Mike Ning Blues for Y.P. Ning and His Wife A Dedication by Mike Ning Ning Dynasty 1982

Mike Ning Blues for Y.P. Ning and His Wife A Dedication by Mike Ning Ning Dynasty 1982 CAT #001

Just recently, Mike Ning's daughter commented on a record her father was featured on here. I've since asked what other albums and work her father has done, but have yet to hear back. Reason being, I think I have several LPs featuring his work, most of which are sitting in my vinyl inbox waiting to be cleaned and listened to. I knew I had this one, so I felt obligated to pull it out.

The best part about this LP is how personal it is. All tracks are completely original and Ning gives background stories to all 5 featured on his ablum. The title track was a song he wrote in honor of his mother and father and the rest coincide with travel as a jazz musician and lover of the art form. Reading through the short stories, it appears Ning is originally from New Mexico, but at the time of this LP and apparently to this today, he was and is an active member of the KC Jazz scene.

Backside caricature drawing

He also put a drawing of his mother and father on the front cover, which I hope his parents liked, because it's there forever now. My favorite part now that his daughter has left a comment, is the caricature drawing of the Ning family on the backside showing that 1981, that was only good for one thing, Sesame Street songs, never mind a blues in D minor that the guy apparently wrote as a teenager, 'C is for Cookie' ruled the house.

The tracks were recorded with a trio and Ning leads on his piano. It doesn't sound dated or drenched in the 80's. It's enjoyable and well-done. Nothing gets too out of hand and it's pretty easy going throughout. Although, guitarist Danny Embry can go down some paths that get exciting, Overall, it's chill and easy to listen to. It also features a second version of 'Grable's Able (Milt's Abel)' which was featured on the previously mentioned KC Jazz Spectrum LP.

Max Groove Center of Gravity Optimism Incorporated 1987

Max Groove Center of Gravity Optimism Incorporated 1987 CAT #OP-3108

Max Groove is a Kansas City jazz pianist/keyboard player, who over the years put out around dozen albums and is still active today. He has worked with a host of musicians locally and from around the US and started early on the smooth jazz scene, the claim being he is a pioneer in the genre.

Center of Gravity from 1987 is typical of what he is about. Highly polished jazz and an 80's smoothness that can sound dated today. However, back then, this was highly sophisticated production. It sounds a lot like elevator music, but some people are into that. Some of the robotic sounds are interesting, but nothing terribly off the wall. The players are all very talented and Max Groove pens much of his work, so its impressive in that regard.

Live Performance in St. Joe, MO

Sherry Jones Mike Ning Quintet Blame it on the Music Ning Dynasty 1988

Sherry Jones Mike Ning Quintet Blame it on the Music Ning Dynasty 1988 CAT # 003

This LP is more of the 80's KC jazz scene players trying to bring back a legitimate KC jazz scene instead of trying to hang onto a memory. There's a number of these LPs floating around all featuring a combination of many of the same players featured here.

Pulling this one out just recently, what struck me is that the longtime KU professor, Chuck Berg, played tenor on it. Berg just passed recently at the end of July, but he was a well known/loved film and music professor at KU. A good friend of mine took a Jazz in Cinema course from Berg. During one of the classes, Berg mentioned how he was once in a rock n' roll band to which my friend asked the name and was told Spider and the Traps. Constantly digging, my friend then asked if there were any Spider and the Traps records released, to which Berg advised him there were not. Undeterred, my buddy tracked down a 7" by Spider and the Traps (there were at least two released) and confronted him with it. Berg still held that he wasn't on it as he was unaware the band released anything. Maybe he wasn't on it, but, maybe he just didn't want to admit to recording with a juvenile frat rock band.

He never mentioned this record to my friend. He was a jazz snob, maybe he would've proudly proclaimed this LP as something he was part of. It's decent, although the Quintet's name, Sherry Jones Mike Ning Quintet, is a bit fractured. For 80's jazz, these players never sounded too 80's. It's still pretty slick, but it's not smothered by smooth jazz and quiet storm sounds, they try to keep a bit more traditional.

