BOB MINTZER - ART OF THE BIG BAND

BRAZILIAN AFFAIR 

This big-band date by Bob Mintzer from the early '90s utilizes some of the Big Apple's top available musicians of the era, including trumpeters Marvin Stamm and Randy Brecker, saxophonists Scott Robinson and Roger Rosenberg (both of whom double on clarinet), and pianist Phil Markowitz. Mintzer has moved freely between contemporary and mainstream jazz depending on the record date and personnel, but on this DMP release he incorporates a bit from each style. At times that's a problem, because straight-ahead fans will find the smooth jazz-like rhythm section in the standard "Without a Song" rather lame compared to the writing for the brass and reeds. Fortunately, when electric bassist Lincoln Goines is replaced by acoustic bassist Michael Formanek, as in "Christopher Columbus" (where Robinson swings like mad on tenor) and Mintzer's inventive chart of "Easy Living," all is well. The originals are a mixed bag, with the dynamic "Art of the Big Band" and the tricky "Weird Blues" being especially noteworthy.


Artist Credit
Bob Millikan Arranger, Flugelhorn, Liner Notes, Producer, Saxophone, Trumpet
Troy Halderson Assistant Engineer
Michael Formanek Bass (Acoustic)
Lincoln Goines Bass (Electric)
Scott Robinson Clarinet, Saxophone
Roger Rosenberg Clarinet, Saxophone
Bob Mintzer Composer, Liner Notes, Primary Artist, Producer, Saxophone
Frank Malabé Congas
Peter Erskine Drums
John Riley Drums
Randy Brecker Flugelhorn, Trumpet
Laurie Frink Flugelhorn, Trumpet
Marvin Stamm Flugelhorn, Trumpet
Lawrence Feldman Flute, Saxophone
Pete Yellin Flute, Saxophone
Chuck Loeb Guitar
Phil Markowitz Piano
Matt Finders Trombone (Bass)
David Taylor Trombone (Bass)
Dave Bargeron Trombone
Michael Davis Trombone
Keith O'Quinn Trombone

RALPH MARTERIE & THE HI- LOS

OLD ROCKING CHAIR

PETE McGUINNESEE JAZZ ORCHESTRA - Strength In Numbers

 THE SWAGGER

For the second album as leader of his jazz orchestra, New York-based Pete McGuinness says he has "returned to [his] roots," fashioning a series of dapper themes that embody his forward-looking point of view while swinging in the grand tradition of such legendary ensembles as Basie, Herman, Thad Jones and others. When someone like Bill Holman says (as he does) "wonderful writing," the tendency is to sit up and take notice. One keynote that's immediately clear is that Holman is, as usual, spot on, and that McGuinness ranks high among the jazz world's most skillful contemporary composer / arrangers, one who doubles on trombone and trebles as band singer (more about that anon). 

Without sacrificing any of his deeply personal convictions, McGuinness has managed to produce an album that should appeal to those who savor music that is shrewd and sophisticated as well as to others who lean toward buoyancy and power. That's no easy task, and there aren't many bands or bandleaders who could make it work. McGuinness does so by blending big-band dynamism with structural finesse, as on his engaging bows to Basie ("The Swagger"), Jones ("Nasty Blues") and especially friend and mentor Bob Brookmeyer ("The Send-Off"). His deft use of harmony and color is everywhere exceptional. Among the other highlights is McGuinness' clever arrangement of Stephen Foster's ballad "Beautiful Dreamer," recast as a snappy samba that underscores intrepid solos by soprano saxophonist Dave Pietro and pianist Mike Holober. 

McGuinness wrote the lyrical "Trixie's Little Girl" for his late mother, the Latin-tempered "Spellbound" as an homage (no kidding) to Claude Debussy and Billy Strayhorn. McGuinness' expressive trombone is showcased on the graceful "Bittersweet," as it is on "Trixie's Little Girl." Other soloists (all splendid) are trombonists Mark Patterson and Matt Haviland, tenors Tom Christensen and Jason Rigby, baritone Dave Reikenberg, bass trombonist Jeff Nelson, alto Marc Phaneuf, trumpeters Chris Rogers and Bill Mobley, bassist Andy Eulau and drummer Scott Neumann. The three remaining numbers (or two, as the standard "You Don't Know What Love Is" is repeated in a shorter "radio version") are the ones on which McGuinness sings, and the most courteous observation that can be made is that one of the perks of leading a big band is that you can sing if you want to and no one will demur. That's not to say that you should. Aside from those minor missteps, however, Strength in Numbers is entirely pleasurable and persuasive.
-Jack Bowers-


