Billboard : 10/14/1957
Spotlight on… selection

Another solid entry in the line of concert packages cut by the Count abroad (first was Basie in Paris). It’s one of the merriest yet by the Basie band, with Joe Williams belting on three numbers, including his All Right, Okay, You Win hit. The band swings as it seldom has on such oldies as Jumpin’ at the Woodside, One o’Clock Jump and a gasser tagged Nails. Excellent disk jockey material and a must for collectors.

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Cashbox : 10/19/1957

This Basie entry cut during a concert performance in London, is paced in the slam-bang Basie tradition, and was greeted with howling delight by the audience. The great Basie vocalist, Joe Williams, rips through three pieces (Roll ‘Em Pete, Well All Right Okay You Win, The Comeback). Other work on the twelve tune bill on One O’Clock Jump, How High The Moon, and Jumpin’ At The Woodside. Basie at his best.

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Army Times
Tom Scanlan : 10/19/1957

Basie in London is the newest record by The Count. It was taped before an enthusiastic audience during the Basie band’s recent London tour which excited a good many people including Princess Margaret who is apparently no square.

In general, the record is further proof that the current Basie band achieves (more or less) through sheer power and gusto what the old Basie band achieved through rhythmic subtleties and superb soloists. Surely, insofar as soloists are concerned, the Basie band today can’t begin to compare with the one which included Pres, Evans, Clayton, Edison, Dickenson, and a good many other pros. On the other hand, the present band is better organized, slicker, and perhaps more overpowering. In any event, the Basie band still swings.

Although I have certain reservations about the Count’s present band, the applause for every number on this set is understandable. One of the highlights, for me, is Flute Juice featuring Frankie Wess.

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Bennington Banner
Laurie Hyman : 12/10/1957

Basie at his best, something never to be overlooked, is featured on a brand new issue on the “Verve” label. It is one of his successful records, despite a few recording defects.

Entitled Basie in London, it features many numbers from a concert abroad early this year on his tour. Some of my favorite tracks are Jumpin’ at the Woodside, How High the Moon, Roll ‘Em Pete, and One O’clock Jump.

The personnel of the band features, among others, Thad Jones, Joe Newman, Benny Powell, Freddie Green, Frank Wess, and the Count at the piano. Although Joe Williams, the Basie band’s vocalist, is not a blues shouter like Joe Turner or James Rushing, he wails on some of the tracks where he is featured, especially Well, Alright, Okay You Win.

On the 12 numbers on the record, many moods are displayed, some new, some old, but all are big band blues with two-fingered solos on the piano by the Count, all with that controlled, Basie sound. I like this record immensely because it swings all the way from note one and drives as a big band should.

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San Francisco Chronicle
Ralph J. Gleason : 10/20/1957

Whatever faults the present Count Basie band may have, it certainly is the best band of its style to appear on the jazz scene in recent years. There have been certain weaknesses in the solo positions, but the band has achieved a remarkable group unity that makes its performances spectacular.

However, up to now it has never been represented on record with anything approximating the exciting sound the band gets in person. But in the latest Basie LP for Verve, Basie in London, all this is changed.

On this album, the Basie band sounds like it does in person. The same electrifying section work, the same deep rooted swinging groove and the same emotional charge are present.

It’s completely irrelevant that some of the tunes have been recorded before. It’s the performance that counts and these are first rate, excellently recorded Basie performances. There are three vocals by Joe Williams: The Come Back, Roll ‘Em Pete, and Well All Right Okay You Win. He sings quite well on them but what marks them for posterity is the band performance. The same is true of the instrumentals: Jumpin’ at the Woodside, Shiny Stockings, How High the Moon, Nails, Flute Juice, Blee Blop Blues, Blues Backstage, Corner Pocket and One O’Clock Jump.

The recording was made at a concert in London. The notes do not inform us as to which concert, or when. The personnel is that of the current Basie band and aside from the general remark that this it eh best LP this particular band has ever made, I would like to say that on it Sonny Payne, the drummer, for the first time seems to me to ignite the band.

This is a tremendously exciting album to play.

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Down Beat : 12/12/1957
Don Gold : 5 stars

This is greatness in jazz.

There is an unmatched, limitless vitality to this band that makes it perpetually significant in the development of this music. It is a band of strength in soloists, ensemble drive, and charts. It is, undeniably, Basie‘s band.

This set was recorded at a London concert, apparently early this year. The fidelity is not ideal; the balance occasionally distorted.

But the Basie band does not fall within the limitations of the RIAA curve.

There is blues-founded logic here. There is a high standard of technical prowess on the part of the members of the band. This is a band sound running the gamut of dynamics, but remaining within the bounds of good taste in jazz.

Three of the tracks belong to Joe Williams. He is not a Big Bill Broonzy, a Joe Turner, or a Jimmy Rushing, but his singing is appropriately inspired and vibrantly effective. His vocal on Memphis Slim‘s fine blues, Comeback, features some humorous interplay with the members of the band. On Pete, he returns to a consideration of that “gal who lives up on a hill.” Well All Right, he and the band join in a surging charge to end all charges.

The remaining nine tracks feature the exhilarating Basie book. Some of the charts are new; some are old. All are a lovely shade of blue. The solos, by Joe Newman, Frank Wess, Frank Foster, Benny Powell, etc., etc., etc., are inspired and meaningful listening. And beneath it all is the pulsating rhythm foundation of Freddie Green, Eddie Jones, and the ever-improving Sonny Payne.

The charts themselves are more than vehicles, from the blues vocals on Ernie Wilkins‘ Flute Juice to the brief One O’Clock concert close. They are vital statements of jazz composition, statements which demand the best of soloists. Here they inspire such quality performances.

In the relatively brief history of jazz, Basie has been a titan. Here is Basie at his best and that’s the best recommendation I can make.

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Liner Notes by Unknown

When Count Basie toured the European continent, playing the major cities there, the one city he wanted to play more than any place else was London, and as luck would have it, couldn’t – at least on that tour. Subsequently Basie made a tour throughout England and, as he told me, his biggest thrill was playing his first concert performance in London.

To be truthful, this album was recorded in Stockholm, not London, but exercising royal license (the province of all musical royalty’s, such as Count Basie’s), we are calling this album – you guessed it – Basie in London. As a matter of fact, Basie made a special trip to London to be photographed for this album.

As it turns out, we aren’t really too far off the truth, since the music contained in this album is precisely the same music played by the same orchestra, sung by the same vocalist, Joe Williams, as the concert Bill Basie finally did give in London.

Since these were done before a live audience at a concert you’ll catch the excitement that always hovers over this band. The feeling that something great is happening. And there is.

Joe Williams shouts three songs in his usual blues-bawling way. A shouter with a heart. Dig the band and the Count yelling back at him on The Comeback.

Some of the other tunes are: Jumpin’ at the Woodside done way up, with muted unison trumpets leading into tenor solos by the two Franks… Foster and Wess. Shiny Stockings is more of an easy rocker with nice muted brass and sax-section work. Joe Newman plays really pretty… and Sonny Payne is kicking the band along… but good. How High is way high with the Count and venerable Freddie Green leading the way.

Nails features Eddie Jones‘ bass in a great solo. The brass section romps on this one in a happy way. Frank Wess’ flute is featured on Flute Juice.

This is a swinging, jumping band that just seems to do what comes naturally. And it’s a happy thing to listen to. You can’t keep your feet still when this band goes… and go they do. This is the Count at his rompin’ best.