Count Basie and His Orchestra Broadway Basie's...Way ABC/Command 1966

Count Basie and His Orchestra Broadway Basie's...Way ABC/Command 1972 CAT# RS905 SD


This is MOR Count Basie. He trudges through 12 show tune standards, thus the title, "Broadway Basie's...Way."

It's unimaginative, but that's not to say it's un-listenable. It'd be pleasant as background music if you don't have to pay attention to it. Of note, it was put out by ABC's Command label which was an early audiophile label founded by Enoch Light, who later to left to do Project 3 recordings. The label employed high tech recording techniques and material for the time which was aimed at getting the best recorded sound possible. So, in that regard, it's some high-quality background music that will sound crisp and clear pumping through a hi-fi system.

Pat Metheny & Lyle Mays As Falls Wichita, So Falls Wichita Falls ECM 1981

Pat Metheny & Lyle Mays As Falls Wichita, So Falls Wichita Falls ECM 1981 CAT# ECM 1-1190

Lee's Summit native Pat Metheny made a lot of albums, with a lot of different people. This one is supposed to be pretty good. Listening to it, it sounds dreamy, there's elements of prog-rock mixed in, but I'd rather talk about something else.

My dad gave me this album. Not because he's a Metheny fan or anything, just because he hordes records and came across this one. Years ago, my dad was decorating his garage with vintage things. Just random stuff he'd come across on Craigslist. For Father's Day or his birthday (can't remember which) I gave him a stack of LPs and an old Fisher Studio Standard turntable I had lying around, just to fit the vintage motif in his garage and because I didn't want to go anywhere I try to buy a present.

My father grew up in a time when vinyl was king. I remember growing up with my parents playing albums pulled from there Peaches wood crate that set next to a Sony stereo system. However, as my parents got older and moved from place to place, the stereo stopped being a part of household and my dad started tuning into talk radio instead of the local classic rock station. Point is, giving him a record player and some albums wasn't introducing him to anything new. Rather, it was giving him back something from his past.

I didn't really think giving him a turntable would be any sort of problem. I just thought he'd play the old albums he still had, maybe buy a few that he lost along the years, but mostly, I thought the turntable would just be a conversation starter in his garage/man-cave. What happened is that my dad went full tilt on records. He moved his man-cave to the basement and it became nothing but records and turntables. Every time I came over, more records would be there, another receiver or another turntable. He started trying make it a lifestyle, buying tee shirts related to vinyl and turntables. Texting me about finds and "digs". He got to know other area collectors by going to Estate sales and stores.

At first, I didn't mind, I'd thumb through his new stuff, he'd grab local stuff for me when he saw it. But anymore, it's a bit too much, I can't keep up. There's also the annoyance of him thinking it's "cool." Similar to a millennial bragging about a bullshit Ryan Adams LP sounding great on a Crosley turntable, he began to think of the hobby as cool, something unique to him. Vinyl isn't inherently cool. And, collecting vinyl is anything but cool. It's a nerdy hobby. It used to be filled with weird old guys it sweatpants that loved to talk about Elvis Presley, which is anything but cool. Sure, there's a revival. However, despite the revival, it doesn't make an obsessive vinyl collector with a Rush t-shirt anymore attractive or cool.

Regardless of hipness, one thing that is true for most new collectors is that he or she gets a bit value-obsessed. The question, "What's it worth?", becomes a huge part of the vocabulary. This was most certainly true of my dad, although, I think he's slowed down on that aspect. This record came to me at his height of what's-it-worth-syndrome. At his job, he has access to some sort of cellophane wrapper and he was using it to re-seal old LPs. When I first asked, he described it as an easy way to preserve albums. To which I'd reply, shrink wrap isn't a good way to store records, it's a only a good way to warp them as the shrink does what the name implies, it shrinks over time and puts pressure on the record eventually warping it if you don't break the seal. However, it became apparent that it wasn't really about preserving them, it was an attempt to elevate the value.

