Bar code: 8436028698097
his release contains two complete original albums by Nat King Cole, which exemplify the swinging spirit of his live performances with orchestral accompaniment from the late 1950s and early 1960s. 'Nat King Cole at the Sands' was recorded live in Las Vegas in 1960. Although 'Welcome to the Club' was actually a studio recording, it captures the magic of Coles voice as it sounded on the road. On this second LP, Nat is accompanied by the Count Basie orchestra (minus Basie, who couldnt sit in due to contractual reasons and was replaced by pianist Gerald Wiggins).
01. Ballerina 2:30
02. Funny (Not Much) 3:29
03. The Continental 3:40
04. I Wish You Love 2:59
05. You Leave Me Breathless 2:31
06. Thou Swell 2:41
07. My Kinda Love 3:05
08. The Surrey With The Fringe On Top 2:54
09. Where Or When 3:33
10. Miss Otis Regrets
(Shes Unable To Lunch Today) 4:22
11. Joe Turner Blues 5:03
12. Mr. Cole Wont Rock & Roll 7:47
13. Welcome To The Club 2:44
14. Anytime, Anyday, Anywhere 2:19
15. The Blues Dont Care 2:11
16. Mood Indigo 3:21
17. Baby, Wont You Please Come Home 2:11
18. The Late, Late Show 2:32
19. Avalon 1:45
20. Shes Funny That Way 3:02
21. I Want A Little Girl 2:49
22. Wee Baby Blues 3:16
23. Look Out For Love 1:58
24. Madrid 2:51
Total time: 75:42 min.
Tracks #1-12, from the Capitol album
"Nat King Cole At The Sands" (SMAS2434)
Tracks #1-12, from the Capitol album
"Welcome To The Club" (W1120)
Personnel on "At the Sands":
Nat King Cole (vcl & p only on #9), John Collins (g), Charlie Harris (b), Lee Young (d), and orchestra conducted by Antonio Morelli. Arrangements by Dave Cavanaugh (except #2 by Pete Rugolo, and #10, by Nelson Riddle).
Recorded live at the Sands Hotel, Las Vegas, Nevada, July 14, 1960
Personnel on "Welcome To The Club":
Nat King Cole (vcl), with The Count Basie Orchestra: John Anderson, Wendell Culley, Thad Jones, Joe Newman, Snooky Young (tp), Henry Coker, Al Grey, Benny Powell (tb), Marshall Royal, Frank Wess (as), Frank Foster, Billy Mitchell (ts), Charlie Fowlkes (bar), Gerald Wiggins (p), Freddie Green (g), Eddie Jones (b), Sonny Payne (d). Arrangements by Dave Cavanaugh.
Recorded in Los Angeles, June 30 & July 1-2, 1958
Recordings produced by Dave Cavanaugh & Lee Gillette
-At the Sands
"A year after Nat King Cole's death, Capitol Records released this "live" album, recorded at the Sands Hotel in Las Vegas on January 14, 1960. There is a historical interest, in that this is the only Cole concert recording, and it's an enjoyable performance, with more up-tempo numbers than ballads and a piano solo on "Where or When" that demonstrates Cole had not lost his jazz chops. But Cole on-stage is not a revelatory experience, at least on this night, and like most Vegas performances, this one is a little overdone. (An arrangement of Cole Porter's "Miss Otis Regrets" is especially unfortunate.)"
William Ruhlmann -All Music Guide
-Welcome to the Club
"As the 1950s came to a close, Nat King Cole (vocals/piano) continued creating stylish renditions of pop and jazz flavored standards. On 'Welcome to the Club' (1959) the artist teams up with Dave Cavanaugh and the Count Basie combo -- minus the maestro himself due to contractual restraints -- for one of Cole's most powerful collections supported by a big band. In fact, it is Cole's unmistakable ultra-cool intonations that flawlessly reign in the fiery -- and at times overbearing -- ensemble arrangements. Right from the start, the vocalist proves that he can swing on the refined and syncopated opening title track "Welcome to the Club." Cole effortlessly bops with a beat so catchy that toe-tappin' and finger-snappin' feel practically obligatory. The bluesy "Anytime, Anyday, Anywhere" adopts a slightly melancholy torch feel that Cole ably milks with his unblemished and supple delivery. The same holds true for the definitive take of Duke Ellington's "Mood Indigo." The number is swaddled with a suitably subdued score that Cole dutifully conveys to tremendous effect, making it one of the unmitigated zeniths of his association with Cavanaugh. While on the subject, "Wee Baby Blues" follows a bit later revealing another spot-on example of his expressive technique. The tempo picks back up on the rousing, well-heeled "Late, Late Show" that again re-establishes Nat King Cole as one of the premiere voices of mid-20th century jazz. His ability to reel off lyrics as if they were conversational is nowhere as evident as it is here. The pace picks up steam with the full-speed-ahead frenzy of "Avalon" and again, Cole exudes nothing but soul throughout this compact, yet unhurried rendition."
Lindsay Planer -All Music Guide