For a long time, we've gone back and forth, trying to decide which band we loved the most: Count Basie for his swinging blues or Duke Ellington for his sophisticated compositions. “First Time: Count Meets the Duke” combines the best of both orchestras for a very rare treat!  The two reknowned bandleaders got their groups together to play as one 30-piece orchestra, with the rhythm sections of each taking turns on their leader's pieces. It could have turned out like a cacophonous circus to have two groups playing together for the first time, without rehearsal, and in one 12-hour session. Yet the result is sensible, swinging, and frequently exhilarating music — with enough spontaneity to satisfy even Charles Mingus.

It is a veritable musical kaleidoscope. This is seen in the piano duets that feature both the Duke and the Court. Their styles are so radically different that hearing them together is a study in contrasts which — surprisingly — compliments one another. If ever there was an example of musical Yin and Yang, this is it.

There are also contrasts between drummers Sam Woodyard (whose style made innovative use of pitch as well as rhythm), and Sonny Payne (who knew how to set up each phrase in a composition and swing the band like crazy). Musicians will thrill to the melodic and harmonic complexities of each arrangement and the solos are not only a joy but a learning experience. On the whole, the affair favors Basie over Ellington, whose nuanced palette is less apparent than usual.

It was quite a parade of talented musicians who marched into Columbia's 30th Street Studio in New York City on July 6, 1961 to record this album. Included are Court virtuosos Thad Jones on trumpet and Frank Foster on sax. The Duke counters with many of his legendds, including Cat Anderson and Ray Nance on trumpets (and the latter on violin!), and Paul Conzalves, Russell Procope, and Johnny Hodges on saxes. Producer Ted Macero came up with the idea to put each big band on a separate stereo track.

The first cut on this CD, “Battle Royal,” says it all, and it is worth the price alone: signature light melodies accented by slamming walls of ensemble, swinging virtuoso solos, then two drummers square off trading eights in such a way they celebrate the very idea of jazz. The intensity is overwhelming.
Probably our favorite selection on this CD is “Corner Pocket;” it's so smooth and swinging! On “Jumping At the Woodside,” both bass players can be heard playing at the same time.

Count Basie dropped out of school to operate lights for vaudeville and improvise accompaniment for silent films in New Jersey. Later making his way to Harlem he toured with groups to the major jazz cities of Chicago, St. Louis and Kansas City. He had an illustrious recording career. Duke Ellington came from two piano-playing parents and his mother, Daisy, surrounded him with dignified women to reinforce his manners and teach him to live elegantly. But Duke also liked to play baseball and remembered President Teddy Roosevelt coming by on his horse to watch him play. Ellington learned to imitate ragtime pianists. Various mentors refined and expanded his keyboard techniques.

This CD is a nice remaster, with the brass register rarely shrill. This is one of the sweetest semi-unknown jazz recordings. If you know someone who says jazz doesn't rock, just throw on cut one, crank it loud and proud, and step back with a smile.
 
To sample some of the tracks, click the speaker icon below to hear them. Then scroll down the page to order today!