Customer Reviews

April in Paris

5 star:		(14)
4 star:		(3)
3 star:		(1)
2 star:		(0)
1 star:		(1)

 

 

I had a very tough time trying to decide how to rate this. On the one hand, it's something of a jazz classic, and probably the most famous of Basie's albums. On the other hand, the album is not his best. I've owned this album for a while, and although I have more Basie CDs than anything else, I just don't listen to this one that much.

For one thing, only the title track is really essential. I love "Shiny Stockings," but there is a much better version on "Basie in London." Some other favorites ("Corner Pocket," Sweetie Cakes") sound much better on the live "Corner Pocket" album. If you are a big Basie fan, I suggest you check out a few of the live albums, as Basie is ALWAYS better live. If you're a part-time jazz fan, or want an introduction, this may be for you.

To sum it up, I guess I'd say this. If you don't know Basie, this is a good place to start. If you DO know Basie, and still don't have this CD, you probably would be disappointed. I would rate this closer to 3 stars, but it does have appeal to new fans.

This is one of the few discs where the outtakes are worthwhile. Usually, the differences are minor, and often I have trouble distinguishing one take from another. But here, they reveal Basie's re-working of some of the cuts at a basic level. The three takes of "Magic", for example, display radically different approaches to the piano intro. Of course, even without the outtakes, this is one of the highpoints of Basie's career anyway.

Basie's "April in Paris" is probably my favorite instrumental. When I saw that it was on a regular cd and also a gold disc I wasn't sure that the gold would be worth the extra bread. Bought the gold and boy is it worth it! The sound reproduction is so accurate that you are with the band in the studio. "April in Paris" rocks with soaring trumpet solos and an arrangement of considerable wit. "Corner Pocket", another Basie standard swings easily, yet also shows the tightness of the Basie ensemble. "Shiny Stockings" and "What Am I Here For" are also sweet, swinging cool tunes. From beginning to end this album is chock full of Basie's coolness, humor and brashness. It's a band that doesn't say excuse me to anybody.

April in Paris is one of those CDs you just never get tired of; like many jazz hallmarks, it invites, insists on repeat play. From the shimmering fountain of brass at the start of the famous "April in Paris" through the last scream of the Neal Hefti's jumping "Dinner with Friends," it's just irresistible fun. Standouts include Basie's trickling notes in the smooth vamp of "Sweetie Cakes;" Thad Jones' and Joe Newman's trumpets on "Corner Pocket" (the former quoting "Cherry Pink and Apple Blossom White," no less!); the conga-lining, hip-slinging pep of "Mambo Inn," in a dynamic arrangement; the dizzying and hilarious melody of "Midgets;" and Frank Foster's bluesy "Magic," which should have become a standard. This, along with the Atomic Swing CD, is Basie New Testament at its best. Enhancing things is the addition of some wonderful alternate takes, which include a less-than-stellar "Midgets," "April in Paris" with a trumpet in front of the band, and count 'em--TWO different takes of "Magic." The fun thing is that there must have been some dispute over the speed, because of the three versions on this disc, each has a distinctly different tempo, decreasing in speed each time. Also, Basie's opening solos become more intricate with each take. No version is better or worse; in fact, they complement each other. The remastered sound on the disc is excellent; the band sounds full, robust, and lively, and the solos fly straight into your face. Verve hit a homer with this one, and it's definitely worth a listen.

The tunes are strong, including several originals that became standards. The players are as sophisticated and unhurried as you could want, alternating humor and feeling. The piano playing is profound; the Count sure knew how to pick his spots. Some reviewers have complained that this is too laid back. I don't feel that way because I don't need to be steamrolled every time I throw a record on the CD player. This isn't jump Basie (which is wonderful stuff) but the band was plowing a new furrow in the fifties.

Count Basie's call for "One more time!" on Vernon Duke's "April in Paris" makes you want to utter the same words as the band finally concludes the song in a grand ending. The tune was arranged by organist Wild Bill Davis and under Basie's guidance, April in Paris swings. The album also includes the Freddie Green number, "Corner Pocket" and other notable numbers such as "Shiny Stockings", "Didn't You", and "What Am I Here For?"

