superb Oscar Peterson
340974
A simply wonderful, bluesy Oscar Peterson album. It is now one of my favorites. Melodically inventive and it really swings.
1824578
Excellent arrangements and beautiful music is what you always get with John W. Peterson. I think this is the best!
4866546
This recording is really, really well done! The ensemble consists of harp, 2 violins, french horn, contra bass and occasional glockenspiel (used with an amazing effect on the song "Sounds of silence".) The harp re-captures Paul's guitar, sometimes note for note (and in the case of "Bridge Over Troubled Waters" that glorious gospel-like piano intro and accompaniment). The arrangements are superb, tasteful, creative, sometimes lush, such as in "Old Friends" where the harp and strings and horn re-captures the original orchestration. Sometimes other S&G songs are quoted, such as the weaving in of "The Boxer" within the opening piece, "The Dangling conversation." I was surprised by the inclusion of "Peggy-O" and "Benidictus," which are not exactly Simon and Garfunkel originals (they appeared on their earliest album "Wednesday Morning 3 AM") but musically they somehow work and blend nicely with the overall recording. But the real surprise was "Mrs. Robinson" an amazing arrangement with much of the funk of the original. They really did an excellent job. Highly recommended.
324070
This is one of my most favourite jazz albums of all time. And this remastered version makes a perfect album even more perfect. With it's 6 bonus tracks, meticulous remastering and great packaging, this is a must-have for any jazz lover. Peterson truly is the best jazz pianist of all time, and this is one of his best recordings. The 12 page booklet includes photos of OP, Ray Brown and Ed Thigpen, as well as informative liner notes, including track-by-track notes. For me, the true highlight of this album is the wonderful "Hymn to Freedom" with its tremoloed, chorded climax that almost has you on your feet cheering. This album is much more than just a jazz album...it is a work of art.
1904646
In the mid-1950s, Hard Bop, the more blues-oriented, less-frenetic, louder and
  more audio aggressive offshoot of Bebop, was flourishing after it became a crucial
  part of the jazz vocabulary, particularly on the East Coast of the United States, but
  in July of 1956, the widely influential pianist- composer had made one of his finest
  albums for Epic Records while he maintained his contract with Blue Note Records.
  Of the two recording dates that yielded Silvers Blue, Horace Silver would lead two
  quintets that include Kenny Clark and Arthur Taylor on drums, Donald Byrd on the
  trumpet, Hank Mobley on tenor saxophone, and session bassist Doug Watkins, as
  Silver gradually showcase another example for his creative genius that is provided
  by the sweet Earthy horn solos and its double-drum percussion.  Featuring a solid
  of original compositions and several lively takes on classic standards, the track set
  begins with the title track that proceed on the hip superlative classic To Bop Of Not
  To Bop, Shoutin Out and Hanks Tune, as well as Ill Know and their the final track
  reindition of The Night Has A Thousand Eyes, as the quintet give us another prime
  example of hard bop at its finest. Silvers Blue is an exceptional classic album that
  still holds up quite well on many repeated plays that brings the listener a rewarding
  performance abeited by time and attention as it showcase Silvers tuneful melodies
  over finger popping rhythms as he solely contributes to the deep blues and vitriolic
  focal point that made this a memorable achievement which was met with his stamp
  of approval.  Here is another timeless achievement from his Silvers rich legacy.
590247
This is Vol. 1 of 3 volumes released on the Steeplechase label of a live performance by the trio at the Zeleste Club in Barcelona, Spain on May 29-31, 1980. Tete is a blind pianist, who died in 1997.  He was the first call pianist for expatriate giants who played in Europe, such as Dexter Gordon and many others.  Any recording by Tete is superb, including this one.  The reason I don't give it 5 stars is because I would consider the 4 recordings by Tete made in 1974 and 1976 to be his masterpieces and also masterpieces of the piano trio literature.  Those are "Tete", Catalonian Fire", "Tete A Tete", and "Tootie's Tempo."  You  can see my reviews of these on Amazon.
Getting back to this CD, it is simply wonderful.  Tete plays with the technique of Oscar Peterson, tempered with the soul of any great pianist you can name.  He also swings like mad.
The drummer is Albert Heath.  Albert is also the drummer on the 4 recordings named above. He is a giant among jazz drummers.  The bassist is John Heard.  John played with the Count Basie Orchestra, Zoot Sims and Oscar Peterson.  This is no small praise.  John is well recorded here, and adds solid accompaniment to the proceedings.  His solos on "Jo vull Que Macariciis" and "Blue Bossa" are wonderful.
I hope you get the message.  Any recording by Tete is worth having.
3008865
If someone asks my opinion about where to look for the greatest match-ups of jazz artists on record, my first inclination is to say "Milt Jackson and anybody else." Jackson recorded with many great players, but his work with Peterson is really something special. This 1971 session was not the first time these two recorded together (see their 1961 album "Very Tall"), nor would it be the last, but it may be their best. Both were at the peak of their powers. And let's not forget that they're joined here by Ray Brown on bass.
The album opens with an up-tempo version of the Rolling Stones tune "Satisfaction," which the artists have made their own by treating it like a jazz standard, causing listeners to forget the tune's origin. But the real strength of the album is the exquisite renditions of three ballads: "Dream of You," "A Time for Love" (which sneaks in a double-time chorus near the end), and "When I Fall in Love" (where Brown's bass opens and closes the tune).
Oscar often liked to include a jazz waltz in his recording sessions, and this album delivers a nice one with "Someday My Prince Will Come." The title track and the closer "Red Top" provide the requisite blues offerings.
Fans of either Oscar or Milt - or of piano and vibes in general - will truly enjoy this album. The three ballads are likely to become favorite additions to your appropriate iPod playlist, whether it be "Ballads," "Easy Listening," or something like "Sexy Bachelor Pad Music."
1503654
Having the good fortune of interviewing three members of this group, I must share their views with you.
Milt Jackson said:
"This is a jazz classic ! It's one of the best jazz records in the history of jazz, and in Oscar Peterson I found the swinging pianoplayer, with that blues feeling.
Ray (Brown) of course was my buddy in the Big Band of Dizzy (Gillespie) and we founded the Modern Jazz Quartet in those days.
But you see - although I loved all those years with the Modern Jazz Quartet - John Lewis is just another type pianoplayer.
Oscar swings hard, as does Ray, and this - our very first musical meeting - was just great.
Of course it was a studio recording, but we didn't feel that way.
It was like a "live" session."
Oscar Peterson:
"I think Bags (Milt Jackson) is right, it's a jazz classic and indeed: Very Tall.
Yes, I modified my style a little in John Lewis' direction, because I liked his style, but I think it's certainly me, in every way.
Of course my group was there and both Ray en Thags (Ed Thigpen) were in great shape.
I enjoyed the swingers: "Work Song" and "Reunion Blues", but there are some wonderful slow tunes on this record too.
I think there are several tracks of that session(s) still in Verve's Archives and it would be most interesting to hear these after so many years."
Ray Brown in his usual humor way:
"Of course this turned out great.
Damn, you got two of the greatest musicians in jazz on that record, so of course it turned out great.
Man we had a ball together and this record will ever be great, always, forever, period!"

