crawl/traces/simpleQA_ALL/query_1031.csv

type,startTime,endTime,query,links_found,url,content_length,content,link_idx
tavily_search,0.0,1.820002555847168,Who played baritone saxophone on the 1958 album *Basie Reunion*?,5.0,,,,
page_scrape,1.9032752513885498,2.349912643432617,,,https://en.wikipedia.org/wiki/Basie_Reunion,1346.0,"1958 studio album by Paul Quinichette
Basie Reunion | 1958 | September 5, 1958 | _**Basie Reunion**_(1958) _**Basie Reunion**_ is an album byCount Basie Orchestramembers led by jazz saxophonistPaul Quinichettefeaturing tracks recorded in 1958 and released on thePrestigelabel.[1] Allmusicawarded the album 4½ stars and reviewer Ken Dryden stated, ""While this session isn't meant to substitute for the original recordings by Count Basie, the consistently swinging performances make this meeting of mostly Basie alumni worth purchasing"".[2]OnAll About Jazz, Derek Taylor wrote ""Brimming with talent from bands past and present the one-shot aggregation places a premium on expansive individual solos and relaxed first-rate swing ... This disc a winner on a variety of fronts: as an opportunity to hear Basie alum paying inspired homage to their employer, and as a rare opportunity to hear Washington cut loose in the company of his peers. Recommended wholeheartedly to any and all hepcats still practicing or reformed"".[3]
* Paul Quinichette– tenor saxophone
* Jack Washington– baritone saxophone
* _Dance Session Album No. 2_(1952)
* Paul Quinichette albums
* Prestige Records albums
* Albums recorded at Van Gelder Studio
* Count Basie tribute albums
* Albums recorded in a home studio
* Album articles lacking alt text for covers
_Basie Reunion_
",1.0
page_scrape,1.9045448303222656,3.0420432090759277,,,https://www.jazznblues.club/viewtopic.php?t=23559,2054.0,"# Paul Quinichette - Basie Reunion (1958/2000) [Post-Bop, Swing, Hard Bop]; APE (image+.cue)
### Paul Quinichette - Basie Reunion (1958/2000) [Post-Bop, Swing, Hard Bop]; APE (image+.cue)
* Paul Quinichette - tenor saxophone
* Jack Washington - baritone saxophone
**Artist:** Paul Quinichette**Album:** Basie Reunion**Genre:** Post-Bop, Swing, Hard Bop**Label:** Prestige/Original Jazz Classics**Released:** 1958/2000**Quality:** APE (image+.cue)**Tracklist:**
  1. Love Jumped Out (Clayton) - 5:51
  2. The Blues I Like to Hear (Smith-Rushing) - 7:24
  3. John's Idea (Basie-Durham) - 9:15
  4. Baby Don't Tell on Me (Basie-Young-Rushing) - 7:52
  5. Roseland Shuffle (Basie) - 9:38

**DOWNLOAD FROM FILECAT.NET >>>**
**Personnel:**
  * Paul Quinichette - tenor saxophone
  * Buck Clayton, Shad Collins - trumpets
  * Jack Washington - baritone saxophone
  * Nat Pierce - piano
  * Freddie Green - guitar
  * Eddie Jones - bass
  * Jo Jones - drums

This 1958 session by members of two distinct editions of Count Basie's band is actually a follow-up to a similar reunion, For Basie, recorded earlier the same year. With tenor saxophonist Paul Quinichette as the leader and trumpeters Shad Collins and Buck Clayton in the front line, Jack Washington was lured out of semi-retirement to play baritone sax, though he obviously was having some problems with the instruments, due to the fact he had played alto sax almost exclusively around the time this recording was made. Nat Pierce fills Count Basie's economical role on piano, and the rest of the rhythm section includes rhythm guitarist Freddie Green (who served 50 years with the Basie organization), bassist Eddie Jones, and drummer Jo Jones. The five selections all date from Basie's repertoire circa 1937-1940, and other than Washington's numerous reed squeaks, the playing is first-rate. While this session isn't meant to substitute for the original recordings by Count Basie, the consistently swinging performances make this meeting of mostly Basie alumni worth purchasing._Review by Ken Dryden_
",2.0
