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2 x CD |
| 7.670 Ft
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| 1. CD tartalma: |
| 1. | Drop the Other Shoe
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| 2. | I'll Neve Be the Same
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| 3. | Honey Baby
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| 4. | Easy Living
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| 5. | Keepin' out of Mischief Now
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| 6. | Some of These Days
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| 7. | Blue Lester
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| 8. | The King
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| 9. | Stomp It Off
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| 10. | Constance
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| 11. | Blues Yet?
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| 12. | Why Not?
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| 2. CD tartalma: |
| 1. | Back on the Scene
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| 2. | Ridin' in the Park
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| 3. | Perils of Cheryl
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| 4. | Carnival Romp
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| 5. | You're Driving Me Crazy
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| 6. | Takin' the Count
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| 7. | Piercin' Thru'
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| 8. | The Bearded One
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| 9. | I'll Buy That Dream
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| 10. | Maple Leaf Rag
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| 11. | Slippery When Wet
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| 12. | A Trip to Nathan's
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| 13. | Old Rev
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| 14. | Sioux City Sue
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| 15. | That's All
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| 16. | I Ain't Got Nobody
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| 17. | Rojiserro
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Jazz
Contains 3 albums and one EP in two CDs:
- Nat Pierce and the Herdsmen (Fantasy)
- The Nat Pierce Bandstand (Vanguard)
- Jazz Romp by Nat Pierce Jazzmen (Keynote)
- Kansas City Memories by Nat Pierce and his Orchestra (Coral)
CD1, #1-8: Dick Collins, John Howell (tp), Cy Touff (btp), Dick Hafer (cl, as, ts), Jerry Coker (ts), Jack Nimitz (bs), Nat Pierce (p), Red Kelly (b), Gus Gustafson (d).
Hollywood, August 28, 1955
CD1, #9-12: Doug Mettome (tp), Urbie Green (tb), Med Flory (as), Richie Kamuca (ts), Jack Nimitz (bs), Nat Pierce (p), Freddie Green (g), Walter Page (b), Jo Jones (d).
Hollywood, February 10, 1955
CD2, #1-4: Don Fagerquist, Charlie Walp (tp), Frank Rehak (tb), Richie Kamuca (ts), Nat Pierce (p), Freddie Green (g), John Beal (b), Osie Johnson (d).
New York City, August 1955
CD2, #5-7: Doug Mettome, Ruby Braff (tp), Billy Byers, Matthew Gee (tb), Phil Woods (as), Sam Margolis (ts), Nat Pierce (p), Freddie Green (g), Jimmy Woode (b), Jo Jones (d).
New York City, August 1955
CD2, #8-17: Joe Newman (tp), Bill Harris (tb), Hal McKusick (as), Nat Pierce (p), Freddie Green (g), Oscar Pettiford (b), Jo Jones (d).
New York City, June 1955
In the mid Fifties jazz finally seemed to be emerging from its post-war confusion. A swinging beat was returning, and with it the interest of an ever-larger public. Nat Pierce, unhappy with the choppy, uncertain beat of the 'cool' rhythm section as many other fellow musicians, was able to fuse the advanced harmonies of the new with the rhythmic propulsion of the old. Although he and Woody Herman were conspicuously successful in achieving a distinctive style for the Third Herd, Nat-a Kansas City jazzman by absorption-yearned for the flexibility of the Basie formula, and he spent much of his time studying, and occasionally arranging for the Count's incomparable band. On most of these sides, you can hear the swinging beat that draws from these musician's surprisingly sharp Kansas City memories.
Reissued on a 1983 LP but not yet out on CD, this session (originally recorded for Coral) finds pianist Nat Pierce playing and arranging for a swinging septet consisting of trumpeter Joe Newman, trombonist Bill Harris, altoist Hal McKusick, rhythm guitarist Freddie Green, bassist Oscar Pettiford and drummer Jo Jones. Not too surprisingly considering the personnel and Pierce's style, much of the music sounds like a small group taken from the Count Basie band. However, the ten selections (which include five Pierce originals and such unlikely songs as "Maple Leaf Rag," "Sioux City Sue" and "I Ain't Got Nobody") is different than one might expect. The music swings in a cool fashion; there are a few unpredictable moments, and both Newman and Harris are in excellent form.
---Scott Yanow, All Music Guide
Nat Pierce
Active Decades: '40s, '50s, '60s and '70s
Born: Jul 16, 1925 in Somerville, MA
Died: Jun 10, 1992 in Los Angeles, CA
Genre: Jazz
Styles: Big Band, Bop, Progressive Big Band, Swing
Nat Pierce had a long, distinguished, somewhat low-profile career as a champion of latter-day big-band swing, serving as the co-leader of Los Angeles' crack Frank Capp-Nat Pierce Juggernaut and an arranger for several well-known big bands and solo artists. His scores created an irresistible force when allied with a swinging, pushing drummer like Capp, often hewing tightly to the loping drive and tight ensemble of the post-1950s Count Basie orchestra. Likewise, Pierce's spare, tasty piano style not only has been compared to that of Basie, he also subbed very capably -- indeed, almost indistinguishably -- for the great man off and on from the late 1950s until Basie's death in 1984.
Pierce studied music at the New England Conservatory of Music back home in Massachusetts, worked with local Boston bands, and ran his own part-time big band featuring Charlie Mariano from 1949 to 1951. Having already started shopping arrangements to Basie and Woody Herman, he joined Herman's Third Herd in 1951 as pianist/arranger, remaining until 1955. Afterwards, Pierce settled in New York City, where he became a busy freelance arranger, recording pianist, and occasional leader of bands, working with Ruby Braff, Lester Young, Ella Fitzgerald, Quincy Jones, Coleman Hawkins, Pee Wee Russell and Lester Young. Two of his most famous projects took place in 1957 -- writing the arrangements for The Sound of Jazz television show, and playing piano with the Basie rhythm section on the first ear-opening Lambert, Hendricks and Ross album, Sing a Song of Basie. In 1961, Pierce rejoined Herman and played a major role in lifting the band into one of its peak periods, serving as chief arranger, road manager and talent scout until 1966. Afterwards, he resumed his freelancing ways, arranging for Anita O'Day, Carmen McRae, Earl Hines and others, working with the bands of Louie Bellson and Bill Berry, reuniting with Herman, and substituting for Basie and Stan Kenton on occasion. In 1975, four years after a move to Los Angeles, Pierce joined forces with Capp to form the Capp-Pierce Juggernaut, which drew its personnel from the best Los Angeles session players out to decompress from their studio gigs. The band recorded a number of swinging albums for the Concord Jazz label, sometimes with guest vocalists like Joe Williams and Ernestine Anderson. Pierce continued to co-lead the Juggernaut off and on until his death, while also making a brief appearance in the 1977 film New York, New York, touring Europe in 1980 and 1984 as a member of the Countsmen, and recording frequently for Concord as a sideman for Scott Hamilton, Jake Hanna and others.
--- Richard S. Ginell, All Music Guide |
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