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Sinatra At The Sands'
At The SandsSinatra at the Sands is a 1966 live album by Frank Sinatra, accompanied by Count Basie and his orchestra, conducted and arranged by Quincy Jones, recorded live at the Copa Room of the Sands Hotel and Casino in Las Vegas.
It was Sinatra's first live album to be commercially released, and contains many definitive readings of the songs that are most readily associated with Sinatra.LP 1
1. Come Fly With Me
2. I've Got A Crush On You
3. I've Got You Under My Skin
4. The Shadow of Your Smile
5. Street of Dreams
6. One For My Baby (And One More For the Road)
7. Fly Me To the Moon
8. One O'Clock Jump
9. The Tea Break (monologue)
10. You Make Me Feel So Young
1. All of Me
2. The September Of My Years
3. Get Me To the Church On Time
4. It Was A Very Good Year
5. Don't Worry 'Bout Me
6. Makin' Whoopee! (instrumental)
7. Where or When
8. Angel Eyes
9. My Kind of Town
10. A Few Last Words (monologue)
11. My Kind of Town (reprise)$34.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live At The Sands: Before FrankSwinging Hard and Heavy With Orchestral Support, Live Big-Band Album Recorded During the Count's Warm-Up Sets for Sinatra in Early 1966 in Vegas
Incredible Sound: Mastered from the Original Master Tapes, Reissue Improves Upon Renowned Dynamics, Presence, Crispness, and Balances
Long Out-of-Print, Seminal Classic is Perfect Complement to Sinatra's Live at the Sands
Count Basie and Frank Sinatra had the perfect arrangement at the Sands. Before the Chairman hit the stage in Vegas, Count Basie and his big band warmed up the already enthusiastic crowd with a brief set of their own. A dynamite entertainer, the legendary leader causes hearts to race, hips to shake, and fingers to snap with high-energy readings of his trademark swing music, taken to feverish heights by both his first-rate orchestra and the incredibly swank setting. Fortunately, the finest of Basie and Co.'s introductory performances from the historic 1966 dates have been preserved here and serve as a seminal complement to Sinatra's iconic Live at the Sands.
Mastered from the original master tapes and pressed at RTI, Mobile Fidelity's analog version of Live at the Sands (Before Frank) gives you a dead-center, eighth-row seat at the famed Sin City club. You'll just need to supply your own table and cocktail. Renowned for its sonic clarity, transparency, crispness, and punch, the record is now tremendously enhanced, with improved tonality, a deeper soundstage, correct balances, and lifelike presence. Each horn occupies its own space, and Basie's transfixing piano-a focal point throughout-resonates with gorgeous detail and impeccable pacing. The collective's energy almost demands to be measured with an SPL meter.
Captured in late January and early February 1966, Live at the Sands (Before Frank) contains most of Basie's signature pieces delivered with an enthusiasm, style, and brassiness that exceed that gracing nearly any of the Count's studio efforts. His band is stacked to the nines, with tenor saxophonist Eddie "Lockjaw" Davis, saxophonist/flautist Eric Dixon, and drummer "Sonny" Payne among the prized cast. The Sands dates marked the first time in years that these players, as well as trombonist Al Grey, gathered onstage together.
Encouraged by Basie, the instrumentalists engage in a series of call-and-response passages and standout solos, not the least of which is Davis' turn on a white-hot "Jumpin' at the Woodside" and he and Dixon's exchanges on "This Could Be the Start of Something Big." No slouch, Basie approaches "Makin' Whoopee" with graceful playfulness, and oversees the assortment of uptempo swing numbers and mellow ballads with astute melodicism. A sublime version of the Don Gibson country standard "I Can't Stop Loving You," arranged by Quincy Jones, can almost be considered a bonus.
No, it don't mean a thing if it ain't got that swing. And Basie and his mates have plenty of it on this superb outing. Big-band jazz seldom enjoyed such levels of rhythmic precision, expert charts, or unfettered joy. Unbelievably, this gem has been out of print for years, with original copies both on vinyl and CD commanding steep prices. Mobile Fidelity's reissue restores not only the sonics but the record's place in jazz history.