page_scrape,1.9060008525848389,6.721657752990723,,,https://jazzbarisax.com/baritone-saxophonists/pre-bop-style/jack-washington/,1251.0,"The unsung hero of the baritone-sax, Jack Washington never achieved much recognition but, along with Harry Carney, he was among the very first strong soloists on the baritone. He actually started off playing soprano sax when he was 13 before switching permanently to baritone. Washington joined Bennie Moten’s Orchestra in Kansas City, Missouri right after graduating high school. He had short stints with Paul Banks and Jesse Stone’s Blues Serenaders but otherwise was with Moten up until the bandleader’s death in 1935. Soon afterward, he became a member of the Count Basie Orchestra and he was with Basie up until 1950 except for a period spent in the Army. Although not featured that much, Washington did have occasional solos and proved to be one of the finest baritonists of his generation. After the Basie band broke up, Washington moved to Oklahoma City, working as a redcap at the city’s airport and only playing music on an occasional basis. However he did record the Basie Reunion album (reissued in the Original Jazz Classics series) with fellow Basie alumni in 1958 and sounded in mostly-superior form, making one wish that he had eventually returned to jazz. Jack Washington never led his own record date. — Scott Yanow, All-Music Guide
",4.0
page_scrape,3.50121808052063,4.93043327331543,,,https://en.wikipedia.org/wiki/Album,21350.0,"This article is about albums of recorded sound. For other uses, seeAlbum (disambiguation).
""Music Album"" redirects here. For the Canadian television series, seeMusic Album (TV series).
Early record albums from the first half of the 20th century resembledphoto albums, being packaged in book form on multiple78 rpm records.
An**album** is a collection of audio recordings (e.g.,music) issued on a medium such ascompact disc(CD),vinyl(record), audio tape (like8-trackorcassette), ordigital. Albums of recorded sound were developed in the early 20th century as individual78 rpm records(78s) collected in a bound book resembling aphoto album; this format evolved after 1948 into single vinyllong-playing (LP) recordsplayed at33+1⁄3rpm.
The album was the dominant form ofrecorded musicexpression and consumption from the mid-1960s to the early 21st century, a period known as the .[1]Vinyl LPs are still issued, thoughalbum salesin the 21st-century have mostly focused on CD andMP3formats. The8-track tapewas the first tape format widely used alongside vinyl from 1965 until being phased out by 1983, being gradually supplanted by the cassette tape throughout the 1970s and early 1980s; the popularity of the cassette reached its peak during the late 1980s before sharply declining during the 1990s. The cassette had largely disappeared by the first decade of the 2000s.
Most albums are recorded in astudio,[2]although they may also be recorded in aconcert venue, at home, in the field, or a mix of places. The time frame for completely recording an album varies between a few hours to several years. This process usually requires severaltakeswith different parts recorded separately, and then brought or ""mixed"" together. Recordings that are done in one take withoutoverdubbingare termed ""live"", even when done in a studio. Studios are built to absorb sound, eliminatingreverberation, to assist in mixing different takes; other locations, such as concert venues and some ""live rooms"", have reverberation, which creates a ""live"" sound.[3]Recordings, including live, may contain editing, sound effects, voice adjustments, etc. Withmodern recording technology, artists can be recorded in separate rooms or at separate times while listening to the other parts usingheadphones; with each part recorded as aseparate track.
Album coversandliner notesare used, and sometimes additional information is provided, such as analysis of the recording, andlyricsorlibrettos.[4][5]Historically, the term ""album"" was applied to a collection of various items housed in abookformat. In musical usage, the word was used for collections of short pieces ofprinted musicfrom the early nineteenth century.[6]Later, collections of related 78s were bundled in book-like albums[7](one side of a 78 rpm record could hold only about 3.5 minutes of sound). When LP records were introduced, a collection of pieces or songs on a single record was called an ""album""; the word was extended to other recording media such as compact disc,MiniDisc, compact audio cassette, 8-track tape and digital albums as they were introduced.[8]
An (Latin _albus_ , white), in ancient Rome, was a board chalked or painted white, on which decrees, edicts, and other public notices were inscribed in black. It was from this that in medieval and modern times, album came to denote a book of blank pages in which verses, autographs, sketches, photographs and the like are collected.[9]This in turn led to the modern meaning of an album as a collection of audio recordings issued as a single item.
