Ray Brown Trio

The by turns grizzled and vaporous-toned Webster really hit his stride on the Verve label. During a stretch from roughly 1953-1959, the Ellington alumnus showcased his supreme playing with both combos and string sections, swingers and ballads – and lurking beneath his blustery and hulking sound were solo lines brimming with sophistication and wit. This 1957 date with the Oscar Peterson Trio is one of the highlights of that golden '50s run. After starting off with two bluesy originals – the slow burning title track and gutsy "Late Date" – Webster gets to the heart of things on five wistful ballads: Here, his exquisitely sly "Makin' Whoopee" is only outdone by an incredibly nuanced "Where Are You." Providing sympathetic counterpoint, Peterson forgoes his usual pyrotechnics for some leisurely compact solos; his cohorts – guitarist Herb Ellis, bassist Ray Brown, and drummer Stan Levey – are equally assured and splendid.

West Side Story was a bit of an unusual session for several reasons. First, the popularity of both the Broadway musical and the film version that followed meant that there were many records being made of its music. Second, rather than woodshed on the selections prior to entering the studio, the Oscar Peterson Trio spontaneously created impressions of the musical's themes on the spot. "Something's Coming" seems like a series of vignettes, constantly shifting its mood, as if moving from one scene to the next. Ray Brown plays arco bass behind Peterson in the lovely "Somewhere," while the feeling to "Jet Song" is very hip in the trio's hands…

The Alvin Queen Trio's new album "Night Train To Copenhagen" featuring new renditions of songs from the classic Oscar Peterson records "Night Train" and "We Get Requests" will officially be released by Stunt Records.

This album is quite unusual. Recorded shortly after Nat King Cole's death, pianist Oscar Peterson takes vocals on all but one of the dozen selections, sounding almost exactly like Cole. Peterson, who rarely ever sang, is very effective on the well-rounded program, whether being backed by a big band (arranged by Manny Albam) on half of the selections or re-creating both the spirit of the Nat King Cole Trio and his own group of the late '50s during a reunion with guitarist Herb Ellis and bassist Ray Brown.

This album is quite unusual. Recorded shortly after Nat King Cole's death, pianist Oscar Peterson takes vocals on all but one of the dozen selections, sounding almost exactly like Cole. Peterson, who rarely ever sang, is very effective on the well-rounded program, whether being backed by a big band (arranged by Manny Albam) on half of the selections or re-creating both the spirit of the Nat King Cole Trio and his own group of the late '50s during a reunion with guitarist Herb Ellis and bassist Ray Brown.

Oscar Peterson appeared on hundreds of recordings produced by Norman Granz, though most of his early trio dates for Mercury and Clef were overlooked for CD reissue until the release of this thorough seven-disc compilation by Mosaic in 2008. It still represents only a portion of the pianist's considerable output for the two labels between 1951 and 1953. This collection was put together as a result of laborious detective work, assembling nine different sessions from tape masters and second generation reels, 78s, EPs and LPs, some of which came from collectors and libraries, while also including eight previously unissued performances…

Jimmy Giuffre, Jim Hall Trio - Complete Studio Recordings, 1956-1959 (2008) {4CD Set Gambit Records 69300}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 1.40 Gb | MP3 @320 -> 723 Mb
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© 1956-59, 2008 Gambit Records | 69300
Jazz / Cool / Saxophone / Guitar

Jimmy Giuffre may not have gotten his due with American audiences outside very specific kinds of jazz circles, but he was loved and respected by other musicians and the audiences of Europe and Asia. His reputation among those groups of listeners and players is well deserved for the radical, if quiet and unassuming path he walked throughout his seven-decade career. These sides, recorded between 1956 and 1959 with guitarist Jim Hall, his most symbiotic collaborator and foil, are at the heart of his reputation as a pioneer – even more so than his killer early-'60s sides (à la Free Fall) with Paul Bley and Steve Swallow.