The first time he showed me this record, he bragged about it's sealed condition. And if that were correct, yeah, it's true, mint condition Pat Metheny albums do hold some value to nerdy audiophiles. However, when I looked at it, it was painfully obvious it wasn't an original seal. The wrap it was thin and not typical. But, the dead giveaway was the water-stains along the spine. I didn't have the heart to call him out, just said, "Yeah, that's cool."

He probably tried to trade this off and couldn't and that's probably good because I don't see a bunch of re-sealed LPs at his house anymore. It's a shady practice and most people see through it. Eventually, he gave this LP to me, still re-sealed. I opened it up, thinking maybe it is legit, but no. It's got scuffs, it's got signs of usage, it's not mint. It still plays nice and all, I'm just saying, the weird re-sealing thing could have really pissed someone off if he sold it on eBay. And, it's weird, right?

Pat Metheny Group S/T ECM 1978

Pat Metheny Group S/T ECM 1978 CAT #ECM 1-1114

This is the first album released by Lee's Summit native Pat Metheny under the name the Pat Metheny Group. Don't really need to go into the group members, because they're listed rather stylishly on the cover, This group created a string of well regarded release up through the 80's.

The music is very technical and sophisticated. It's on ECM, which is kind of a big deal for 70's and 80's jazz. The players are all great. The music kind of floats and noodles around a lot. Like, you'll leave the room for 5 minutes thinking you'll come back to another song and Lyle Mays is still slowly pounding out the same chord progression on his keyboard while Metheny just kind of splashes his guitar around. It's heavy in electronic instruments, but still sounds organic. Listening to it, even if it's not your thing, you can understand why it might be someone else's.

Also, below is a link of this guy on YouTube getting all sorts of pumped for a reissue of this LP. It's called an "Unboxing" video, which is these record collectors on YouTube just opening up packages of records they received in the mail, which is an actual thing that other people like to watch. They don't play the records due to copyright laws, which begs the question why are people so into watching these videos. I guess there's writing a blog on records nerdy, then there's next level YouTube nerdy.

This Fucking Guy and YouTube Unboxing Videos...

City Light Orchestra "Tain't What Cha Do City Light Records 1985

City Light Orchestra "Tain't What Cha Do City Light Records 1985 CAT# CL102

I thought I had discussed multiple City Light Orchestra releases by this point, but apparently, only just one (Light Orchestra). Looking at that release, appears they were using the moniker the Light Orchestra, but by this release, changed to City Light Records.

Like the prior, this is surprisingly good. I dig the vocalist, David Basse, who has a rough delivery. He's not a perfect singer, but his gimmick works. He's likely trying to channel some Louis Armstrong, but sometimes he has enough gravel in his voice to remind you of a cleaned up Tom Waits.

The album does suffer from some stylized production typical of the 1980's. When it goes that direction, it's loses it's appeal, becomes more about style than it does jazz. Oddly, the group traveled to Cerrillos, New Mexico to record the album, for a Kansas City based jazz group, but whatever floats their boat. Also, the cover would never give anyone the idea this is a jazz LP, cover makes you think terrible new-wave.

David Basse, still making the rounds, apparently

Count Basie and Orchestra On the Road Pablo 1980

Count Basie and Orchestra On the Road Pablo 1980 CAT #D2312112


This is a late-era Basie LP, recorded live apparently throughout a 1979 European tour. Features a host of brass players, Mickey Roker on drums, Keter Betts on bass and Freddie Green on guitar.


It's a good sounding recording as most Pablo releases are. It doesn't sound dated or dull. It's Basie bashing out classic tunes with a solid group of players.


In A Mellow Tone

Queen Bey Comin' Thru Beystring Productions 1987

Queen Bey Comin' Thru Beystring Productions 1987 CAT# CAP122

Beyonce ain't got nothing on Kansas City, we had the original Queen Bey. Nice, right?