The first audio albums were actually published by the publishers of photograph albums. Single78 rpm recordswere sold in a brown heavy paper sleeve with a large hole in the center so the record's label could be seen. The fragile records were stored on their sides. By the mid-1920s, photo album publishers sold collections of empty sleeves of heavier paper in bound volumes with stiff covers slightly larger than the 10"" popular records. (Classical records measured 12"".) On the paper cover in small type were the words ""Record Album"". Now records could be stored vertically with the record not touching the shelf, and the term was applied to the collection.[]
With the advent of 78 rpm records in the early 1900s, the typical 10-inch disc could only hold about three minutes of sound per side, so almost all popular recordings were limited to around three minutes in length.[10]Classical-music and spoken-word items generally were released on the longer 12-inch 78s, playing around 4–5 minutes per side. For example, in 1924,George Gershwinrecorded a drastically shortened version of his new seventeen-minute composition withPaul Whitemanand His Orchestra. The recording was issued on both sides of a single record, Victor 55225 and ran for 8m 59s.[11]By 1910, though some European record companies had issued albums of complete operas and other works, the practice of issuing albums was not widely taken up by American record companies until the 1920s.
By about 1910, bound collections of empty sleeves with apaperboardorleathercover, similar to a photograph album, were sold as record albums that customers could use to store their records (the term ""record album"" was printed on some covers). These albums came in both 10-inch and 12-inch sizes. The covers of these bound books were wider and taller than the records inside, allowing the record album to be placed on a shelf upright, like a book, suspending the fragile records above the shelf and protecting them. In the 1930s, record companies began issuing collections of 78s by one performer or of one type of music in specially assembled albums, typically with artwork on the front cover and liner notes on the back or inside cover. Most albums included three or four records, with two sides each, making six or eight compositions per album.[7]
By the mid-1930s, record companies had adopted the album format for classical music selections that were longer than the roughly eight minutes that fit on both sides of a classical 12"" 78 rpm record. Initially the covers were plain, with the name of the selection and performer in small type. In 1938, Columbia Records hired the first graphic designer in the business to design covers, others soon followed and colorful album covers cover became an important selling feature.[12]
By the later '30s, record companies began releasing albums of previously released recordings of popular music in albums organized by performer, singers or bands, or by type of music,boogie-woogie, for example.[]
When Columbia introduced the Long Playing record format in 1948, it was natural the term album would continue. Columbia expected that the record size distinction in 78s would continue, with classical music on 12"" records and popular music on 10"" records, and singles on 78s. Columbia's first popular 10"" LP in fact was Frank Sinatra's first album, the four-record eight-song _The Voice of Frank Sinatra_ , originally issued in 1946.[13]
RCA's introduction of the smaller 45 rpm format later in 1948 disrupted Columbia's expectations. By the mid-1950s, 45s dominated the singles market and 12"" LPs dominated the album market and both 78s and 10"" LPs were discontinued. In the 1950s albums of popular music were also issued on 45s, sold in small heavy paper-covered ""gate-fold"" albums with multiple discs in sleeves or in sleeves in small boxes. This format disappeared around 1960. Sinatra's ""The Voice"" was issued in 1952 on two extended play 45s, with two songs on each side, in both packagings.[14]
The 10-inch and 12-inchLP record(long play), or33+1⁄3rpmmicrogroovevinylrecord, is agramophone recordformat introduced byColumbia Recordsin 1948.[15]A single LP record often had the same or similar number of tunes as a typical album of 78s, and it was adopted by the record industry as a standard format for the ""album"".[7]Apart from relatively minor refinements and the important later addition ofstereophonic soundcapability, it has remained the standard format for vinyl albums.
An album may contain any number of tracks. In the United States,The Recording Academy's rules forGrammy Awardsstate that an album must comprise a minimum total playing time of 15 minutes with at least five distinct tracks or a minimum total playing time of 30 minutes with no minimum track requirement.[17]In the United Kingdom, the criteria for theUK Albums Chartis that a recording counts as an ""album"" if it either has more than four tracks or lasts more than 25 minutes.[18]Sometimes shorter albums are referred to asmini-albumsorEPs.[19]Albums such as , , and byMike Oldfield, andYes's, include fewer than four tracks, but still surpass the 25-minute mark. The album bySleepcontains only a single track, but the composition is over 63 minutes long. There are no formal rules againstartistssuch asPinhead Gunpowderreferring to their own releases under thirty minutes as ""albums"".