Artist Credit
Pete McGuinness Arranger, Composer, Leader, Liner Notes, Trombone, Vocals
Andy Eulau Bass
Dave Reikenberg Clarinet (Bass), Sax (Baritone)
Jason Rigby Clarinet, Sax (Soprano), Sax (Tenor)
Scott Neumann Drums
Dave Pietro Flute, Sax (Alto), Sax (Soprano)
Marc Phaneuf Flute, Sax (Alto)
Tom Christensen Flute, Sax (Tenor)
Bruce Eidem Lead, Trombone
Jon Owens Lead, Trumpet
Tony Kadlek Lead, Trumpet
Mike Holober Piano
The Pete McGuinness Jazz Orchestra Primary Artist
Jeff Nelson Trombone (Bass)
Matt Haviland Trombone
Mark Patterson Trombone
Bill Mobley Trumpet
Chris Rogers Trumpet

1980 - MEL LEWIS JAZZ ORCHESTRA

DING DONG DING

PAT WILLIAMS & THE METROPOLE BIG BAND

MANDEVILLE

CHARLES MINGUS BIG BAND - Live In Time

Having exhausted most of the late bassist's best-known songs, the Mingus Big Band emphasizes obscurities (such as "Sue's Changes," "Children's Hour of Dream" and "Chair in the Sky"), along with later-period work, on their third release, Live in Time, a double CD. The orchestra really digs into the complex material, and they perform Mingus' almost impossible-to-play originals with joy, swing and constant excitement. Among the many all-stars on this fascinating and highly enjoyable set (all of whom are featured) are trumpeters Randy Brecker, Philip Harper and Ryan Kisor, trombonists Frank Lacy, Robin Eubanks and Britt Woodman, altoists Gary Bartz and Steve Slagle, Seamus Blake, Mark Shim and John Stubblefield on tenors, Ronnie Cuber or Gary Smulyan on baritone and Kenny Drew Jr. or John Hicks on piano. The gloriously overcrowded ensembles, the explosive solos and the spirit of Mingus are three of the many reasons to acquire this memorable effort


Artist Credit
Steve Slagle Arranger, Assistant Engineer, Guest Artist, Sax (Alto), Sax (Soprano)
Charles Mingus Arranger, Composer
Sy Johnson Arranger
Jack Walrath Arranger
Sue Mingus Assistant Engineer, Liner Notes, Producer
Andy McKee Bass
Adam Cruz Drums
Gary Bartz Guest Artist, Sax (Alto)
Seamus Blake Guest Artist, Sax (Tenor)
Conrad Herwig Guest Artist, Trombone
Randy Brecker Guest Artist, Trumpet
Ryan Kisor Guest Artist, Trumpet
Mark Shim Guest Artist
Gary Smulyan Guest Artist
Kevin Hodge Mastering
Alice Arnold Photography
Lee Tanner Photography
Kenny Drew, Jr. Piano
John Hicks Piano
Mingus Big Band Primary Artist
Ronnie Cuber Sax (Baritone)
Mark Isham Sax (Tenor)
John Stubblefield Sax (Tenor)
Frank Lacy Trombone, Vocals
Robin Eubanks Trombone
Britt Woodman Trombone
Earl Gardner Trumpet
Philip Harper Trumpet
Alex Sipiagin Trumpet

LES BROWN - Goes Direct To Disc

PERSONNEL

Bobby Clark, Larry Ford, Fred Koyen, Bill Mittison, Don Smith (tp) Bill Moffett, Bob Payne, Jim Sawyer, Stumpy Brown (tb) Fred Cooper, Matt Utal (as,cl,fl) Louis Ciotti (ts,cl) Glen Garrett (ts,bar) Butch Stone (bar) Victor Feldman (vib) Rich Aronson (p) Tim May (g) Bob Burteaux (b) Jerry McKenzie (d) Jim Hill (arr) Les Brown (ldr)

