Oscar Peterson + Harry “Sweets” Edison + Eddie “Cleanhead” Vinson {Pablo}


Review by Scott Yanow (allmusic.com)
During Nov. 12-14, 1986, pianist Oscar Peterson recorded three albums worth of material for Norman Granz’s Pablo label. This particular CD features the great pianist with his quartet (bassist Dave Young, drummer Martin Drew and guest guitarist Joe Pass) along with trumpeter Harry “Sweets” Edison and altoist Eddie “Cleanhead” Vinson. The strictly instrumental set has many fine solos on appealing tunes such as “Stuffy,” “Broadway” and the lengthy blues “Slooow Drag.” This boppish session gave Vinson a rare chance to really stretch out and he was up for the challenge.

Tracklist:
01. Stuffy (09:14)
02. This One’s for Jaws (04:54)
03. Everything Happens to Me (04:37)
04. Broadway (05:14)
05. Slooow Drag (10:36)
06. What’s New (04:28)
07. Satin Doll (07:29)

Personnel:
Oscar Peterson – piano
Harry “Sweets” Edison – trumpet
Eddie “Cleanhead” Vinson – alto saxophone
Joe Pass – guitar
Dave Young – bass
Martin Drew – drums

Recorded in Hollywood, CA; November 12, 1986.

Label: Pablo
Year: 1987
Genre: Jazz
Style: Mainstream, Bop
Total Time: 46:31

Quality: eac, flac, cue, log, artwork

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Oscar Peterson – Digital at Montreux {Pablo}


Review by Scott Yanow (allmusic.com)
The title is pretty generic but this duet set from pianist Oscar Peterson and bassist Niels Pedersen has plenty of excellent music from two of the best. Peterson and Pedersen perform six standards and a well-conceived five-song Duke Ellington medley. Few real surprises occur but the duo plays up to one’s high expectations.

Tracks:
01 – Old Folks
02 – Soft Winds
03 – (Back Home Again In) Indiana
04 – That’s All
05 – Younger Than Springtime
06 – Ellington Medley
07 – On the Trail

Personnel:
Oscar Peterson – piano
Niels Henning Orsted Pedersen – bass

Recorded at Mountain Studios (Montreux, Switzerland); July 16, 1979.
Year: 1992; style: Classic Jazz, Bop, Piano&Bass Duo, Standards

Quality: eac, flac, cue, log, artwork

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Ben Webster meets Oscar Peterson {Verve} “Master Edition”


Review by Stephen Cook (allmusic.com)

Another fine Webster release on Verve that sees the tenor great once again backed by the deluxe Oscar Peterson Trio. In keeping with the high standard of their Soulville collaboration of two years prior, Webster and the trio — Peterson is joined by bassist Ray Brown and drummer Ed Thigpen — use this 1959 date to conduct a clinic in ballad playing. And while Soulville certainly ranks as one of the tenor saxophonist’s best discs, the Ben Webster Meets Oscar Peterson set gets even higher marks for its almost transcendent marriage of after-hours elegance and effortless mid-tempo swing — none of Webster’s boogie-woogie piano work to break up the mood here. Besides reinvigorating such lithe strollers as “Bye Bye Blackbird” (nice bass work by Brown here) and “This Can’t Be Love,” Webster and company achieve classic status for their interpretation of the Sinatra gem “In the Wee Small Hours of the Morning.” And to reassure Peterson fans worried about scant solo time for their hero, the pianist lays down a healthy number of extended runs, unobtrusively shadowing Webster’s vaporous tone and supple phrasing along the way. Not only a definite first-disc choice for Webster newcomers, but one of the jazz legend’s all-time great records.

Tracks:
01 – The Touch of Your Lips
02 – When Your Lover has Gone
03 – Bye-bye, Blackbird
04 – How Deep Is the Ocean?
05 – In the Wee, Small Hours of the Morning
06 – Sunday
07 – This Can’t Be Love

Personnel:
Ben Webster – tenor saxophone
Oscar Peterson – piano
Ray Brown – bass
Ed Thigpen – drums

Quality: eac, flac, cue, log, scans

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Oscar Peterson Trio – In Tokyo (Live at the Palace Hotel) {Columbia} “24bit remastering”


Review by Ken Dryden (allmusic.com)

One of a handful of recordings that Oscar Peterson made for release exclusively in Japan, Last Trio: Oscar Peterson in Tokyo is a rare opportunity to hear the pianist with fellow Canadian Michel Donato on bass, plus Louis Hayes on drums. Peterson is the center of attention with his rhythm section mostly in a supporting role, seemingly as if they had not worked together extensively prior to playing at The Palace Hotel in Tokyo. Hayes had already recorded several albums with the pianist for MPS, though this seems to be one of only two recordings featuring Donato (the other being the obscure Australian CD Nightingale). Peterson does not disappoint, delivering a number of terrific performances, including a blazing “Strike Up the Band” a soulful if breezy take of Horace Silver’s “The Preacher,” and lyrical treatments of “What Are You Doing the Rest of Your Life” and his own “Wheatland.” While this trio lacks the potential of groups that featured either Ray Brown or Niels-Henning ├śrsted Pedersen, it will please Peterson’s fans.

