Although the music here was originally said to be recorded in Europe, it actually comes from a Chicago concert, and the five additional selections were supposedly performed in Chicago, but are from an appearance in Los Angeles. Despite the geographical mixups, the music is consistently brilliant and often wondrous. The trio of Oscar Peterson, Herb Ellis, and Ray Brown had been together for over four years, and these would be among the threesome's last (and finest) recordings. The very tricky arrangements sandwiched remarkable solos, with pianist Peterson sounding especially inspired. Together with the Trio at Stratford Shakespearean LP of the previous year, this set features the trio at the peak of its powers. Highlights include "The Lady Is a Tramp," "Budo," and "Daahoud."
Previously unreleased, historic live recording! The Jazz At The Concertgebouw Series is a stunning discovery! For the first time ever, we get to listen to a series of live concert recordings of top American jazz musicians, made at the world-famous Concertgebouw in Amsterdam in the late 1950s! This incredible CD contains two concert recordings by one of Chet Baker's most interesting groups: the quartet with pianist Dick Twardzik. The concert at the Scheveningen Kurhause was partly recorded and broadcast by the Dutch public radio station AVRO.
Some performances get talked about decades after they happened. It's all about "you had to be there" and if you would believe all the people who claimed to be present at such a show, the venue would have collapsed. Two of those shows are now released in full. Trumpet maestro Miles Davis performed at the Concertgebouw in Amsterdam on April 9 and October 15, 1960. John Coltrane was on sax in April and his replacement Sonny Stitt played in October. With Wynton Kelly on piano, Paul Chambers on bass and Jimmy Cobb on drums. Miles Davis was on fire both nights.
Reissue with the latest remastering and the original cover artwork. Comes with a description written in Japanese. Lionel Hampton was always at his best in a concert setting and this 1979 performance in Haarlem, the Netherlands, is not exception. Fronting a tentet consisting of both veterans and younger musicians, the vibraphonist's energy is contagious to both his band and the audience. The opener, "Glad Hamp" is a furious reworking of the chord changes to "I Got Rhythm," showcasing trumpeter Joe Newman.
Believed to have been composed between August 1775 and January 1777, the Concerto In E Flat Major for two pianos technically counts as being the tenth of Mozart's twenty-seven concertos, that huge and prodigious body that would set the standards for all piano concertos from Mozart's time forward. Although it is not performed with the same frequency as his later works (especially the final eight concertos, 20-27), this "Double" piano concerto, believed to have been composed by Mozart for performance by him and his sister Maria Anna ("Nannerl"), is nevertheless a fascinating experiment of Mozart's, one that requires a pair of solid keyboard virtuosos to do (and for the composer's Seventh piano concerto, you needed three soloists).