Oscar Jerome

South London’s Oscar Jeromereleases his highly-anticipated debut album Breathe Deep via Caroline International. A staple of the capital’s burgeoning jazz scene – previously collaborating with everyone from Shabaka Hutchings to Moses Boyd and Yussef Dayes – the Breathe Deep LP sees Oscar bring in an army of collaborators that he says have been an integral part of his journey so far. Other guests include friends in Joe Armon-Jones, Sons of Kemet and Maisha, as well as the critically acclaimed singer-songwriter Lianne La Havas.

Jerome Kern's stage tunes – going back to the late '20s with the acclaimed presentation Show Boat – right up to the '40s, will forever be at the core of quintessential American popular songs that hold a dear place in the heart of all straight-ahead jazz performers. Oscar Peterson's immortal trio with bassist Ray Brown and drummer Ed Thigpen play Kern's themes expertly, with no small degree of interpretation, and a clever angle on these well-worn songs that only Peterson can self-identify with his genius mindset. The title should be more accurately "The Jerome Kern & Friends Songbook," as he always co-wrote with such notables as Oscar Hammerstein II, Otto Harbach, Ira Gershwin, and Dorothy Fields, but these are all instrumental versions of his priceless musical scores and are immediately familiar without lyrics.

Two former LPs by big bands led by bassist Oscar Pettiford (who doubles on cello) are reissued in full on this single CD. The arrangements by Gigi Gryce, Lucky Thompson, and Benny Golson feature a lot of concise solos, an inventive use of the harp (either by Janet Putnam or Betty Glamann), and colorful ensembles. Among the many soloists are trumpeter Art Farmer, trombonists Jimmy Cleveland and Al Grey, the French horn of Julius Watkins, the tenors of Thompson or Golson, and the bassist-leader. This formerly rare music is highly recommended to straight-ahead jazz fans, for it is full of fresh material and subtle surprises.

Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums.

Oscar Pettiford - Another One (1955) {Bethlehem R2 75910 rel 2000}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 117 Mb | MP3 @320 -> 80 Mb
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© 1955, 2000 Bethlehem Records / Avenue Jazz | R2 75910
Jazz / Bop / Bebop / Bass / Cello

Oscar Pettiford became a major influence on a number of jazz artists along with fellow bassists Jimmy Blanton and Charles Mingus. Another One, Pettiford's third album as a leader for the Bethlehem label, was recorded in 1955. This exceptional date features the horns of Donald Byrd, Ernie Royal, Bob Brookmeyer, Gigi Gryce, and Jerome Richardson. Highlights include the Pettiford-penned "Bohemia After Dark," named after the club in Greenwich Village and acknowledged as a jazz standard, "Stardust," featuring Pettiford's poetic bass faintly accompanied by pianist Don Abney, and "Minor Seventh Heaven," with Pettiford switching to cello.