LES ELGART - Just One More Dance

For Me And My Gal

TOSHIYUKI MIYANA'S NEW HEARD

TAKE THE A TRANE

In case one harbors any doubt about the kind of big–band Jazz championed by Toshiyuki Miyama’s Tokyo–based ensemble, the phrase “New Herd” should be a dead giveaway. The band is forged in the swaggering image of Woody Herman’s legendary Thundering Herds, an imprint that is quickly borne out on these two discs, recorded in 1974 and ’75, respectively. New Herd was produced in a Tokyo studio in September ’74 to commemorate the band’s well–received performance that year at the Monterey Jazz Festival; “A” Train, completed the following May (in the same studio but with an audience), has been reissued on CD to mark the centenary in April ’99 of Duke Ellington’s birth. Unfortunately, as both began life as vinyl LPs, their combined playing time (84:08) is only modestly beyond the limits of a single compact disc. The similarity to Herman is indelibly etched on “Donna Lee” and “Sniper’s Snoose,” the buoyant swingers that open New Herd. Woody would’ve loved ‘em, and so would Buddy Rich, as drummer Isao Yomoda is clearly one of his ardent disciples. The tempo (but not the intensity) slows for “Furisode” and “Kappa Shijo” before Chick Corea’s mercurial “La Fiesta” (with a galvanizing solo courtesy of pianist Kiyoshi Takano) and the New Herd’s theme song wrap up a brief but consistently rewarding session. The character of the second disc, as one would reasonably expect from a concert devoted to Ellington, is quite different, with subdued pastels replacing the more flamboyant colors espoused by Herman. “Mood Indigo” and “Sentimental Mood” are as seductive as one could want, with wonderful solos by Takano and alto saxophonist Koji Suzuki on “Indigo,” trombonist Osamo Shiamura on “Mood.” The title selection, whose dynamic arrangement by guitarist KozaburoYamaki is based on Betty Roché’s well–known vocal, ends the “Ellington segment” of the concert, and the Herd completes the program with Yamaki’s pastoral “Country Blues” and an extended reading of Freddie Hubbard’s “Gibraltar.” While each of these discs is admirable in its own way, if pressed I’d give the nod to “A” Train because of its longer playing time, picturesque charts and enterprising solos. But either one is recommended.

BOB STONE BIG BAND

The Bob Stone Big Band 2/87 Live at the Moosehead Bar & Grill In Chicago.
Stone's interpretation of Frank Foster's arrangement of,  In Mellow Tone.

 Sax's: Bob Frankich,Bob Rzeszutko,Mike Pendowski,Tony Vacca,Kent Minor. Trumpets: Mark Thompson,Mike McGrath,Terry Connell,Art Hoyle. Trombones: Jack Schmidt,Russ Phillips,Brian Jacobi, Richard Moss. Piano: Tom Hope Bass: Jim Atlas Guitar: John Moran Drums: Bob Stone. Solo: Phillips,McGrath.

THAD JONES & MEL LEWIS WITH RUTH BROWN

Outskirts Of Town

The Big Band Sound Of Thad Jones/Mel Lewis Featuring Miss Ruth Brown
 Thad Jones (flhrn) Snooky Young, Bill Berry, Jimmy Nottingham, Richard Williams, Danny Moore (tp) Garnett Brown, Jimmy Cleveland, Jimmy Knepper (tb) Cliff Heather (b-tb) Jerry Dodgion (fl,as) Jerome Richardson (fl,sop,as) Eddie Daniels, Seldon Powell (ts,cl) Pepper Adams (bar,cl) Sir Roland Hanna (p) Richard Davis (b) Mel Lewis (d) Ruth Brown (vcl) Bob Freedman, Bob Brookmeyer, Al Cohn (arr)

CHICAGO COMPOSERS BIG BAND

Here are two tunes from a recently recorded and made available by the CCBS.
One Week (arr John Donhauer)
Diamonds (arr. Ariel Glassman)

Chicago Composers' Big Band is an all-star group featuring several of Chicago's finest emerging writers/performers of jazz big band music. CCBB performs exclusively original compositions/arrangements by its members, and they seek to present a diverse oarray of creative voices to a community that extends beyond the typical big band audience.

Members:
Saxophones: Jim Barbick, Alex Blomarz, Natalie Lande, Aaron McEvers, Jenna Przybysz
Trombones: Michael Nearpass, Nick Roach, Thom Schwartz, Josh Torrey
Trumpets: Ryan Adamsons, John Dorhauer, Jon Rarick, Justin Woodward
Guitar: Ariel Glassman
Piano: Carl Kennedy

