56. Count Basie / Count Basie at Newport (1957)

This set is a giant. Basie already has a power packed orchestra with Thad Jones, Frank Foster, Frank Wess, Sonny Payne, Freddie Greene, and a handful of others. But he invites superstars from his past bands to join them. Lester Young, Jimmy Rushing, Jo Jones, Joe Williams, and Illinois Jacquet all have a few moments to play with the current band. It's powerful music that is energetic, exciting, inspired, and obviously enjoyed by everyone on the stand and in the crowd. The tracks with Basie's reformed orchestra -- sleek and modern, young but steeped in swing and the blues -- are a nice contrast with older, swing-based musicians like Lester doing "Polka Dots and Moonbeams" followed by a frenetic "Lester Leaps In" and Jimmy Rushing singing the jaw dropping blues "Sent for You Yesterday and Here You Come Today." Rushing's gigantic voice demonstrates what it takes in terms of volume and stage presence to stand out in front of the most motley orchestra in the business. The old chemistry is still there, and this album, like Duke's record from Newport '56, demonstrates that big band wasn't dead yet.

46. Donald Byrd / Byrd's Word (1955)

It was announced that Mr. Byrd passed away early this month. Before his role in jazz education and outreach, Byrd was a noted session leader and prolific collaborator. Byrd's Word (not to be confused with Charlie Byrd's Byrd's Word! from 1958) is an early disc of his that was recorded for Savoy in 1955 and shows his original, pre-funk style on the open trumpet. When a guy has a good tone, I love to hear him use it. That's the case here, although his licks are understated compared to his pyrotechnics on other people's dates, like Coltrane's exemplary "Lush Life." Chambers plays bass, Basie alum Frank Foster and the versatile Hank Jones do tenor and piano, with Kenny Clarke on drums. Byrd's "Gotcha Goin' n' Comin'" is a bluesy exercise in mood and rhythm that seems to be as much about Clarke and Chambers, as it is about Byrd. There's a lot of space in the middle and it's heavy on the atmosphere. But once it whispers goodbye, the followup is the jolting "Long Green" that sounds straight off one of the Charlie Parker Savoys. Foster is a versatile player who can play bop as well as he can do hard swing or ballads. There's room for everyone, before the album closes with "Star Eyes" and the beautiful "Someone to Watch Over Me." The latter is my favorite cut on the album, but it works only if I listen to the whole album first. It's a fitting closer to the preceding program, featuring a sentimental intro from Byrd, a moving legato chorus from Foster and one from Chambers, then the go-lightly contributions of Jones and all, who carry it out and are careful not to break the magic. Overall it's a very loose hard bop session that's probably easy to forget and may be similar to other groups, but is superbly rendered.