This title is not eligible for discount.1. Introduction
3. I Can't Stop Loving You
4. I Needs to Be Bee'd With
5. Flight of the Foo Birds
6. Satin Doll
7. Makin' Whoopee!
8. Corner Pocket
9. One O'Clock Jump
10. Hello Little Girl
11. Whirly Bird
12. Blues for Ilene
13. This Could Be the Start of Something Big
14. Jumpin' at the Woodside$49.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed Buy Now
Live At The Sands (Awaiting Repress)Between 1960 and 1965 (and briefly in 1988), the three singers performed together off and on, and their stage act has been captured in various media. There is film of their performances in 1960 in Las Vegas during the making of Ocean's Eleven, a recording of their show at a nightclub near Chicago in the fall of 1962 legitimately released in 1999 as The Summit: In Concert, and a videotape of a closed-circuit benefit performance from 1965. In September 1963, preparing for another group film, Robin and the Seven Hoods, the three got together during a Martin engagement at the Sands in Las Vegas, and Sinatra had his record label, Reprise, record the proceedings, but ultimately decided against releasing an album at the time. This is that recording, and much of it will sound familiar to anyone who has encountered other Rat Pack shows. In his liner notes, Bill Zehme quotes Bill Miller, Sinatra's accompanist, as saying that maybe 30 percent of the act was ad libbed. Miller added, Usually by Dean, and that sounds right. As usual, Martin begins with comic rewrites of standards, in particular a version of Cole Porter's I Love Paris rendered as I Love Vegas. Sinatra follows with a straight six-song set, and then he and Martin joke it up for a while before giving way to a brief set by Davis. Many of the jokes are repeated from previous performances, but some are new. The key, of course, is the trio's camaraderie, which remains a delight.
- William Ruhlmann (All Music)1. Fanfare and Introduction
2. Medley: Drink to Me Only with Thine Eyes/I Don't Care If the Sun Don't Shine/I Love Vegas (Paris)
4. June in January
6. Via Veneto
7. Medley: Volare (Nel Blu, Dipinto Di Blu)/an Evening in Roma
8. Introduction: Ring-a-Ding Ding
9. I Only Have Eyes for You
10. Call Me Irresponsible
11. My Heart Stood Still
12. Please Be Kind
13. I Have Dreamed
14. Luck Be a Lady
16. Medley: Marianne/Dance with a Dolly/You Are Too Beautiful/You Made Me Love You/
Carolina in the Morning/Beautiful Dreamer/Dancing with Tears in My Eyes/Maria/
Try a Little Tenderness/What Is This Thing Called Love
17. The Lady Is a Tramp
18. All the Way (Impressions)
20. Guys and Dolls
21. The Oldest Established (Permanent Floating Crap Game in New York)
23. The Oldest Established (Permanent Floating Crap Game in New York)
24. Closing: Ring-a-Ding Ding$29.99180 Gram Audiophile Virgin Vinyl LP - 2 LPs Sealed AWAITING REPRESS Buy Now
The Very Special World of Lee HazlewoodLee Hazlewood was a late bloomer. Following a meandering career as a disc jockey, producer, songwriter, label executive and solo artist, Hazlewood hit the jackpot at the ripe age of 37 with "These Boots Are Made For Walkin'," the song Nancy Sinatra took to the top of the charts on both sides of the Atlantic. Its success convinced MGM Records that Hazlewood was a bankable star, and they signed him as an artist in his own right the same year. But as a self-described "non-singer" whose cult 1963 debut, Trouble Is A Lonesome Town, was little more than a happy accident, they'd perhaps gotten the wrong end of the stick where Lee was concerned.
In three years on the label, Hazlewood delivered three albums and sundry odds and ends, beginning with 1966 album The Very Special World Of Lee Hazlewood. The LP found Hazlewood gunning-in as much as he ever did-for commercial success, blending country, pop, novelty, mariachi, and lounge music into something unusually of-the-moment.
Lushly orchestrated and-like the album that preceded it-half-sung, half-spoken in a way that Hazlewood made all his own, the album collected solo versions of songs made famous by Sinatra and others ("Sand," "Boots," "So Long Babe," "Summer Wine"-included as a bonus duet with Suzi Jane Hokom) alongside some of his career-best solo compositions, among them the Morricone-like opener, "For One Moment." It's a record of extremes: "When A Fool Loves A Fool" is as light and throwaway as anything he ever laid down, while the wistful "My Autumn's Done Come" (sample lyric: "Let those I-don't-care days come in, I'm tired of holding my stomach in") is as raw and honest.1. For One Moment
2. When a Fool Loves a Fool
3. Not the Lovin' Kind
4. Your Sweet Love
6. My Autumn's Done Come
7. These Boots Are Made For Walkin'
8. I Move Around
9. So Long, Babe
10. Bugles In the Afternoon
11. My Baby Cried All Night Long$22.99Vinyl LP - Sealed Buy Now