jazzviscosity A story about Ray's great ears--A longtime pal booked orchestras for Ray's musical director, Victor Vanocor (sp?) for years. Ray loved Leroy Cooper's playing. Long after Cooper left the band, Victor and my friend conspired to smuggle him back into the horn section for a night. Ray's blind of course, so they figured out how to spring the surprise on the first passage where the sax section comes in strong. My pal told me that when the section hit their chord, Ray instantly spun around on his piano stool and shouted, "Coop!" Recognized his tone in the middle of a 17-piece orchestra!
I just so wish that you people who have the knowledge, experience and have known these great people, would let us share more of these wonderful anecdotes. Thank you so much Harold Fethe.
Thanks for that thought. The same lifelong buddy booked Ray Charles for an Onassis family birthday party. After some time at the big public party, the daughter with the birthday left the big party for a small event at a different site, where Ray Charles appeared with a quartet. Ray hadn't played in small-ensembles in years, but the deal was right and he made that gig. I've heard many musicians' stories about Ray's superb hearing and musical analysis, and his extremely difficult performing standards for the band. One of his sax players said, "You didn't even smile when Ray was counting in a tune. He would hear the muscles in your face moving and call you out!"
Harold Fethe Thanks, man. That’s a wonderful story about one of, if not the most, heaviest cats ever on the scene. If ‘bad’ is good, then Ray was the ‘worst’ ever been had. This ‘straight ahead’ rendering is precious stuff. Ray abstained from studio ‘tricks’ and spurious distortions for their own sake. Amazing ttibute to Basie, and in this listener’s opinion a more developed reading, with obvious reference (reverence?) for Splanky original. Covering a Basie tune, especially a standard, and puttin’ more oomph to it, practically unheard of. Another day at the office for Brother Charles. Aloha...
Cette version de Lil' Darlin' par notre Genius Ray Charles est une pure merveille. Que du bonheur ! This version of Lil' Darlin' by our Genius Ray Charles is a pure wonder... What happiness !
Beautiful. Seems improbable that in just 2 years, Ray Charles would have the #1 album in country and western music with "Modern Sounds in Country and Western Music". Just proves his musical range and genius.
I love Ray as much as anyone can. I'm retired from professional bass playing. I grew up with all this glorious sound. I was 10 in 1957, born in the Bronx and grew up on Long Island 'til moved into Manhattan in 1963. In L.A. since '78....Member local 47 Musicians, HollyWood since 1979. Quit when stinking techo killed off 89% of live gigs and studio work throughout the western world..Was blessing in disguise. I now only play my first love, jazz and classical guitar....I say this to give you the reader a small example of what I am and where i've been. I.E. I'm not someone who just listened to radio but became a deli owner ( " Not that there's anything wrong with that ! " "Oh, no Jerry, not that there's anything wrong with that ! " ), that I do have experience enough to say :..............**.*..*...*....*.....*......*.......*........* It's too fuckin" slow Ray ! !" *........*.......*......*.....*....*...*..** I mean jazz just can't be at the tempo of **.*..*...*....*.....*......*.......*........*.........* " the Anvil Chorus", for pete sakes !!..........*........*.......*......*.....*....*..** The tempo you set here is bordering on brain damaging for the whole band !! Neal's original tempo is probably the slowest you'd want it to be (+-). "And anyone can tell,.... you 'thank' you know me well,.. well............you....don't.....know ....................meeeeeeee "......................... Love as always, Ray......You were da' bomb !!!! Mark
Oh Mark Harris, love your story. I saw Ray Charles in Kiel auditorium St. Louis early 60s. I followed Curtis Pegler The great alto sax player at memory lane and other LA clubs in the early 80s. He played with Ray Charles, didn’t like him, saw him break a drummer because he couldn’t hack the death march tempo. I believe Ray played even slower than this terrific version of a classic. Mark I’d like to hear some more of your stories where are you played and who with, let me know if you put them down somewhere.
This code is in the frequency of the music. He was in tune with divine soul. You can find the answers here between the keys. Information from the source
Включить эту композицию в этом исполнении в обязательную программу всех джазовых колледжей и джазовых факультетов ! Только на таких примерах можно воспринять и ощутить чувство свинга . Спасибо Andranik Azizbekyan за этот раритет и доставленное удовольствие .
neil hefti tune i think.maybe count basie's idea to slow it right down.This version is PERFECT,though.Heavyweight soloists -clark terry ?and--? there's julian adderly on alto i see . . tenor and another altoist i recognise but . . . . Is that Harry Carney on baritone ? goodness me.. what a great era for musicians. years to come ,It got different.but never better.