Well Oscar is correct about several tracks still waiting to be released:
In fact there are 5 unissued tracks: 2 originals by Oscar Peterson and the tunes: "Seven Come Eleven", "Soft Winds" and "Like Someone In Love".
So I am begging Verve or the present owner of those masters: please bring out the entire VERY TALL sessions!
If there ever was a jazz classic that deserved it, this is it!

So jazzlovers: join me in this, write Verve or Universal, because this is jazz history and all of this music must be out.

Arnold van Kampen, jazz writer, discographer, etc., etc.
244930
If you liked Oscar Peterson's West Side Story CD you'll love this. He has Ray Brown and Ed Thigpen with him and his interpretation of George Gershwin is magical. In typical Oscar fashion there is the melody which smoothly translates into improvisation and just as smoothly returns to the melody at the end. Oscar's unmistakable "piano runs" are as brilliant as ever. This is Class A music from the post bop period of the late 1950's. If you love Peterson and Gershwin, this CD is a must have.
3908654
This album, Oscar Peterson's "With Respect To Nat" is a novelty. It is the first ever and only Peterson album that spotlights his vocal flair. And the genius of jazz piano can sing! He's not only playing his favorite instrument here, but he is singing his heart out. I don't like comparisons, but I can't help it, if you listen closely he really sounds like Nat King Cole with his remarkable interpretations of songs that Cole made his own. The arrangements are some of the best ever that were written for this material.