Tracks:
01 – The Good Life
02 – What am I Here For?
03 – I Hear Music
04 – What are You Doing the Rest of Your Life
05 – Strike Up the Band
06 – The More I See You
07 – Wheatland
08 – The Preacher
09 – Old Rockin’ Chair
10 – Blues Etude

Personnel:
Oscar Peterson – piano
Michel Donato – bass
Louis Hayes – drums

Recorded live at The Palaca Hotel, Tokyo – May 27, 1972.

Quality: eac, flac, cue, log, artwork

Charlie Parker – Jam Session {Verve}


Review by “Jazzcat Stef” (amazon.com)

This is an absolutly marvellous example of what Jazz was and still should be (not because it’s more mainstream than bebop, in any case I love them both). The joy of playing with friends on common grounds, the standards and blues repertoire. I think I own everything Bird has ever played/released or at least I come really near. All the Dial, Savoy, Verve, Benedetti recordings, Bird’s Eyes, Live & Broadcasts, Blue Note concerts, recent discoveries, almost everything (more than 150 cds). This album cannot be considered a pure Bird album because he shared the scene with a lot of other sax stars which gave the session a different feeling from a lot of Bird’s records. I mean that this album is more Jazz “the Kansas City way” than bebop. It is a session more traditional than bebop. The only true beboppers are Bird, Kessel and Peterson (and Brown of course). The others, Webster, Hodges, Carter etc are more traditional than strictly bebop so the overall sound is more on that side of course. But it’s not a complaint, only an obvious consideration. The album is really fresh and entertaining, you can compar eit to a lot of JATP sessions in a sense. So it’s not a “revolutionary” album, not one that set a standard or that marked a change in Jazz history, nevertheless it’s essential in its way. It is a perect representation of what Jazz was more at Lester Young time than Bird time, but it’s very very good. It deserves 5 stars absolutly. Every player shined here and found his time to strecht out and show his bags of tricks fully. One of the highlights is the comping by Oscar Peterson swing machine which gave to the session a fabolous imprinting. The program is damn good. Two very long blues tunes, a very beautiful standard (“What is this thing” one of the standards I love the most) and a ballad medley. Fantastic! And even if Bird is playing more or less his usual cliches and nothing more, he’s still Bird! I love this album, for real. Buy it, you will love it for years and years too.

Tracks:
01 – Jam Blues
02 – What is This Thing Called Love
03 – Ballad Medley:
a) All the Things You Are
b) Dearly Beloved
c) The Nearness of You
d) I’ll Get By
e) Everything Happens to Me
f) The Man I Love
g) What’s New
h) Someone to Watch Over Me
i) Isn’t it Romantic?
04 – Funky Blues

Personnel:
Charlie Shavers, Benny Carter, Charlie Parker, Johnny Hodges – alto sax
Flip Phillips, Ben Webster – tenor sax
Oscar Peterson – piano
Barney Kessel – guitar
Ray Brown – bass
J.C. Heard – drums

Recorded July, 1952; Los Angeles.

Quality: eac, flac, cue, log, artwork

Oscar Peterson – The Trio “Live from Chicago” {Verve}


Review by Scott Yanow (allmusic.com)

The Oscar Peterson Trio with bassist Ray Brown and drummer Ed Thigpen lacked the competitiveness of his earlier group with Brown and guitarist Herb Ellis, and the later daring of his solo performances, but the pianist was generally in peak form during this era. He sticks to standards on this live CD (a good example of the Trio’s playing), stretching out “Sometimes I’m Happy” creatively for over 11 minutes and uplifting such songs as “In the Wee Small Hours of the Morning,” “Chicago” and “The Night We Called It a Day.” Few surprises occur, but Peterson plays at such a consistently high level that one doesn’t mind.

Tracks:
01 – I’ve Never Been in Love Before
02 – In the Wee Small Hours of the Morning
03 – Chicago
04 – The Night We Called it a Day
05 – Sometimes I’m Happy
06 – Whisper Not
07 – Billy Boy

Personnel:
Oscar Peterson – piano
Ray Brown – bass
Ed Thigpen – drums

Recorded September-October 1961 at the London House, Chicago.

Quality: eac, flac, cue, log, artwork

Count Basie & Oscar Peterson – The Timekeepers {Pablo}[xrcd]


Review from cduniverse.com

The pairing of pianists Count Basie and Oscar Peterson might seem unlikely, given their stylistic differences. Basie’s notoriety resulted from his ability to say a lot with a little, while Peterson has been celebrated as a modern technical master, whose solos were full of riveting phrases, lines, and statements. Yet the duo made effective partners on this reissued 1978 session and often played against their reputations. Basie has several solos where he demonstrates impressive technique, while Peterson, often accused of overkill, shows he can utilize restraint and delicacy with as much flair as bombast and flash. ~ Ron Wynn
This classic 1978 recording pairs two stylistically dichotomous piano legends: Count Basie, the master of understatement, and Oscar Peterson, the partisan of power & embellishment. Also featured on this landmark session are drummer Louis Bellson & John Heard

Tracks:
01 – I’m Confessin’ (That I Love You)
02 – Soft Winds
03 – Rent Party
04 – Indiana
05 – Hey, Raymond
06 – After You’ve Gone
07 – That’s the One

Personnel:
Oscar Peterson – piano
Count Basie – piano
Louis Bellson – drums
John Heard – bass

Recorded at Group IV Studios, Hollywood; February 21 and 22, 1978.

Quality: eac, flac, cue, log, artwork