Queen Bey was a Kansas City blues and jazz singer active in a Kansas City scene that was popping out local LPs and compilations throughout the 80s. She's now in Los Angeles apparently or was, either way, it appears she still performing. This specific recording was recorded in Los Angeles and credited to Beystring Productions in Overland Park, KS. It can be assumed that Beystring was the Queen's own private label.

During her time in KC, she is reported to have started singing at an early age in the 1950's. Her bio indicates she started to become a significant member of the local jazz and blues scene in the 80's and is officially recognized as an Ambassador of Jazz for Kansas City. In addition to her singing career, she's also been featured as an actor in television, screen and on Broadway. So, a pretty substantial career.

This 5 song EP is a throwback sound, the backside notes it was recorded live with no mixing, editing or overdubs on a two tracks, so no plastic, canned garbage to be found here. It was recorded digitally, which was still fairly new in the 80s, so the sound is very sharp and loud, maybe too much, but that's a minor issue. It's an enjoyable set of songs with a throwback style. It certainly doesn't sound as if its a product of the 80's. However, someone could mistake for a 70's lounge act very easily if they weren't paying much attention. However, the arrangements done by Joe Cartwright and Greg Eicher (both Kansas City area guys) sound authentic to a time when jazz was king. Overall, it's a solid set of tunes.

Queen Bey Live, 2011 in KC

Various Artists Atlantic Jazz Kansas City Atlantic 1986

Various Artists Atlantic Jazz Kansas City Atlantic 1986 CAT# 81701-1

There are numerous KC Jazz comps out there all of which are good, but this one does a tremendous job showcasing Kansas City as a pioneering city in music. The back liner notes do a much better job than me, but it takes all the artists featured here and connects the dots. From Buster Smith showing up from Texas, Basie from Ohio, and McShann coming from Oklahoma, they all met and played together in Kansas City. They also crossed paths with Charlie Parker. And just as soon as they hit upon a Kansas City sound, they took it nationwide.

What you have hear is the Atlantic Records story of Kansas City. The swing that would transform jazz. The same artists who featured a young Charlie Parker before he revolutionized the genre. And the jump blues performed by Big Joe Turner that would eventually lead others to rock n' roll and be heard in soul records. It's not the complete story, but the selections here are all amazing and tell some of the best parts to it.

Jay McShann Jumpin' At the Woodside

Chris Connor Witchcraft Atlantic 1959

Chris Connor Witchcraft Atlantic 1959 CAT# SD-8032

Kansas City born jazz singer Chris Connor had a pretty impressive career that's largely forgotten. There's still a click of female jazz vocalist enthusiasts (all of whom would be familiar with Connor), but names like June Christy and Julie London tend to be the only ones you still see in print.

This album placed Connor with arranger Richard Wess who surrounded her with a big band and some string arrangements. It's a decent pairing that allowed her to retain her smokey torch style while embracing pop elements that aren't as obvious in her prior work.

Also, let's be honest, the cover is incredible. The font, the early Atlnatic logo and the colors throughout the picture of the eye. It's top-notch and yet another reason things like old LPs are infinitely cooler than CDs.

When Sunny Gets Blue

Count Basie and the Kansas City 7 MCA/Impulse! 1986/1962

Count Basie and the Kansas City 7 MCA/Impulse! 1986/1962 (repress) CAT# MCA-5656

Pretty clever album with Count Basie and smaller ensemble...7 as the title implies. It was originally released on the legendary Impulse! label in 1962 and is typically referred to as one of Basie's best outings from the 60s.

This is a MCA Impulse! reissue from the 80's, I guess when Blue Note, Impulse!, and Jazz saw a brief form of coolness in again in the mid-80's. It's a nice pressing, remastered, but it's easy to pick up clean and sounds just fine, although, any snob would tell you an original is the only way to go.

As for the Kansas City 7, it's mostly a namesake and a nod to where Count Basie got his cool from. However, flutist Frank Wess was a native Kansas Citian. Further, most the players did spend time with Basie at his peak in the 50's and throughout the time Basie called KC his home.