Istvan Solihull I think you're mistaken. I don't see the Cannonball on the bandstand here anywhere. I certainly don't see him on alto, and I doubt he was ever a member of the Ray Charles Orchestra. The big dude on the bari is not him, if that's who you are referring to.👑🎸🎵
Tous les matins quand j'sors du lit Je mets un disque de Count Basie Il ne m'en faut pas davantage Pour m'enlever tous mes soucis Juste un p'tit disque de Count Basie ....... c'est ici : th-cam.com/video/XLvv3cI6Bvs/w-d-xo.html
jazzviscosity A story about Ray's great ears--A longtime pal booked orchestras for Ray's musical director, Victor Vanocor (sp?) for years. Ray loved Leroy Cooper's playing. Long after Cooper left the band, Victor and my friend conspired to smuggle him back into the horn section for a night. Ray's blind of course, so they figured out how to spring the surprise on the first passage where the sax section comes in strong. My pal told me that when the section hit their chord, Ray instantly spun around on his piano stool and shouted, "Coop!" Recognized his tone in the middle of a 17-piece orchestra!
I just so wish that you people who have the knowledge, experience and have known these great people, would let us share more of these wonderful anecdotes. Thank you so much Harold Fethe.
Thanks for that thought. The same lifelong buddy booked Ray Charles for an Onassis family birthday party. After some time at the big public party, the daughter with the birthday left the big party for a small event at a different site, where Ray Charles appeared with a quartet. Ray hadn't played in small-ensembles in years, but the deal was right and he made that gig. I've heard many musicians' stories about Ray's superb hearing and musical analysis, and his extremely difficult performing standards for the band. One of his sax players said, "You didn't even smile when Ray was counting in a tune. He would hear the muscles in your face moving and call you out!"
Harold Fethe mj
Harold Fethe
Thanks, man. That’s a wonderful story about one of, if not the most, heaviest cats ever on the scene. If ‘bad’ is good, then Ray was the ‘worst’ ever been had. This ‘straight ahead’ rendering is precious stuff.
Ray abstained from studio ‘tricks’ and spurious distortions for their own sake.
Amazing ttibute to Basie, and in this listener’s opinion a more developed reading, with obvious reference (reverence?) for Splanky original.
Covering a Basie tune, especially a standard, and puttin’ more oomph to it, practically unheard of.
Another day at the office for Brother Charles.
Aloha...
Cette version de Lil' Darlin' par notre Genius Ray Charles est une pure merveille. Que du bonheur !
This version of Lil' Darlin' by our Genius Ray Charles is a pure wonder... What happiness !
Beautiful. Seems improbable that in just 2 years, Ray Charles would have the #1 album in country and western music with "Modern Sounds in Country and Western Music". Just proves his musical range and genius.
I love Ray as much as anyone can. I'm retired from professional bass playing. I grew up with all this glorious sound. I was 10 in 1957, born in the Bronx and grew up on Long Island 'til moved into Manhattan in 1963. In L.A. since '78....Member local 47 Musicians, HollyWood since 1979. Quit when stinking techo killed off 89% of live gigs and studio work throughout the western world..Was blessing in disguise. I now only play my first love, jazz and classical guitar....I say this to give you the reader a small example of what I am and where i've been. I.E. I'm not someone who just listened to radio but became a deli owner ( " Not that there's anything wrong with that ! " "Oh, no Jerry, not that there's anything wrong with that ! " ), that I do have experience enough to say :..............**.*..*...*....*.....*......*.......*........* It's too fuckin" slow Ray ! !" *........*.......*......*.....*....*...*..** I mean jazz just can't be at the tempo of **.*..*...*....*.....*......*.......*........*.........* " the Anvil Chorus", for pete sakes !!..........*........*.......*......*.....*....*..** The tempo you set here is bordering on brain damaging for the whole band !! Neal's original tempo is probably the slowest you'd want it to be (+-).
