This Time by Basie: Hits of the 50's

Editorial Reviews

All Music Guide - Bruce Eder
Three decades after the fact, people looking at releases like This Time by Basie would tend to dismiss it as pandering, Count Basie doing a "pops"-type outing -- the cheesy cover art even emphasized the songs over Basie and his band. Nothing could be further from the truth, however -- this 16-song release reveals a wonderful body of work, and deserves to be better known. For starters, This Time by Basie swings, smooth and easy but taut, or hot and heavy. From Sonny Payne's understated cymbal intro to "This Could Be the Start of Something Big" to the bluesier notes of "One Mint Julep," Basie and company sound like they're enjoying themselves, whether elegantly stretching out ...
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Editorial Reviews

All Music Guide - Bruce Eder
Three decades after the fact, people looking at releases like This Time by Basie would tend to dismiss it as pandering, Count Basie doing a "pops"-type outing -- the cheesy cover art even emphasized the songs over Basie and his band. Nothing could be further from the truth, however -- this 16-song release reveals a wonderful body of work, and deserves to be better known. For starters, This Time by Basie swings, smooth and easy but taut, or hot and heavy. From Sonny Payne's understated cymbal intro to "This Could Be the Start of Something Big" to the bluesier notes of "One Mint Julep," Basie and company sound like they're enjoying themselves, whether elegantly stretching out on "I Left My Heart in San Francisco" or "Moon River," or soaring into the air on the hotter numbers -- one of the more surprising covers here is "Walk Don't Run," which even works in a big-band arrangement. Highlights amid all of this surprising splendor include Marshall Royal's alto sax on "What Kind of Fool Am I" and Frank Foster's tenor sax on "Something Big." Quincy Jones arranged and conducted This Time by Basie, and the record was successful, returning the Count to the pop charts on the eve of the British Invasion. The last five songs here are drawn from Pop Goes the Basie, a 1965 album arranged and conducted by Billy Byers, and produced by Teddy Reig -- the playing is as good as the companion work on numbers like "The Hucklebuck." Their version of Roy Orbison's "Oh, Pretty Woman" is a big-band blues rendition of the song sung by Leon Thomas that buries the original's grand operatic romantic sensibilities in a posed soulfulness. "Oh Soul Mio" highlight by Al Grey's trombone work, "Shangri-La" and "At Long Last Love" both prominently featuring Eddie "Lockjaw" Davis come off better -- the last number could've come off of any of Basie's best post-1951 albums. The remixing from the original three-track studio masters has yielded an especially clean sound with vivid stereo separation, enhancing the solos check out Davis' on "At Long Last Love" and the overall ensemble.
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Product Details

  • Release Date: 9/14/1993
  • Label: Reprise / Wea
  • UPC: 093624516224
  • Catalog Number: 45162
  • Sales rank: 80,233

Album Credits

Performance Credits
Count Basie Primary Artist, Piano
Louie Bellson Drums
Freddie Green Guitar
Urbie Green Trombone
Quincy Jones Conductor
Thad Jones Trumpet
Grover Mitchell Trombone
Marshall Royal Clarinet, Alto Saxophone
Wallace Davenport Trumpet
Sam Noto Trumpet
Al Aarons Trumpet
Billy Byers Conductor
Buddy Catlett Bass
Henderson Chambers Trombone
Sonny Cohn Trumpet
Henry Coker Trombone
Eddie "Lockjaw" Davis Reeds
Eric Dixon Flute, Tenor Saxophone
Frank Foster Clarinet, Tenor Saxophone
Charlie Fowlkes Flute, Bass Clarinet, Baritone Saxophone
Albert T. Grey Trombone
Bill Hughes Trombone
Sonny Payne Drums
Benny Powell Trombone
Wyatt Ruther Bass
Frank Wess Tenor Saxophone
Count Basie Orchestra Track Performer
Gordon Thomas Trombone
Technical Credits
Leonard Feather Liner Notes
Quincy Jones Arranger
Andy Gibson Composer
Johnny Smith Composer
Billy Byers Arranger
Lee Herschberg Engineer
Teddy Reig Producer
Marc Crawford Liner Notes
Roy Alfred Composer
Bart Howard Composer
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