If an album becomes too long to fit onto a single vinyl record or CD, it may be released as adouble albumwhere two vinylLPsor compact discs are packaged together in a single case, or atriple albumcontaining three LPs or compact discs. Recording artists who have an extensive back catalogue may re-release several CDs in one single box with a unified design, often containing one or more albums (in this scenario, these releases can sometimes be referred to as a ""two (or three)-fer""), or a compilation of previously unreleased recordings. These are known asbox sets. Some musical artists have also released more than three compact discs or LP records of new recordings at once, in the form of boxed sets, although in that case the work is still usually considered to be an album.
Material (music or sounds) is stored on an album in sections termed tracks. A music track (often simply referred to as a track) is an individualsongorinstrumentalrecording. The term is particularly associated withpopular musicwhere separate tracks are known as album tracks; the term is also used for other formats such asEPsandsingles. When vinyl records were the primary medium for audio recordings a track could be identified visually from the grooves and many album covers or sleeves included numbers for the tracks on each side. On acompact discthe track number is indexed so that a player can jump straight to the start of any track. On digital music stores such asiTunesthe term song is often used interchangeably with track regardless of whether there is any vocal content.
A track that has the same name as the album is called the title track. In the Korean music industry, the title track is used to refer to any song that has been promoted, such as a single, regardless of its title.
A**bonus track**(also known as a**bonus cut** or**bonus**) is a piece of music which has been included as an extra. This may be done as a marketing promotion, or for other reasons. It is not uncommon to include singles,B-sides,live recordings, anddemo recordingsas bonus tracks on re-issues of old albums, where those tracks were not originally included. Online music stores allow buyers to create their own albums by selecting songs themselves; bonus tracks may be included if a customer buys a whole album rather than just one or two songs from the artist. The song is not necessarily free nor is it available as a stand-alone download, adding also to the incentive to buy the complete album. In contrast tohidden tracks, bonus tracks are included on track listings and usually do not have a gap of silence between other album tracks. Bonus tracks on CD or vinyl albums are common in Japan for releases by European and North American artists; since importing international copies of the album can be cheaper than buying a domestically released version, Japanese releases often feature bonus tracks to incentivize domestic purchase.[20]
Commercial sheet music is published in conjunction with the release of a new album (studio, compilation, soundtrack, etc.). A matching folio songbook is a compilation of themusic notationof all the songs included in that particular album. It typically has the album's artwork on its cover and, in addition to sheet music, it includes photos of the artist.[21]Most pop and rock releases come in standard Piano/Vocal/Guitar notation format (and occasionally Easy Piano / E-Z Play Today).[22]Rock-oriented releases may also come in Guitar Recorded Versions edition, which are note-for-note transcriptions written directly from artist recordings.[23]
VinylLP recordshave two sides, each comprising one-half of the album. If apoporrockalbum contained tracks released separately as commercialsingles, they were conventionally placed in particular positions on the album.[8]During the sixties, particularly in the UK, singles were generally released separately from albums. Today, many commercial albums of music tracks feature one or more singles, which are released separately to radio, TV or the Internet as a way of promoting the album.[24]Albums have been issued that are compilations of older tracks not originally released together, such as singles not originally found on albums,b-sidesof singles, or unfinished ""demo"" recordings.[8]
Double albums during the seventies were sometimes sequenced forrecord changers. In the case of a two-record set, for example, sides 1 and 4 would be stamped on one record, and sides 2 and 3 on the other. The user would stack the two records onto the spindle of an automatic record changer, with side 1 on the bottom and side 2 (on the other record) on top. Side 1 would automatically drop onto theturntableand be played. When finished, the tone arm's position would trigger a mechanism which moved the arm out of the way, dropped the record with side 2, and played it. When both records had been played, the user would pick up the stack, turn it over, and put them back on the spindle—sides 3 and 4 would then play in sequence.[8]Record changers were used for many years of the LP era, but eventually fell out of use.