PRATT BROTHERS - Big Band Basie

This track is sans Roberta

Alto Saxophone – Marc Phaneuf
Alto Saxophone [Lead] – Alan Gauvin
Baritone Saxophone – Dave Schumacher
Bass – Ben Rubin (tracks: 10), Chip Jackson
Bass Trombone – Wayne Coniglio
Drums – Michael Pratt (3)
Leader – Dean Pratt, Michael Pratt (3)
Piano – Ronnie Mathews
Tenor Saxophone – Mike Karn, Willie Williams (8)
Trombone – Rick Stepton
Trombone [Lead] – Scott Whitfield
Trumpet – Danny Cahn, Dean Pratt, Don Sickler, Ross Konikoff
Trumpet [Lead] – Joe Mosello

LOU MARINI & THE MAGIC CITY JAZZ ORCHESTRA - Lou's Blues

Hip Pickels

Lou's Blues, an exercise in ultra-modern composing, arranging and blowing by Lou Marini Jr. and the Magic City Jazz Orchestra, may bring a smile to the face of many big-band enthusiasts and leave others shaking their heads in bewilderment. It depends on one's point of view. Marini, whose influences include blues, rock and free jazz as well as more traditional rhythms, harmonies and lyrical devices, lays them all on the table in eight inclusive charts that resist easy appraisal or labeling. Some may find them fresh and exhilarating, others enigmatic and wearisome. My own opinion lies somewhere between those extremes.
As a composer/arranger, Marini has a number of creative ideas and makes the most of this opportunity to share them, testing the MCJO with elaborate themes and arrangements that demand a high level of awareness and musicianship. To its credit, the ensemble is more than equal to the task at hand. It had better be, as the ensemble is in the forefront much of the time, with most of the improvised passages in Marini's hands (he plays tenor and soprano sax most of the way, flute on "Song for John," alto on the "country" section of "Rena/Country"). Others given a chance to shine include trumpeter Bo Berry, tenors Neil McLean and Dave Amaral, guitarist Tom Wolfe, pianist Ray Reach and bassist Robert Dickson.
"Lou's Blues," a modal design that embodies sharp solos by Marini (tenor), Dickson and Wolfe, precedes "Looking with New Eyes," a cheerful bossa written in 1972 whose exemplary trombone soli balances crisp statements by Marini (alto) and Berry. Marini's unorthodox notions surface on "Hip Pickles," whose "free" intro gives way to a melody played by screaming trumpets and Clapton-like guitar, prefacing a stormy interchange between Marini (alto) and Wolfe. Marini plays soprano and tenor on the dark-hued "Odalisk," soprano again on the late Weldon Irvine's funky "Mr. Clean," flute and soprano on his diaphanous "Song for John." "Dangerous Cargo" is a delightful change of pace, an amorous samba enhanced by Reach's tasteful piano and Marini's searing tenor.

The finale is sliced in two, with the band swinging hard on the bluesy "Rena" to reinforce clear-eyed solos by Berry, McLean and Amaral. After a ten-second pause, the MCJO launches into the free-wheeling "Country," an old-fashioned stomper taken at a frenzied pace and planned (intentionally) to simulate a vinyl LP with its inescapable clicks, pops and surface noise. A great way to wind up a remarkably inventive session that may not be everyone's cup of tea but should prove invigorating to those whose taste buds are primed for a new experience.
By JACK BOWER


Personnel: Lou Marini, composer, arranger, tenor, alto, soprano sax, flute, with the Magic City Jazz Orchestra -- Ray Reach, director, piano; Gary Hallquist, Gary Wheat, Dave Amaral, Neil McLean, Grady Chandler, Daniel Western, Kim Bain, reeds; John Taylor, Chris Gordon, Craig Konicek, Mark Avant, Daryl Jones, Bo Berry, trumpet; Steve Pryor, Edson Worden, Bob Black, Charles Ard, Jim Moeller, trombone; Mike Lingo, bass trombone; Tom Wolfe, Jim Wallis, guitar; Chris Wendle, Robert Dickson, bass; Steve Sample, Sonny Harris, drums.

MANHATTAN JAZZ ORCHESTRA PLAYS BILL CHASE

Get It On

.
Members include Lew Soloff, Ryan Kisor, Jim Pugh, John Fedchock, Larry Farrell, David Taylor ,Roger Rosenberg, George Young, Chris Hunter, Terry Silverlight and Chip Jackson.

