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| 6.080 Ft
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| 1. | Corner Pocket
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| 2. | Dream a Little Dream Of Me
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| 3. | Topsy
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| 4. | Leonice
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| 5. | Jack's Wax
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| 6. | Limehouse Blues
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| 7. | Captain Spaulding
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| 8. | Soon
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| 9. | If I Could Be With You...
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| 10. | I Could Have Told You
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| 11. | Lullaby Of Birdland
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| 12. | Pretty Skinny Bunny
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| 13. | It's A Thing Of The Past
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Jazz
Recorded in New York City, 1955
Frank Rehak (tb), Ernie Wilkins (as), Al Cohn (ts), Freddie Green (g), Milt Hilton (g), Ross Shadow Wilson (d)
Joe Newman, one of the very few musicians (other than Freddie Green) to play for long periods with Count Basie's orchestras of both the 1940s and '50s, had an unclassifiable trumpet style. Influenced early on by Louis Armstrong and more prominently by Harry "Sweets" Edison, Newman was a mainstream player who was versatile enough to hold his own with Count Basie's younger (and generally boppish) sidemen. Born to a musical family in New Orleans, Newman not only played with the college band at Alabama State College, but took over its leadership. He gained important early experience playing with Lionel Hampton's big band (1941-43) before joining Basie (1943-47). He was a featured sideman with Illinois Jacquet's popular group and also worked with J.C. Heard. Newman's second period with Basie (1952-61) gave him his greatest fame, as he shared solo space with Thad Jones. The trumpeter also recorded extensively during this era a leader for Vanguard, Storyville, Jazztone, Savoy, Coral, Roulette, Swingville and Mercury; you can purchase his four near-classic RCA sessions here.
Joe Newman
Active Decades: '40s, '50s, '60s, '70s, '80s and '90s
Born: Sep 07, 1922 in New Orleans, LA
Died: Jul 04, 1992 in New York, NY
Genre: Jazz
Styles: Swing, Jazz Instrument, Guitar Jazz
Joe Newman was a superb, exciting trumpeter whose style echoed the best of Harry Edison, Dizzy Gillespie, and Thad Jones, seasoned with his own flavoring. He was among a select corps who not only enjoyed playing, but communicated that joy and exuberance in every solo. He provided high-note and upper-register antics, but functioned best doing soft, enticing melodies or engaging in mildly combative jam sessions. He was also an accomplished player in the traditional New Orleans style. Newman began his professional career with Lionel Hampton in 1942 and 1943, joining him after touring with the Alabama State Teachers College band. Newman became a member of the Count Basie orchestra in 1943, remaining until 1947. He co-led groups with Illinois Jacquet and J.C. Heard, before returning to the Basie band for a great run from 1952 to 1961. During that time, there were periodic outside recording sessions. Newman did sessions for Savoy, Vanguard, and RCA in the '50s, most of them small-combo and tasteful, enjoyable outings. The 1956 album Salute to Satch was with a big band. The Happy Cats was a sextet date. There was a quintet session with Zoot Sims on Roulette and another Roulette recording with an 11-piece band. Newman toured Europe with the Basie band in 1954. During the early '60s, he continued recording and touring with Basie and making other sides on his own. These included sessions with Tommy Flanagan for Prestige and a quartet set for Stash. There was a 1962 Russian tour with Benny Goodman. Newman became involved with Jazz Interaction, an organization promoting awareness and jazz education in the early '60s, and soon became a tireless advocate. He assumed the organization's presidency in 1967. Newman also wrote compositions for their organization. He began playing with the New York Repertory Orchestra in 1974, and toured Europe and the Soviet Union with them in 1975. During the '70s, '80s, and '90s, Newman juggled educating, recording, and doing an infrequent reunion with the Basie orchestra. He made nice sessions with Ruby Braff and Jimmy Rowles in the '70s and Joe Wilder and Hank Jones in the '80s.
---Ron Wynn, Rovi |
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