Eerste Peterson-album voor het Duitse MPS-label. "In the early '60s Oscar Peterson befriended producer Hans Georg Brunner-Schwer, who recorded Peterson on a number of occasions in his private studio while the veteran pianist was still signed to Verve. These earliest sessions feature Peterson with Ray Brown (b) and Ed Thigpen (d) circa 1963 and 1964. Before an audience invited by the producer, the trio begins with a midtempo "At Long Last Love," followed by a gently swinging treatment of Billy Taylor's infrequently performed "Easy Walker" and an understated interpretation of "Tin Tin Deo." Peterson's lyricism is at its peak in his arrangements of "I've Got a Crush On You" and "A Foggy Day." But it is the trio's extended and intricate workout of "Like Someone in Love," clocking in at just over 11 minutes, that leaves the most lasting impression. Not only is Peterson extremely reserved, but Brown's first-rate solo and Thigpen's delicate brushwork help to make this track a masterpiece." (Ken Dryden, Allmusic)
Een megaproject: in de maanden juli en augustus 1959 nam de Canadese pianist met z'n toenmalige trio (met contrabassist Ray Brown en drummer Ed Thigpen) al het materiaal van deze 5 CD's op, wat indertijd op bijna twee keer zoveel LP's werd uitgebracht. Het betreft alombekend standard-materiaal, voor een groot deel (het geldt bijv. niet voor de aan Duke Ellington gewijde schijf) instrumentale versies van liedjes uit beroemde musicals uit de jaren '30 en '40 van de 20ste eeuw. In de jaren '50 brachten vele jazz-vocalisten songbooks uit, die putten uit dit materiaal (zoals Ella Fitzgerald, Sarah Vaughan), Peterson kan zich in zijn pianotrioversies hier en daar grote interpretatievrijheden veroorloven dan een zanger.
Alle Amerikaanse Jazz at the Philharmonic- concertopnames van zangeres Ella Fitzgerald zijn voor het eerst op één album verschenen. Het betreft materiaal dat van 1949 tot 1954 werd opgenomen. Op de Verve-cd staan 22 geremasterde tracks met musici als pianist Hank Jones, gitarist Herb Ellis en bassist Ray Brown. Jazz at the Philharmonic werd in 1944 door Norman Granz op poten gezet. (bron: Jazzflits)
Dubbel-cd met de laatste opnamen van de legendarische jazzbassist Ray Brown (1926 - 2002). Het betreft een concert in New York met Monty Alexander (piano) en Russell Malone (gitaar). Als bonus is een cd bijgevoegd met de favoriete opnamen van producer Elaine Martone, die de laatste 14 jaar van Brown's leven met hem samen werkte.
"Though not exclusively subtle and romantic, Riddle and Peterson strike a golden bipartisan compromise in rendering these well-known American popular songs into quietly burning embers of pure delight. It's a predictable mix, but so warm and heartfelt that one has to commend the participants for allowing each other their own personal ideas without selling out. Riddle's contribution was to form a unique group of ten cellos (no violins or violas), five horns, three flutes, a harp, and a percussion section. No one section dominates, which is the beauty of the famed arranger/composer/bandleader's concept. Summarily, Peterson chooses to not clash with the instruments as he trades phrases while generally not playing along with them. This is not a soft and fuzzy overstrung effort dominated by cheese or cotton candy, but instead a quietly strong, rich, fully evocative set of great tracks that emphasize the undercurrent rather than the overflow of emotions." (Michael G. Nastos, Allmusic; 4 uit 5 sterren)
2011-remaster met 4 tracks meer dan de oorspronkelijke LP. "For this Pablo set (reissued on CD), Ella Fitzgerald is heard on half of the program in duets with pianist Oscar Peterson and for the remainder in trios with Peterson and bassist Ray Brown. In general the performances are memorable (particularly "How Long Has This Been Going On," "More than You Know," "Midnight Sun" and "April in Paris") with the emphasis on ballads. Although her voice had slipped a little by this time, the results are still rewarding and swinging." (Scott Yanow, Allmusic)
"Dizzy Gillespie was at the peak of his powers throughout the '50s, still the pacesetter among trumpeters. This album matches Dizzy with Stan Getz, the Oscar Peterson Trio and drummer Max Roach. Getz, although identified with the "cool" school, thrived on competition and is both relaxed and combative on the up-tempo explorations of "It Don't Mean a Thing" and "Impromptu."" (Scott Yanow, Allmusic)
"For this Telarc CD, bassist Ray Brown and pianist Benny Green split the solo chores almost evenly with drummer Jeff Hamilton, giving them stellar and creative support. Green has his best improvisations on "Phineas Can Be" and "Taking a Chance on Love," and the trio plays very close attention to dynamics (often swinging very quietly) and quickly reacting to each other's ideas. Rather than merely jamming the songs (the majority of which are standards), the bop-oriented group gives each melody a colorful framework filled with plenty of subtle surprises." ( Allmusic)
Saxofonist met uniek, zwoel timbre, bekend van z'n werk voor Duke Ellington. Deze plaat uit 1957 is een van z'n mooiste, met o.a. Oscar Peterson (p), Ray Brown (b) en Herb Ellis (g). Varierend van desolaat klinkende ballads tot stevig bopwerk.
"Though not partners as had been planned in the initial Modern Jazz Quartet, Ray Brown and Milt Jackson did work together in the early to mid-'60s, this double-CD set includes some fine collaborations and interesting combinations. There are 12 big-band cuts from 1962 led by Brown, primarily featuring Cannonball Adderley with Jackson on the side. From 1965 another eight tracks concentrate on small group efforts with Brown, Jackson, pianist Hank Jones, and different horn soloists, while the final 14 selections from 1964, still as small ensembles with set lineups of guitarist Kenny Burrell, drummer Al Heath, keyboardists Jones, or Wild Bill Davis, also highlight the singing of the gospel vocalist Marion Williams. This can easily be considered a valuable reissue, showcasing two jazz giants in the prime of their careers, playing music not readily identifiable aside from their work with Oscar Peterson (Brown) or MJQ (Jackson) around this time." (Allmusic).
"This was the last album that pianist Oscar Peterson and bassist Ray Brown recorded with Ed Thigpen before the drummer departed from O.P.'s trio after six years of steady work. The music heard during this "live from Copenhagen" concert is excellent although, discounting brief selections at the beginning and end of the program, the six songs only total around 37 minutes for the CD reissue. Peterson is in particularly strong form on "Misty," "Django," a cooking "Autumn Leaves" and "Moanin'."" (Scott Yanow, Allmusic)
"JATP-concerten (legendarische concerten onder de noemer 'Jazz At The Philharmonic', georganiseerd door de beroemde concertpromotor Norman Granz) in het Opera House in Chicago en The Shrine in Los Angeles, najaar 1957, met begeleiding van het kwartet van Oscar Peterson. Louter vijf-sterrenjazz." (Ab Gellekink, Jazzpodium De Tor)
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