BON CURNOW BIG BAND - Music of Pat Metheny and/or Lyle Mays

Complete Recording

Arranger Bob Curnow transcribed a dozen compositions by Pat Metheny and/or Lyle Mays (originally recorded by the Pat Metheny Group) and adapted them for his Stan Kenton-influenced big band. The instrumentation differs drastically from Metheny's quartet and some of the pieces were originally very electric, but somehow these new renditions make the songs sound as if they were originally designed for this orchestra. The 20-piece big band is full of some of the cream of L.A.'s jazz scene and includes such soloists as trombonists Andy Martin and Rick Culver; saxophonists Bob Sheppard, Rob Lockart, and Danny House; pianist Bill Cunliffe; and a mighty trumpet section. This is an unusual concept that somehow works perfectly and with surprising logic.
AllMusic Review by Scott Yanow

Artist Credit
Bob Curnow Arranger, Conductor, Liner Notes, Primary Artist, Producer
Robert "Cricket" Cohen Assistant Engineer
Tom Warrington Bass
Tom Peterson Clarinet, Clarinet (Bass), Flute, Sax (Baritone), Soloist
Bob Sheppard Clarinet, Flute, Sax (Alto), Sax (Soprano), Soloist
Danny House Clarinet, Flute, Sax (Alto), Soloist
Rob Lockart Clarinet, Flute, Sax (Tenor), Soloist
Jerry Pinter Clarinet, Flute, Sax (Tenor)
Lyle Mays Composer
Pat Metheny Composer
Steve Houghton Drums, Soloist
Buddy Childers Flugelhorn, Photography, Trumpet
Wayne Bergeron Flugelhorn, Soloist, Trumpet
Don Rader Flugelhorn, Soloist, Trumpet
Bobby Shew Flugelhorn, Soloist, Trumpet
Ron Stout Flugelhorn, Soloist, Trumpet
Paul Viapiano Guitar, Soloist
Bob Blumenthal Liner Notes
Bill Cunliffe Piano, Soloist
Rick Culver Soloist, Trombone
Chuck Hughes Soloist, Trombone
Andrew Martin Soloist, Trombone
Dana Hughes Trombone (Bass)
Alex Iles Trombone

WOODY HERMAN - Woody's Winners

GREASY SACK BLUES

Of the many exciting recordings by the Swinging Herd of the '60s, this is the definitive set. With such soloists as trumpeters Bill Chase, Dusko Goykovich, and Don Rader, and tenors Sal Nistico, Andrew McGhee, and Gary Klein, this orchestra rarely had any difficulty raising the temperature. Recorded live at Basin Street West in late June of 1965, this set finds the enthusiastic band featuring a three-way trumpet battle on "23 Red," reworking "Northwest Passage" (highlighted by Sal Nistico's long tenor solo), and romping on a lengthy version of "Opus De Funk" in addition to interpreting a few ballads and blues. A very memorable CD that is available as a two-fer, (Jazz Hoot/Woody's Winners), Woody's Winners is worth inclusion in every jazz collector's library.
Scott Yanow

Baritone Saxophone – Tom Anastas
Bass – Anthony Leonardi*
Clarinet, Alto Saxophone – Woody Herman
Drums – Ronnie Zito
Orchestra – Woody Herman And His Orchestra
Piano – Nat Pierce
Tenor Saxophone – Andy McGhee*, Gary Klein (2), Salvatore Nistico*
Trombone – Donald Doane, Frank Tesinsky, Henry Southall
Trumpet – Bill Chase, Bob Shew*, Don Rader, Dusko Goykovich, Gerald Lamy*

CHARLES MINGUS - Moanin'

Having exhausted most of the late bassist's best-known songs, the Mingus Big Band emphasizes obscurities (such as "Sue's Changes," "Children's Hour of Dream" and "Chair in the Sky"), along with later-period work, on their third release, Live in Time, a double CD. The orchestra really digs into the complex material, and they perform Mingus' almost impossible-to-play originals with joy, swing and constant excitement. Among the many all-stars on this fascinating and highly enjoyable set (all of whom are featured) are trumpeters Randy Brecker, Philip Harper and Ryan Kisor, trombonists Frank Lacy, Robin Eubanks and Britt Woodman, altoists Gary Bartz and Steve Slagle, Seamus Blake, Mark Shim and John Stubblefield on tenors, Ronnie Cuber or Gary Smulyan on baritone and Kenny Drew Jr. or John Hicks on piano. The gloriously overcrowded ensembles, the explosive solos and the spirit of Mingus are three of the many reasons to acquire this memorable effort.
AllMusic Review by Scott Yanow