Recorded and released in 1965 soon after the death of Cole, this album is Peterson's heartfelt tribute to the greatness of the legendary jazz singer/pianist. He is backed by a Big Band conducted by Manny Albam with a winning team of great musicians such as Phil Woods (sax), Hank Jones (piano), Richard Davis (bass), Mel Lewis (drums), among others. He also has the enduring support of his original sidemen, Ray Brown (bass) and Herb Ellis (guitar).

My choicest cuts include ingenious renditions of "Unforgettable," "Orange Colored Sky," "Walkin' My Baby Back Home," "Calypso Blues" (loved its exotic rhythm and amused by its lyric) and a rarity...a song written by Walter Donaldson and Abe Lyman, "(What Can I Say) After I Say I'm Sorry?"

"What can I do to prove it to you that I'm sorry?
I didn't mean to ever be mean to you
If I didn't care I wouldn't feel like I do"

Listening to this unique recording is such a delightful experience. If you haven't heard Peterson's vocal flair yet, this is the perfect CD to own. It's a welcome addition to your Peterson collection.

"Music expresses that which cannot be said and on which it is impossible to be silent." ~ Victor Hugo ~
4961724
John Coltrane in his prime couldn't have put out anything bad if he tried. While 1957's Blue Train (the only Coltrane release on Blue Note) isn't as innovative as Giant Steps or A Love Supreme, it's so chock-full of jazz standards and absolutely gorgeous ensemble playing that you'd be a fool to care. The best of his pre-Tyner/Garrison/Jones work, in my opinion. It's in a similar "cool" vein to Kind Of Blue, but better and more accessible in my opinion--it's less downtempo, and "swings" more. Of course both are classics, and should be bought in conjunction with each other.

The intro of the title track is instantly recognizable to anyone familiar with post-bop jazz; it contains wonderfully melodic, adventurous solos from the master himself, and you'd wish it lasted longer than 10 minutes. Moment's Notice and Locomotion swing like a mofo, with some great work by Lee Morgan and Curtis Fuller on trumpet and trombone, respectively. Lazy Bird and I'm Old Fashioned are sublime ballads--Morgan especially shines on the latter. You can tell the band was actually having fun on this release, playing off each other with the kind of chemistry only a studio full of virtuosos could ever have. And just think: Coltrane was only warming up.

This version contains a little video clip of a Coltrane interview that you can view on your PC, and extra takes of the title track and Lazy Bird. The definitive version to own, and essential to those whose jazz horizons extend beyond "easy listening."
4703513
To these ears, this is Herbert von Karajan's best Eroica. The first movement is fast, forceful and exhilerating--vintage Karajan. The Funeral March is exceptional: slow and meditative but never plodding, with a heightened emphasis on drama. The scherzo is bright and full of jubilance and vigor (terrific flute and horns). The finale is the best I've heard, truly heroic, a pure delight. We are also treated to a crisp, hot-blooded rendition of the ever popular Egmont overture to wrap things up. Terrific remastered sound. Highly recommended.
2513158
Prime Cuts:  The Burning Edge of Dawn, The Power of a Great Affection, Be Kind to Yourself

Like a tantalizing meal that lingers with its rich aromatic flavours long after you have finished your last bite, the songs of Peterson lingers.  They haunt.  They disturb.  They comfort.  Some of the lines such as "Now my heart is a catacomb/I'm praying we can find a way to raise these bones" are so acerbic that they will get us ruminating for days without end.  Further, Anderson has such a way of spinning out attention grabbing narratives that he will get us hook, line and sinker.  With narrative cues such as "I remember Mr. Greene and I/Were walking down a busy street in Louisville," we can't help but beg for more of the story to come.  Maybe it's because Peterson is also a novel writer (Peterson has just completed writing The Warden and the Wolf King, the final book in the award-winning Wingfeather Saga series), he has honed his pen in such a way that he's the connoisseur of language that excites and engages. These 10 cuts, in short, piques, excites and entices our hearts and minds.