Count's Place

The Gaslight Gaslite Gang 1980 Private 1980

Some pretty hip outfits and sweet facial hair.

The Gaslight Gaslite Gang 1980 Private 1980 NO CAT#

Paul Gray was a KU undergrad from 1965 to 1969. He started this group and opened his own Jazz House in 1972, later which was renamed the Jazzhaus. Paul Gray fronted his own house band and led a small Lawrence Jazz scene during the time. The band actually did get some pub, appearing on an early reality TV show titled 'Your All-American College Show' plus were featured on an Andy Griffith TV Special, but, never made any major label recordings.

The group is pretty standard, swing and bop, nothing groundbreaking. Sometimes they get a bit New Orleans and Dixie, but I find the band more rooted in the KC Swing sound. What's funny about the release is the multiple errors that adorn the jacket and label. For one, according to the cover, the LP is by the Gaslight Gang and titled, Paul Gray's Jazz Place Proudly Present the Gaslight Gang. The backside, shows an over-the-top bio and would have you believe the title of the album is Gassing With Gray. Yet, the title I'm going to use here is the the record label, which simply states Gaslite Gang 1980 (notice, the change in the spelling of Gaslight).
 It's a pleasant, easy to listen to live recording.

Marilyn Maye Marilyn...the Most Holly Record Co. 1961

Marilyn Maye Marilyn...the Most Holly Record Co. 1961 CAT# H04

This LP appears to be a demo album for both Marilyn Maye and songwirter, Carl Bolte Jr. It would appear Maye was using Bolte's talent to showcase her own and move onto a major label, while Bolte was using Maye's skills as a performer to help him get into the bigs as a songwriter and a producer.

Of course, that's an assumption. For Maye, if that was the goal, it worked. She went onto a very successful career as a singer, recording a number of albums, appearing in movies and in theater, and making a record number of appearances on Johnny Carson.

Mr. Bolte, not as much, but he remained a succesful musician local to Kansas City. Holly Record Co. featured a number of other releases featuring his originals, running form rock n' roll, to children's music, to jazz. He wrote a Kansas City Royals fight song in 1968, one year prior to the Royals inaugural season. He also, as an alumnus, wrote a Mizzou fight song. So, to that extent, Carl Bolte Jr. was able to carve out an impressive musical career within Kansas City and the surrounding areas.

And, maybe he was just looking to make a buck on his own Holly Record Co. Or perhaps, he saw a super-talented young Kansas City singer in Marilyn Maye and just wanted to move her along to the next stage of her career. However, if that were the case, you'd think there'd be some jazz standards thrown into the mix, not a complete album of originals because NO ONE was doing that in 1961. Whether it was his goal to move to Hollywood on the success of this album or not, it's extremely impressive he was able to craft 10 original pieces for Maye and find backing to release it on his own label.

It's a cool album, Bolte's songs are sharp and center around his keyboards and lyrics he penned. They can seem a bit hokey with a lot of call and response between the vocals and the music, but overall, they swing and the campy attitude of the tunes fit Marilyn Maye perfectly. At this point, it's a bit a collector's item. There's a surprisingly large female jazz-vocal collectors scene, primarily in Japan, that will pay a premium for hyper-obscure albums that are quality. A regional debut album from a fairly well-known singer like Marilyn Maye is a no-brainer for those types.

Marilyn...the Most More of the LP

Bob Brookmeyer And Friends Columbia 1965

Bob Brookmeyer And Friends Columbia 1965 CAT #CL 2237

Pretty outstanding list of players for KC trombonist, Bob Brookmeyer. This album was a reunion for Stan Getz and Bob Brookmeyer who had worked together at length for years prior to 1965. It features standards and some Brookmeyer originals.

In 1965, Getz and Brookmeyer were aging and through being cool. What saves the album from standard, boring, white-guy jazz is the young players they brought aboard to fill out the sessions. Namely, a young Herbie Hancock filling out the tunes with some interesting keyboard runs. It also, as the cover indicates, includes Gary Burton, who had done plenty up to this point, but was still young at the time of this release. Hancock and Burton's imagination was allowed to carry the album. Without them, the album would still be top notch, just not as memorable.