The ten-trackcompact discstudio album
Most recently, theMP3audio format has matured, revolutionizing the concept of digital storage. Early MP3 albums were essentially CD-rips created by early CD-rippingsoftware, and sometimes real-time rips from cassettes and vinyl.
The so-called ""MP3 album"" is not necessarily just in MP3 file format, in which higher quality formats such asFLACandWAVcan be used on storage media that MP3 albums reside on, such asCD-R-ROMs,hard drives,flash memory(e.g.thumbdrives,MP3 players,SD cards), etc.[]
## Types of album
The contents of the album are usually recorded in astudioor live in concert, though may be recorded in other locations, such as at home (as with JJ Cale's ,[36][37]Beck's ,[38]David Gray's ,[39]and others),[40][41][42]in the field – as with early blues recordings,[43]in prison,[44]or with a mobile recording unit such as theRolling Stones Mobile Studio.[45][46]
""Studio album"" redirects here. For the album by Tages, see _Studio_(album).
Most albums are _studio albums_ —that is, they are recorded in arecording studiowith equipment meant to give those overseeing the recording as much control as possible over the sound of the album. They minimize external noises and reverberations and have highly sensitive microphones andsound mixingequipment. Band members may record their parts in separate rooms or at separate times, listening to the other parts of the track with headphones to keep the timing right. In the 2000s, with the advent ofdigital recording, it became possible for musicians to record their part of a song in another studio in another part of the world, and send their contribution over digital channels to be included in the final product.[]
""Live album"" redirects here. For other uses, seeLive album (disambiguation).
Recordings that are done in one take withoutoverdubbingormulti-trackingare termed ""live"",[47]even when done in a studio.[48]However, the common understanding of a**live album** is one that was recorded at a concert with a public audience,[49]even when the recording is overdubbed or multi-tracked.[50]Concert or stage performances are recorded usingremote recordingtechniques. Albums may be recorded at a singleconcert, or combine recordings made at multiple concerts. They may include applause, laughter and other noise from the audience, comments by the performers between pieces, improvisation, and so on. They may usemultitrack recordingdirect from the stage sound system (rather than microphones placed among the audience), and can employ additional manipulation and effects during post-production to enhance the quality of the recording.
Notable early live albums include the double album ofBenny Goodman,_The Famous 1938 Carnegie Hall Jazz Concert_ , released in 1950.[51]Livedouble albumslater became popular during the 1970s. Appraising the concept in _Christgau's Record Guide: Rock Albums of the Seventies_(1981),Robert Christgausaid most ""are profit-taking recaps marred by sound and format inappropriate to phonographic reproduction (you can't put sights, smells, or fellowship on audio tape). But forJoe CockerandBette MidlerandBob-Dylan-in-the-arena, the form makes a compelling kind of sense.""[52]
Among the best selling live albums areEric Clapton's (1992), selling over 26 million copies,[53]Garth Brooks' (1998), over 21 million copies,[54]andPeter Frampton's _Frampton Comes Alive!_(1976), over 11 million copies.[55]
In _Rolling Stone_ 's 500 Greatest Albums of All Time, 18 albums were live albums.[]
For albums titled ""Solo"", seeSolo (disambiguation) § Albums.
A**solo album** , inpopular music, is an album recorded by a current or former member of amusical groupwhich is released under that artist's name only, even though some or all other band members may be involved. The solo album appeared as early as the late 1940s. A 1947 magazine article heralded ""Margaret Whitinghuddling withCapitolexecs over her first solo album on which she will be backed byFrank De Vol"".[56]There is no formal definition setting forth the amount of participation a band member can solicit from other members of their band, and still have the album referred to as a solo album. One reviewer wrote thatRingo Starr's third venture, , ""[t]echnically... wasn't a solo album because all fourBeatlesappeared on it"".[57]Three of the four members of the Beatles released solo albums while the group was officially still together.
