Any parts or solos in a recording you listen to over & o

[Eyeball]

I think so. It is a full 32 bar chorus. I love great sax section writing.

I think Duke Ellington's Peckin' has some lovely sax section rhythms.

Did he do that tune by itself?

I know the riff is ripped from .....ummmmmm....Rockin' In Rhythm, right?

I always like the sax section work in the Glenn Miller version of HERE WE GO AGAIN. Slightly intricate, yet swinging.

[Haydn]

I think so. It is a full 32 bar chorus. I love great sax section writing.

I think Duke Ellington's Peckin' has some lovely sax section rhythms.

I know the riff is ripped from .....ummmmmm....Rockin' In Rhythm, right?

I was talking about the sax section writing in the second 32 of Peckin', not the main riff. I've listened to the riffs from Peckin' and Rockin' in Rhythm, and although similar in style, they're not the same.

[CountBasi]

Sorry to revive such an old thread but needs must : Earl Hines' piano solo, starts about 1:55 into West End Blues.

Delightful, fun, delicate.

[zipthebird]

This is an odd one, but listen to the very last few seconds of "Basin Street Blues" off of Teagarden's album Mis'ry and the Blues. Talk about virtuosity.

[djstarr]

This is an odd one, but listen to the very last few seconds of "Basin Street Blues" off of Teagarden's album Mis'ry and the Blues. Talk about virtuosity.

Great album. If you don't have it you should get it. Love that "trombone tag".

[julius]

I usually rewind a bit and listen to Lester's sax solo on Woodside several times if I can. The moment when the band falls out and he lays into those rolling triplets give me the extreme happy feet.

Embarrassing confession: I usually yell "Ladies and gentlemen ... Lester Young!" just before the solo begins (if I'm alone in the car).

Actually, most of the Basie flag-wavers have little snippets that I have to listen to over and over again now that I think about it.

[trev]

Embarrassing confession: I usually yell "Ladies and gentlemen ... Lester Young!" just before the solo begins (if I'm alone in the car).

Actually, most of the Basie flag-wavers have little snippets that I have to listen to over and over again now that I think about it.

I've been listening to America's #1 Band in my car this week, and you're right – I can easily listen to some of those tracks over and over. Although I regularly listen out for other artists and obscure gems, I always come back to Basie for that guaranteed fix.

[Eyeball]

Harry James has a medium fast recording of "Avalon" from 1939 and right at the end of the first chorus there is a trumpet section dazzler such as like I have never heard ever elsewhere. The trumpets in unison seem to be triple-tonguing 32nd or even 64th notes with deadly precision for a bar or two. It is fantastic to listen to! I'm guessing tyhat it was be tough to play b/c I have never heard that 'device' used anywhere els.

[Eyeball]

Willie Smith on the James' band recording of -


IT'S BEEN A LONG, LONG TIME

and

EAST COAST BLUES.

WILLIE SMITH is so neglected - even the CD issued under his name with his Harry James sides on it was cut-out!

Grab it if you see it on Columbia/Sony/whatever.

[Eyeball]

Willie Smith

In the 1930s, Willie Smith ranked third among alto saxophonists, just behind Johnny Hodges and Benny Carter. He had a distinctive sound and a swinging style that was a major asset to Jimmy Lunceford's orchestra. Smith also contributed occasional vocals ("Rhythm Is Our Business" was his best-known recording) and some effective clarinet solos during the era, in addition to writing some fine arrangements for Lunceford.

Willie Smith started on clarinet, gained a chemistry degree at Fisk University, and then became Lunceford's altoist in 1929. A superb lead player and the strongest soloist in the ensemble-oriented orchestra, Smith was one of the stars in the big band up until 1942. At that point, underpaid by Lunceford and weary of nonstop traveling, he departed. After a year with Charlie Spivak and a year in the Navy, Smith joined Harry James' big band, where he was paid properly and greatly appreciated. Well-featured with James, Smith stayed for seven years the first time, before joining Duke Ellington in 1951 (as part of "the great James robbery"). After helping Ellington make up for the departure of Johnny Hodges, Smith spent time with Billy May's orchestra at the time the arranger's big band was catching on, before returning to James in 1954, where he stayed for another decade. He took occasional time off for work with Norman Granz's Jazz at the Philharmonic and was featured on some of Granz's Verve jam session records, including 1953's Apple Jam. After largely retiring, Willie Smith recorded his only full-length album for GNP Crescendo (1965) and recorded with Charlie Barnet before passing away from cancer.

- by Scott Yanow
All Music Group

[Eyeball]

Louis' stop-time solo on POTATO HEAD BLUES.

Just an astounding head-shaker of a solo. Beautiful. Hardly words for it. You could cry it is so fabulous.

[trev]

Louis' stop-time solo on POTATO HEAD BLUES.

Just an astounding head-shaker of a solo. Beautiful. Hardly words for it. You could cry it is so fabulous.

I'm with you on that one.

[Eyeball]

Louis' stop-time solo on POTATO HEAD BLUES.

Just an astounding head-shaker of a solo. Beautiful. Hardly words for it. You could cry it is so fabulous.

I'm with you on that one.

Wisdom

[zzzzoom]

Trumbauer's and then Biederbecke's solo on Singin' the Blues.

The entire song is just magic.