"And anyone can tell,.... you 'thank' you know me well,.. well............you....don't.....know ....................meeeeeeee "......................... Love as always, Ray......You were da' bomb !!!! Mark
Yes, Mark Harris, I agree. I too love Ray, but my burger got cold before the catsup come out the bottle on this one.
Ha ha! I think I agree with you about the tempo, but it is a benchmark of sorts: if you're going this slow, maybe you need to adjust your medication.
Oh Mark Harris, love your story. I saw Ray Charles in Kiel auditorium St. Louis early 60s. I followed Curtis Pegler The great alto sax player at memory lane and other LA clubs in the early 80s. He played with Ray Charles, didn’t like him, saw him break a drummer because he couldn’t hack the death march tempo. I believe Ray played even slower than this terrific version of a classic. Mark I’d like to hear some more of your stories where are you played and who with, let me know if you put them down somewhere.
The discipline to play something so sensual at that tempo ! Bravo !
You don't see these kind of bands anymore, sure wish they'd come back!
Miss you, Mr. Charles There's no one to take your place.
Thanks Neal Hefti for the music.
I was at the Newport Jazz festival in July of 1960. Drove down from Montreal to attend. It was a blast! Great parties on the second beach too!
Laid back into yesterday
you watch him and hes instantly your favorite musician of all time.
Incredibly slow and yet so full of swing! Yeah!
Ray Charles one of the best artists in the histrory of ... music!
Laid back into yesterday says it right - so proud to see Ray Charles play Neal Hefti.
So damn good!!!! Ahhhhh!!!
A master at his best, love it.
Surpreedente.Genial.A versão mais ousada e difícil que ouvi.
Simply one of the most wonderful performances of this song ever captured.
Thanks for posting it !!
This is wonderful!
THis is so f*cking sloooow. I love it. Funky as hell-listen to how the horns moan. Its like they took Basie into the heroin alley...
lol!!!!
Right. They don't play like this anymore and I miss it.
maravilloso escuchar a rai cha su musica es deliciosa tiene categoria no se k mas pdria decir genial
This code is in the frequency of the music. He was in tune with divine soul. You can find the answers here between the keys. Information from the source
Включить эту композицию в этом исполнении в обязательную программу всех джазовых колледжей и джазовых факультетов ! Только на таких примерах можно воспринять и ощутить чувство свинга . Спасибо Andranik Azizbekyan за этот раритет и доставленное удовольствие .
Согласно / agreed!
beautiful! thanks for this
That's Phillip Guilbeau playing the second trumpet solo here.
thank you
wow!!!!!!
grande esecuzione
all is top, Leroy Cooper is genious !
John Hunt plays one of the trumpet parts but the other one is Phillip Guilbeau.
good god
neil hefti tune i think.maybe count basie's idea to slow it right down.This version is PERFECT,though.Heavyweight soloists -clark terry ?and--?
there's julian adderly on alto i see . . tenor and another altoist i recognise but . . . . Is that Harry Carney on baritone ? goodness me..
what a great era for musicians. years to come ,It got different.but never better.
Istvan Solihull
I think you're mistaken. I don't see the Cannonball on the bandstand here anywhere. I certainly don't see him on alto, and I doubt he was ever a member of the Ray Charles Orchestra. The big dude on the bari is not him, if that's who you are referring to.👑🎸🎵
Is the host of broadcast Willis Conover? I remember his voice from VOA.
Wow
any idea who the soloists are? I'm almost sure the bari player is leroy cooper and then tenor is fathead but idk who the rest are
jazzviscosity Fathead always had the thick mustache, so it'll be easy to find him
Presented by willis combover
You've waited a long time for it but, that was a good one.
No Mary Ann here.
In french : "Tououous les ma-tins je bois du thééééé". Qui connait la suite de paroles ? Merci d'avance.
"Juste un p'tit disque de Count Basie"..... Henri Salvador !
Tous les matins quand j'sors du lit
Je mets un disque de Count Basie
Il ne m'en faut pas davantage
Pour m'enlever tous mes soucis
Juste un p'tit disque de Count Basie
.......
c'est ici : th-cam.com/video/XLvv3cI6Bvs/w-d-xo.html
@@rogerlegoff4998 muito obrigada por colocar a letra. Les paroles, merci, merci! Pardon my french! Les Doubles Six, j’adore com cette musique. 🇧🇷
Who's playing the fluegelhorn?