A performer may record a solo album for several reasons. Asolo performerworking with other members will typically have full creative control of the band, be able to hire and fire accompanists, and get the majority of the proceeds.[]The performer may be able to produce songs that differ widely from the sound of the band with which the performer has been associated, or that the group as a whole chose not to include in its own albums.Graham Nashofthe Holliesdescribed his experience in developing a solo album as follows: ""The thing that I go through that results in a solo album is an interesting process of collecting songs that can't be done, for whatever reason, by a lot of people"".[58]A solo album may also represent the departure of the performer from the group.
### Compilation album
Main article:Compilation album
Further information:List of tribute albums
See also:Category:Covers albums
A tribute or cover album is a compilation ofcover versionsof songs or instrumental compositions. Its concept may involve various artists covering the songs of a single artist, genre or period, a single artist covering the songs of various artists or a single artist, genre or period, or any variation of an album of cover songs which is marketed as a ""tribute"".[59]
* Zipkin, Michele (8 April 2020).""Best albums from the last decade, according to critics""._Stacker_.Archivedfrom the original on 3 June 2020. Retrieved3 June2020.
* ^Jump up to:Cross, Alan (15 July 2012).""Life After the Album Is Going to Get Weird""._A Journal of Musical Things_. Archived fromthe originalon 8 April 2013.
* ""On Alex Steinweiss and the Short History of Album Cover Art | Album Cover Zone""._albumcoverzone.com_. Retrieved3 June2024.
* Thill, Scott (21 June 2010).""June 21, 1948: Columbia's Microgroove LP Makes Albums Sound Good""._WIRED_.Archivedfrom the original on 8 April 2017. Retrieved5 March2017.
* ""As albums fade away, music industry looks to shorter records"". Associated Press. 4 January 2010.Archivedfrom the original on 20 October 2013. Retrieved1 June2012.
* ""Scary Stat: Album Sales Down 54.6 Percent Since 2000...""Digital Music News. Archived fromthe originalon 5 February 2012. Retrieved5 June2012.
* Matt Fowler (14 January 2014).""15 Legendary Albums That Were Recorded in Bedrooms, Kitchens, and Garages""._Mic_.Archivedfrom the original on 8 December 2015. Retrieved4 December2015.
* Michael Duncan (12 February 2015).""10 Classic Albums Made Outside the Recording Studio""._sonicscoop.com_.Archivedfrom the original on 8 December 2015. Retrieved4 December2015.
* Tyler Kane (17 January 2012).""10 Great Albums Recorded at Home""._pastemagazine.com_.Archivedfrom the original on 26 November 2015. Retrieved4 December2015.
* ""Rare 1979 soul album recorded in a prison gets reissue""._thevinylfactory.com_. 19 August 2015.Archivedfrom the original on 8 December 2015. Retrieved4 December2015.
0899190251
* Album cover design
* Best-selling albums


* Most expensive albums
Album
",1.0
page_scrape,3.6026065349578857,7.191904067993164,,,https://en.wikipedia.org/wiki/Basie_Reunion#bodyContent,1346.0,"1958 studio album by Paul Quinichette
Basie Reunion | 1958 | September 5, 1958 | _**Basie Reunion**_(1958) _**Basie Reunion**_ is an album byCount Basie Orchestramembers led by jazz saxophonistPaul Quinichettefeaturing tracks recorded in 1958 and released on thePrestigelabel.[1] Allmusicawarded the album 4½ stars and reviewer Ken Dryden stated, ""While this session isn't meant to substitute for the original recordings by Count Basie, the consistently swinging performances make this meeting of mostly Basie alumni worth purchasing"".[2]OnAll About Jazz, Derek Taylor wrote ""Brimming with talent from bands past and present the one-shot aggregation places a premium on expansive individual solos and relaxed first-rate swing ... This disc a winner on a variety of fronts: as an opportunity to hear Basie alum paying inspired homage to their employer, and as a rare opportunity to hear Washington cut loose in the company of his peers. Recommended wholeheartedly to any and all hepcats still practicing or reformed"".[3]
* Paul Quinichette– tenor saxophone
* Jack Washington– baritone saxophone
* _Dance Session Album No. 2_(1952)
* Paul Quinichette albums
* Prestige Records albums
* Albums recorded at Van Gelder Studio
* Count Basie tribute albums
* Albums recorded in a home studio
* Album articles lacking alt text for covers
_Basie Reunion_
",1.0