" definite spy music with Cohn's muted trumpet masking phobias and paranoia. There are two cute tunes: \"Skippin' with Skitch,\" led by three flutes (Wess, Eric Dixon, and Charlie Fowlkes); and the lightly strutting \"Ducky Bumps,\" featuring Henry Coker's trombone, with brief solos from Basie's piano and bassist Buddy Catlett. A solid and worthwhile album that has been out of print for far too long, this will be a welcome addition to any Basie lover's collection, and comes highly recommended to anyone even mildly interested in excellent large-ensemble mainstream jazz.\"Michael G. Nastos -All Music Guide 153554b96e