Artist Credit
Gary Bartz Guest Artist, Sax (Alto)
Seamus Blake Guest Artist, Sax (Tenor)
Randy Brecker Guest Artist, Trumpet
Adam Cruz Drums
Ronnie Cuber Sax (Baritone)
Kenny Drew, Jr. Piano
Robin Eubanks Trombone
Earl Gardner Trumpet
Philip Harper Trumpet
Conrad Herwig Guest Artist, Trombone
John Hicks Piano
Mark Isham Sax (Tenor)
Ryan Kisor Guest Artist, Trumpet
Frank Lacy Trombone, Vocals
Andy McKee Bass
Mingus Big Band Primary Artist
Charles Mingus Arranger, Composer
Sue Mingus Assistant Engineer, Liner Notes, Producer
Mark Shim Guest Artist
Alex Sipiagin Trumpet
Steve Slagle Arranger, Assistant Engineer, Guest Artist, Sax (Alto), Sax (Soprano)
Gary Smulyan Guest Artist
John Stubblefield Sax (Tenor)
Jack Walrath Arranger
Britt Woodman Trombone

NEW STANDARD JAZZ ORCHESTRA - Waltz About Nothing

ENTIRE RECORDING

Any orchestra that professes to establish a new standard had better be able to back that up. Happily for the listener, on its debut recording, Waltz About Nothing,Chicago's New Standard Jazz Orchestra can—and does. In a little more than two years, the NSJO has arisen as a worthy successor to one of the more exemplary ensembles ever to grace the Windy City, trumpeter Rob Parton's JazzTech Big Band. The equivalence seems predestined when one notes that no less than nine members of the NSJO—including co-leaders Ken Partyka and Andy Baker —are former members of Parton's cutting-edge ensemble.

Seven of the album's eleven numbers were written by NSJO members, and they are admirable in every respect, as are the others—Ellington / Strayhorn's "Star Crossed Lovers," Mike Plog's "Bu's Groove," Burt Bacharach's "Close to You" (arranged by Chris Madsen) and Miles Davis' "Milestones" (by Tom Garling). Baker composed the seductive "Waltz About Nothing" and "Samba for Someone," Garling "Metamorphosis," "This One's for Sturm" and "Sedentary Motion." Alto Madsen is showcased on his composition "Spring and Fall," tenor John Wojciechowski on his "Lexicon," fellow tenor Mark Colby on "Sturm." Partyka solos on "Samba for Someone" and "Sedentary Motion," Baker on "Samba" and "Waltz." Mention should also be made of Tom Matta's splendid charts, "Star Crossed Lovers" and "Bu's Groove" (on which trumpeter Marquis Hill and pianist Dan Murphy shine).

Other world-class improvisers who live up to the name are trombonists Garling and Tim Coffman, baritone Mark Hiebert and trumpeter BJ Cord. Murphy, bassist Tim Fox and drummer Todd Howell comprise the orchestra's hard-working rhythm section. Brass and reeds are sharp, assertive and tight as a drum, all the more impressive as Waltz About Nothing was recorded in a studio, without headphones or electronic enhancement, in a single day. As big bands continue to fade into the woodwork, it is comforting to know that Chicago remains home to one of the best, a forward-looking orchestra that gives rise to a new standard for those who follow.
by Jack Bowers


Personnel:
 Ken Partyka: alto, soprano sax, flute, co-leader; Andy Baker: trombone, co-leader; Roger Ingram: trumpet; Chuck Parrish: trumpet; B.J. Cord: trumpet; Marquis Hill: trumpet; Chris Madsen: alto sax, flute; Mark Colby: tenor sax, clarinet; John Wojciechowski: tenor sax, clarinet; Mark Hiebert: baritone sax, bass clarinet; Steve Leinheiser: additional woodwinds; Tom Garling: trombone; Tim Coffman: trombone; John Blake: bass trombone; Dan Murphy: piano; Tim Fox: bass; Todd Howell: drums.

COUNT BASIE / LOUIS BELLSON

Artist    Credit
Buddy Catlett - Bass
Marshall Royal - Clarinet, Sax (Alto)
Frank Foster - Composer, Sax (Tenor)
Louie Bellson - Drums
Frank Wess - Flute, Sax (Alto), Sax (Tenor)
Eric Dixon - Flute, Sax (Tenor)
Freddie Green - Guitar
Count Basie - Piano, Primary Artist
Charlie Fowlkes - Sax (Baritone)
Henry Coker - Trombone
Quentin Jackson - Trombone
Benny Powell - Trombone
Al Aarons - Trumpet
Benny Bailey - Trumpet
Sonny Cohn - Trumpet
Trumpet - Thad Jones
Trumpet - Flip Ricard
Vocals
Irene Reid
O.C. Smith