"The Burning Edge of Dawn" is Peterson's eleventh studio album and the follow-up to 2012's "Light for the Lost Boy."  Written by Peterson between February and May 2015, with his friend cum producer Gabe Scott (Crowder), most of these songs were written in the studio as they were recording the tracks.  Nevertheless, despite its ad hoc genesis, the songs don't appear haphazard or enervated.  Rather, this album thrives with great theological depth.  "The Power of a Great Affection," which borrows vocabulary from Jonathan Edwards and C. S. Lewis, is a gorgeous ballad that speaks of how God woos us from our love for sinful idols to Himself.  This is an exquisite piece that clothes the Reformed Doctrine of the Unconditional Election of God in sonic garb that is both palatable and so affecting.

Certainly Peterson is one that can never be faulted for recycling platitudes.  "Be Kind to Yourself" is an acoustic-sounding ballad that speaks of how we often we beat yourself up because we don't believe God's forgiveness.  This is therapeutic for those of us who have embittered by hurts.  Again anyone who has had wrestled with disappointments and unanswered prayers will have their heart strings pulled with the stunning "The Rain Keeps Falling."  Words such as "I sat in that cave and I prayed for a spark/To light up all the pain that remained in my heart/And the rain kept falling" are extremely soul piercing.

Peterson definitely puts his Wingfeather Saga skills to work on the title cut "The Dawning Edge of Dawn."  Filled with lots of apocalyptic images, "Dawning" is a graphic depiction of our present evil age sitting on the precipice of the eschaton.  Yet, not all works.  Precisely because acoustic-sounding ballad is the melodic rhetoric of the record, a couple of the songs when played back to back sound quite similar, a perennial blind spot for many singer-songwriters. One would have wished Peterson had included a couple of songs from other writers or at least mix up the tempo a tad more.  Nevertheless, as far as theological depth and the beauty of heartfelt language go, this album deserves an A+.
4644950
Jazz is one of those genres that thrives on live recordings. Some of the most exciting music in the relatively brief history of jazz has been recorded in concert.

This album stands among the absolute best live jazz ever captured on a soundboard. Oscar was in his prime during the early 60's, a virtuoso who could go from brutally fast swing to gentle, melancholy blues at the drop of a hat. His mastery of dynamics is very much evident on this album.

Peterson was lucky to be backed by Ray Brown on bass and Ed Thigpen on drums. I mean, could someone ask for a better pair to round out a trio? Having this much talent on one stage is a treat for the ears.

The rendition of "Chicago" on this album is THE best interpretation of the song I've ever heard. It progresses from the classic melody to a break-neck swing session, all in a 9 minute span. If you ever buy a disc for just one song, buy "The Trio" for "Chicago."

This should be on the shelf of any serious fan of Oscar Peterson. Actually, all jazz fans should own this album. It's bliss.
578481
Interleaved on this two album set are two different albums with one thing in common: they both feature Oscar Moore on guitar. Well, two things: the music is excellent, and the sound samples on this page will attest to that.

On tracks 1, 3, 7, 8, 10 and 12 through 16 the spotlight is in Inez Jones. I love her voice, which is sadly forgotten. As you listen to snippets of her singing you may, like me, wonder why she is not better known. There tracks are the out-of-print album titled Have You Met Inez Jones. This album was recorded for Riverside Master Recorders in Los Angeles on May 27, 1957 and released as Riverside catalog number RLP 12-819. Jones is backed by some West coast heavies: Carl Perkins on piano, Oscar Moore on guitar, Curtis Counce on bass and Bill Douglas  on drums.

The remaining tracks, woven between the ones just cited are the album titled&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Presenting-Oscar-Moore/dp/B005L3HKOA/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Presenting Oscar Moore</a>. Here the spotlight is solely on Moore who is accompanied by bassist Leroy Vinnegar who is a West Coast legend in his own right. It would seem that these tracks with just a string duo would sound thin compared to the ones that feature Jones backed by a quartet, but they do not.  This album was recorded for the Omegatape label at the Audio Arts Studios in Los Angeles on December 12 and 14, 1956, and released as catalog number ST 7012. One note about this album is the sound quality is far superior to the version I linked above.

