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

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

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

The Light Orchestra Raised Spirits City Light Records 1983

The Light Orchestra Raised Spirits City Light Records 1983 CAT # SRK 13429

This is actually pretty good.  The cover is pretty lame.  Then you flip to the back you see a collection of vocal jazz covers from some Kansas City locals, that doesn't help.  Then you realize it's from the 80's and it should be the third strike.

If you're brave enough to listen, you'll find it's an enjoyable take on classic-era Swing.  It does have a hokey, let's remember the KC Jazz greats thing about it, but hey, Laverne Barker plays bass for the band and he's got a legitimate resume.  The production isn't awash in 80's studio effect, it sounds live and classic.  The highlight of the album is the rough, raspy, vocals of drummer David Base.  Who, upon first listen, I wouldn't have guessed he was a skinny, white dude.  His expressive voice and it's texture when combined with the sometimes theatrical arrangements of the tracks can put the album in Tom Waits type territory with out all the cryptic poetry.

The players on this LP, especially David Basse, can be found on a handful of 80's era KC Jazz.  Apparently there was a short lived scene for this type of thing.  It'd be interesting to know how successful they were around town and how the albums fared concerning sales.

Goodbye Porkpie Hat

Frank Sinatra & Count Basie Orchestra It Might As Well Be Swing Reprise 1964

Frank Sinatra & Count Basie Orchestra It Might As Well Be Swing Reprise 1964

Admittedly, by this point, Count Basie was a long way from Kansas City.  He was big time, putting his name in with the likes of Ella Fitzgerald, Tony Bennett, and Frank Sinatra.  He had gone straight Hollywood by this point, but nevertheless, brought his Kansas City swing everywhere he went.

Outside of the obvious, Basie was teamed with a young Quincy Jones on the ablum.  The arrangements were all put together by Jones.  Jones was able to take then recently wrote pop songs and arrange them as if they were originally swing tunes.  The arrangements were then handed to Sinatra and Basie to perform.

The results are pretty spectacular, albeit very showbiz and very over-the-top.  Is is Sinatra,.though, so that's expected.  I wouldn't mind saying outside the previous album, Sinatra-Basie, it's the "coolest" Sinatra had sounded in years.  All told, it's a pop album, but with some jazz flourishes that Jones threw in to keep it interesting.  Basie just does what he does and held down the band.

Fly Me to the Moon

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952

Stan Kenton New Concepts of Artistry in Rhythm Capitol 1952 CAT# H383

So, when I first embarked on this project and found out Stan Kenton was from Wichita, KS, I was like, "Sweet!"  Then, as I started actually keeping my eyes peeled for all records that have a Kansas connection and saw how many Kenton albums are out there I said to myself, "Fuck, Stan Kenton is from Wichita."  I mean seriously, how many things can I possibly come up with to say about Stan Kenton?

Luckily, this 10" is pretty interesting and at points, challenging.  Kenton was in transition and on this album his orchestra had just begun it's experimentation with swing.  The first track, "23 Degrees North - 82 Degrees West" comes in with killer horns that take a bit to come together, but it works within a few seconds.  The Latin flair on that track is the most exciting part of the album, but there are other moments to explore, love the guitar lines on "Invention for Guitar and Trumpet," and the revamped ballad, "My Lady.".

As per usual, on this album Kenton's orchestra is loaded with talent, Maynard Ferguson, Lee Konitz, and Gerry Mulligan, just to name a few.  Of course, Kenton tells you all about that on the back side of the album in true douche-bag form.  The guy describes all the tracks like his work is for the better good.  But, outside of that, solid album, cover art is incredible.

23 Degrees North - 82 Degrees West

Count Basie & His Orchestra Kansas City Suite The Music of Benny Carter Roulette 1960

Count Basie & His Orchestra Kansas City Suite The Music of Benny Carter Roulette 1960 CAT# R52056

Love this LP and wish I didn't own a beat up later pressing on the Roulette Birdland Series, nice original would fit the bill, but, then again, there's a lot of records I want.

This LP was written by Benny Carter (not from Kansas City or a part of the scene, at least in the way Basie was) for Count Basie and his orchestra.  Carter named his tunes around clubs and areas in Basie's old stomping grounds, Basie gave it his KC swing, and they got a solid later day jazz album.

It's a solid outing and some featured soloist give the recordings an added flourish.  However, I just love it for all the Kansas City in it.  The skyline photo is great.  Song titles are fantastic: "Vine Street Rumble," "Miss Missouri," "Jackson County Jubilee," and the "Paseo Promenade" all still hold immediate relevance today.  The other tracks apparently are centered around KCMO as well, but would likely require more research.  I'm content with the obvious.

Vine Street Rumble