MOZART: HORN CONCERTOS 1-4

Track Listing
1. Hey, Pretty Baby
2. Seventh Avenue Express
3. Walking Slow Behind You
4. Mister Roberts' Roost
5. Don't You Want a Man Like Me
6. South
7. You Call Yourself a Jungle King (I Found Out You Ain't a Doggone Thing)
8. Sophisticated Swing
9. House Rent Boogie
10. Basie's Basement
11. Brand New Wagon

Personnel includes: Count Basie (piano); Jimmy Rushing (vocals); Preston Love, Rudy Rutherford, C.Q. Price, Earl Warren (alto saxophone); Paul Gonsalves, Buddy Tate (tenor saxophone); Jack Washington (baritone saxophone); Ed Lewis, Snooky Young, Harry "Sweets" Edison, Clark Terry, Jimmy Nottingham, Gerald Wilson (trumpet); Bill Johnson, Ted Donnelly, George Matthews, Eli Robinson, George Washington (trombone); Freddie Green (guitar); Walter Page (bass); Jo Jones, Butch Ballard (drums).

Recorded between January 3 and December 12, 1947.

But for the fact that it only has 11 tracks, this mid-priced compilation (not to be confused with the identically titled Bluebird collection covering Basie's early-'30s recordings with the Bennie Moten band) could easily get the highest rating. And this could be the place to start for any rock fans wondering what Basie was about, at least some of the time. This disc shows Basie and company (especially singer Jimmy Rushing) working in an R&B mode, doing such songs as Willie Dixon's "You Call Yourself the Jungle King (I Found Out You Ain't a Doggone Thing)," "Hey, Pretty Baby," "Brand New Wagon," and "Walking Slow Behind You." Rushing and the band sound like they're pushing toward Chess Records' turf. And the astonishing thing is that they pull it off -- if these records had sold in any serious number, Basie and Rushing might have had a whole second career in R&B, right up there with Big Joe Turner. There's a minimum of annotation, and not all of the sound is quite perfect -- amazingly, the 1991 remastered "Basie's Basement" featured here has a click or two in evidence, for which there's no excuse. But the sound quality everywhere else is pretty much beyond reproach, and there's also one number here, "Mister Roberts' Roost," a laidback instrumental prominently featuring Basie's piano, that's otherwise unavailable.

Instruments at Prayer is an assortment of David Haas’s most beloved liturgical music interpreted instrumentally by the amazing musical talents of Kate Cuddy, Paul Tate, Bobby Fisher, Eileen Bird, Stephen Petrunak, and Zach Stachowski. These meditative, soulful arrangements transcend the words, transporting their message on sonorous wings straight to the heart. Volume I includes such favorite Haas tunes as “We Give You Thanks,” “Deep Within,” and “You Are Mine.” Cherished titles from Volume II include “Come and Journey with Me,” “Send Us Your Spirit,” and all-time favorite “Blest are They.” It is David’s sincere hope that you will find this recording to be a source of reflec- tion, prayer, and enjoyment

Lowak Shoppala' (Fire and Light) is a work that expresses Chickasaw identity through the medium of modern classical music and theatre. The work is in eight scenes and features orchestra, narration, children's chorus, traditional Chickasaw and modern dancers, traditional Chickasaw and classical vocal soloists and American Indian storytellers. Each scene depicts a part of Chickasaw culture and history. Lowak Shoppala' was conceived, designed and composed by Jerod Impichchaachaaha' Tate and premiered Saturday, November 21, 2009 at the Te Ata Theatre, East Central University, Ada, Oklahoma with Mr. Tate conducting the Oklahoma Youth Orchestra.

Storyville Records presents the legendary American saxophonist Buddy Tate in a meeting with the Danish quintet White Label on the new album Tate’s Delight – Groovin’ at the JASS Festival. The meeting took place at the Holstebro JASS Festival in September 1982. JASS stands for Jutland’s Active Musicians’ Society. For almost 20 years since the foundation in 1975, the society presented an annual jazz festival during the last week of September. The concerts took place at the Holstebro Hall and the nearby Restaurant Laksen. Tate’s Delight was recorded at Restaurant Laksen with no rehearsals. Some tunes, but not all, were agreed upon, when White Label took the stage. It became one of those spontaneous events, where the music is created on the spot, but one for which the musician has been preparing throughout his career as an improvising jazz musician. In this context, Buddy Tate was a fine acquaintanceship. He was in good form, friendly, easy to play with, and super cool in his elegant brown-and-yellow stage outfit with matching two-tone shoes. The album is separated into two parts. First, Tate is heard with the rhythm section, showcasing his beautiful, but rarely heard clarinet on magnificent renditions of the Duke Ellington tunes In A Mellow Tone and Mood Indigo. On the second part of the album, Jens Søndergaard and Poul Valdemar Pedersen join in on the last three songs, recreating the intense jam session spirit of the golden age of swing. This session is an excellent example of the musical encounters that have taken place in Denmark over the years. Buddy Tate was among the many legendary international stars, who came and played with Danish musicians, thus contributing to the special bond between Danish and American jazz.

The great Texas tenor delivers the goods on this 1978 quartet session featuring the same rhythm section of Wray Downes (piano), Dave Young (bass) and Pete Magadini (drums) that played with Don Menza on the reissue of Bones Blues (SAC 4004). Tate's first big break came in 1939 when at the age of 26 he joined the Count Basie band and took a killer solo on "Rock A Bye Basie". After ten years with Basie, Tate led his own band for a twenty-year stint at Harlem's Celebrity Club, toured Europe, made club appearances and numerous recordings. Remixed from the original analog tapes this is the first issue on CD of this album.