Obviously this album is a gem for guitarists and especially Oscar Moore fans, but Jones' incredible vocals add a lot of value to the listening experience too.
4781214
This reissues the 1962 LP "Endless the trek, Endless the search" with the addition of Tiger Rag and Savoy Blues as  bonuses .
The sound quality is somewhat distant and hollow but the music easily transcends this. I haven't heard any better late period Lewis, indeed it equals anything he ever recorded. Some of the credit goes to the driving, staccato trumpet of Kid Thomas and the melodically inventive guitar of George Guesnon. The other musicians are Jim Robinson, trombone; John Joeseph, bass and Josiah Frasier, drums.
They all have plenty of room to stretch and some of the final choruses build to high levels of excitment. Lewis himself is in fine form, especially on the blues, with none of the apparent tonal uncertainty which marred some of his earler work.
This is music of rugged beauty and complete sincerity, and anyone with an ear for New Orleans jazz should have it, along with the 1940's Climax sessions on the American Music label
2519099
The connection between Louis Armstrong and that great pianist and composer (and not so great singer) Fats Waller is brilliantly documented on this CD:
in addition to the original tracks of the "Satch Plays Fats" album, and the several alternate takes, the producer, mr. Avakian, heavens bless him, chose several earlier recordings from the late 20s and the 30s, where younger Satchmo, mostly as the star of the big band, proves how inspiring Waller's songs can be for him.

On the original "Satch plays Fats" program, bursting with energy and quite comparable to&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Louis-Armstrong-Plays-W-C-Handy/dp/B000002ADP/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Louis Armstrong Plays W.C. Handy</a>&nbsp;(which is not a minor compliment), Armstrong (tp, vo) is accompanied by the merry, extrovert and swinging bunch of musicians - Trummy Young (tb), Barney Bigard (cl), Billy Kyle (p), Arvell Shaw (b), Barrett Deems (dm) and Velma Middleton (vo). If someone still believes that Satchmo's All-Stars were just a dixielandish circus, he should check songs like "Blue, turning Grey over you", but the prevailing mood is of jubilant swinging, and that's OK with me...

BTW, on one track Satch plays trumpet obligatto to his own vocal, on another track he scats behind his own verse-delivery... Check it out!

The alternative versions are more interesting than they sometimes get to be on CD reissues, while the older Waller-penned tracks are pure gold.

The first of those (earlier version of "Squeeze Me") is with 1929 "Hot Five" line-up that includes Earl Hines (dm) and Zutty Singleton (dm), the other tracks (earlier versions of "What Did I Do", "Ain't Misbehavin'", "Blue Turning Grey Over You" and "Keepin' out of Mischief Now, PLUS "Sweet Savannah Sue" and "That Rhythm Man")  are with Armstrong's orchestra.
That means that the band is based on Luis Russell's or Carroll Dickerson's big band leadership, also featuring some excellent musicians (Paul Barbarin, Pops Foster, J. C. Higginbotham, Zutty Singleton...), but basically serving as the background to the first veritable solo-artist in the history of jazz...

Finally, if you like the All-Stars dixieland sound of, for instance,&nbsp;<a data-hook="product-link-linked" class="a-link-normal" href="/Live-at-the-1958-Monterey-Jazz-Festival/dp/B000RIWATY/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Live at the 1958 Monterey Jazz Festival</a>,<a data-hook="product-link-linked" class="a-link-normal" href="/Satchmo-the-Great/dp/B00000292L/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Satchmo the Great</a>&nbsp;,<a data-hook="product-link-linked" class="a-link-normal" href="/Satchmo-the-Great/dp/B00004U1GY/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">Satchmo the Great</a>,<a data-hook="product-link-linked" class="a-link-normal" href="/1944-58-Satchmo-Meets-Big-T/dp/B0000060QW/ref=cm_cr_arp_d_rvw_txt?ie=UTF8">1944-58 Satchmo Meets Big T</a>, etc., you'll LOVE this collection.