Brookmeyer's Jive Hoot

Kansas City Jazz Spectrum Kaycee Jazz 1978

Kansas City Jazz Spectrum Kaycee Jazz 1978 CAT #KC-7801

The players here kind of flooded the scene with a number of Kansas City Jazz releases. The big draw featured here is Pat Metheny's brother, Mike Metheny on flugelhorn. Other than that, it's just another from a batch of LPs that are scattered throughout KC featuring these artists.

Overall, this isn't as cheesy or soaked in lounge as it looks. The players attempt to recreate a KC Jazz scene that had died decades prior and was only a matter of pride and history by 1978. The first track is "Perdido" which was made famous by Duke Ellington, but the Kansas City Jazz Spectrum is doing it as a nod to Charlie Parker. The track does showcase each player as competent and isn't drenched in late 70's lounge sound, it could be mistaken for period by a casual listener.

The remainder of the LP features a more covers, some of which are restaurant friendly, others are a bit cooler such as "Stella By Starlight" which was a popular track performed by Miles Davis. There are originals, a vocal track written and performed by Carol Cox Comer which is clever. Mike Ning (who I believe was a transplant to KC) attempts a bit of Cool Jazz on "Grable's Able (Milt Abel)". And the saxophonist, Bill Perkins, contributed a tune called "Lost Moments," which attempts to get almost Kenton-like in sophistication, but mind you, can't reach that level.

Other points are awarded to the cover collage, which does seem a bit hokey, but has great references to KC. And the label name, Kaycee Jazz, is kind of fun.

Pat Metheny with Charlie Haden & Billy Higgins Rejoicing ECM/Warner Brothers 1983

Pat Metheny with Charlie Haden & Billy Higgins Rejoicing ECM/Warner Brothers 1983 CAT# ECM 1271

Usually after 3 minutes of hearing Pat Metheny noodle around, I've decided I have something better to do. I literally have a closet full of his albums on the account he's local, but I'm not sure I'll ever get it. I mean, I get that he's great at guitar and all, it's just a lot of guitar masturbation all over the place on these LPs.

Pat Metheny is a Kansas Citian, though. I think it's pretty safe to say, he's Kansas City's most accomplished guitar player. I mean the guy made a kajillion albums like this, he's been giving a ton of Grammy's, and been voted best guitarist by guitar magazines over and over. It's pretty impressive. He was born outside of Kansas City in Lee's Summit, Missouri. By age 15, his jazz guitar styling was catching the eye of teachers. After graduation, he briefly attended a school in Florida, but they apparently realized there wasn't much left to teach him and offered him a job. He would wind up taking a teaching job eventually, at one of the most prestigious music schools in the country, Berklee College of Music in Boston. There he was an assistant teacher with legendary vibraphonist, Gary Burton, leading the way. By the late 70's, he'd perform regular with Burton, from there, the guy just started recording and touring. When you look at his body of work, it looks like it must have been non-stop.

But yeah, I kind of kid on Pat Metheny. It's very good music, just not really my cup of tea. I get why people like it, as stated above, he's extremely talented. The ECM releases are great because the label was so focused on quality, typically pressed on virgin vinyl, well sleeved and tastefully designed. This album features Charlie Hayden from Iowa, but took his first paying gig nearby in Springfield, Missouri. Billy Higgins is amazing drummer who played with just about everybody important in the post-bop era.

The Calling from the album, it's most of side 2.

Ida McBeth Now, Here It Is Me Muzik Unknown Year

Ida did her best to make this a one of kind item,
but Glenda is a bitch and gave this to Goodwill.

Ida McBeth Now, Here It Is Me Muzik Unknown Year CAT #St-10042

This album, based on cover and back sleeve photos, came out in the mid-80s. Looking at a lot of big hair and Miami Vice fashion on the backside. The music is drenched in slick 80's production as well, but, it's surprisingly in touch with KC jazz roots.