Basie's sparse but effective piano playing is evident in this album. His introduction to "Corner Pocket" and Duke Ellington's "What Am I Here For" are examples of how one can be at the right time and at the right place. The piano never overpowers and yet binds the reeds, horns, and the rhythm section into a tight ensemble.

It is interesting to note that the trio of Lambert, Hendricks, and Bavan recorded a "live" version of April in Paris at Basin Street East in the early 60's. The trio paraphrased the original trumpet and reed solos with vocalese. They also did a Basie-like treatment of "Shiny Stockings". In a similar fashion, the vocal group Manhattan Transfer reprised Corner Pocket more than twenty-five years later under the title "Until I Met You" (see their album, 'Mecca for Moderns'). Like Lambert and Co. before them, Manhattan Transfer sang words to the original trumpet and saxophone solos. This wasn't the first time, though, that Corner Pocket had been recorded under the title Until I Met You. Tony Bennett recorded the song several years before Manhattan Transfer did.

With swing currently enjoying a revival of sorts, "April in Paris" and other Count Basie recordings become more than ever an important model from which young arrangers and big band players can learn. For the rest of us who love a swing or two, this album is a must. Go get it now.

The title track is one of jazz' most famous tunes, making this is one of Basie's most popular albums. If that one song is all you care about, you'll be delighted. Taken as a whole, however, this album is uneven at best. It seems to have caught the band in between two eras. Half the tunes (eg."Shiny Stockings" and "Didn't You") have a soft syrupy sound seems quite dated, like the sweet bands of the 1940's. The rest of the tunes (eg."Midgets" and "Dinner with Friends") have a modern hard-driving big sound imitated by Louis Bellson well into the 1970's.

Unless you have to have the title track, or are collecting all Basie recordings, this one is not essential. Instead try "Atomic Basie" as a better all-around album recorded about a year later.

This CD is a must have. This is a classic Basie album all the way through. The audio quality is outstanding and will blow you across the room. They left it in mono the way it belongs, and did not add any echo/reverb.

WILD BILL's arrangement of APRIL IN PARIS was the Jazz anthem of its time... It was one of those moments in Jazz that musicians and fans alike would rave about for years... even Duke Ellington raved about his genius in in his BIO and the power of that unforgettable "ONE MO' TIME !" - - What many people may not know was that WILD BILL DAVIS was the true architect of the modern Jazz Organ... I'm saying this cause I know any person who digs Basie has to dig the blues, and if you dig the Blues, well naturally you're going to dig Jimmy Smith, however, while the COUNT and JIMMY got their posterity, WILD BILL almost all but disappeared from the shelves for years... finally two of his CDs with JOHNNY HODGES (! ! !) have been reissued. I think they're worth getting along with this CD, because its incredible how visa vis the B-3 legacy the COUNT BASIE influence survived - - Bop kinda took Jazz in very different directions, often very far away from the laid back Basie groove, but the B-3 tradition kept it alive. Listen to this album, then listen to Wild Bill (former Louis Jordan sidekick)then dig Jimmy Smith, Jack McDuff, Big John Patton - - This is a great album... Basie's genius was the soulfulness of his music... His message lives, and this is an excellent album to meditate or groove upon it.

THIS IS ONE OF COUNT BASIE'S BEST AND MOST FAMOUS ALBUMS, MADE BACK IN THE MID 1950'S WHEN HE PUT TOGETHER HIS "NEW TESTAMENT" BAND, A SCALED DOWN VERSION OF A TRADTIIONAL BIG BAND (NOW 10 PIECES). GREAT ARRANGEMENTS, GREAT ORCHESTRATION, GREAT SOUND AND A VERY TIGHT BAND PLAYING THEIR HEARTS OUT. EVERY SONG SWINGS TO THE NTH DEGREE.