Rather than be corny and cliche, the covered songs are rework themselves into a classic jump blues style with a few torch numbers to showcase Ida's softer side. Her voice is strong and can fill a room with ease. The blues numbers are the albums strong point as their nod to history is surprising as based on the cover, you'd expect some sort of slick, 80's female pop-soul LP.

The production is credited to Ida McBeth. She exposed herself to the music scene at an early age moving to Los Angeles and singing in clubs. Apparently there's a 70's album she recorded, but there's no indication on her website that it was ever released. Either way, competent performances from all players and Ida's voice makes it a worthwhile listen. Nothing mind blowing, but strong for a local release. Today, she can still be found recording and performing locally.

Performing recently on the Plaza

Col. Saunders All Star Hotlick Amipholean Conservatory Stationary Marching Band The Levee Presents RIM Music 1967

Col. Saunders All Star Hotlick Amipholean Conservatory Stationary Marching Band The Levee Presents RIM Music 1968 CAT# 1001A

Kansas City's The Levee is still around, going strong and featuring live music. The bar opened in 1965 and apparently, in the early days was popular enough to feature this house band and put out an album 1968. Or maybe the band just played there occasionally and wanted to put this out on their own. Either way, the 1968 date is questionable, from the album appearance, Col. Saunders All Star Hotlick band is a bunch of jokesters. The back liner notes are attributed to the Billy Shears, as in the "One and only..." The name and the idea of a stationary marching band, all jokes. Also questionable is the photo which shows a menu featuring a pitcher of beer costing $1.75, which would seem more 1970's.

However, a couple of the players were releasing music in the late 1960's, it's documented that George Winn the tuba player released a 7" in the mid-60's, so maybe the date isn't that off. The All Star Hotlick band would have been rather hip for 1968. You'd costumes and jazz wouldn't be cool, but it became an vogue thing in the 1970's to dress in attire and do an old-time style show. This KC group of players had a pretty hip idea for the late-60's. In fact, they're so hip, they put a jab in at white English blues players with a one minute yelp of screaming, "Blues get off my face!" So yeah, these guys were hipsters, too cool for even the cool English stuff.

The music is interesting, it's an updated take on dixieland jazz, done up to sing-a-long within a smokey bar. The banjo player and vocalist, Bobby Schad, has the affliction of the old time down pat. The band never leaves character and there are genuine highlights despite that no one needs another version of "The Lonely Bull" that was made famous by Herb Albert. The tune, "Georgy Girl," is pleasant, upbeat and worth a couple spins, the rockus intro of "Robert E. Lee (Down on the Levee)" gets your attention. "Dixie Yankee Doodle" is actually a rendtion of "Dixieland," which isn't needed, but it's easy to forget as Northern of a city Kansas City can be, it's still in the 'Southern' state of Missouri, but the song does actually morph into it's namesake which is fun. Finally, the band does "Havah Nagilah", which if you're Jewish is pretty great and if you're not Jewish, you probably heard it and like it.

Count Basie & Ella Fitzgerald Ella and Basie! Verve 1963

Count Basie & Ella Fitzgerald Ella and Basie! Verve 1963 CAT# ST 90028

Obviously, the title alone should tell most people this is worthwhile. Outside of a couple of tracks prior to this release, this was the first time Ella Fitzgerald recorded with Count Basie. They would continue working together from time to time afterwards. Considering this was released in 1963, it's a bit surprising that the two hadn't done more work together, you would have thought they'd met up at the peak of their careers, not it's twilight.  Which is kind of illustrated in the cover, it looks like two old folks having a chat at their retirement home.

That said, still and enjoyable album. Basie and Fitzgerald were both capable of doing their best work at this time, it was only their scene that was fading, not their talents. Like other Norman Granz supervised albums of the era, Granz tapped a young Quincy Jones to arrange. His arrangements are pretty tight and don't allow Basie to explore much. The focus of the album was clearly to showcase Ella. It's an easy album to listen to with a number of highlights.

On the Sunny Side of the Street