Jazz at The Opera House

The late Conrad Silvert had a rare opportunity to achieve the jazz critic's dream by organizing a concert featuring many of his favorite jazz musicians in unusual combinations. This double LP matches together the pianos of Denny Zeitlin and Herbie Hancock on one fairly free performance, has duets featuring pianist Toshiko Akiyoshi with flutist Lew Tabackin and pianist Herbie Hancock with either vibraphonist Bobby Hutcherson or Wayne Shorter on tenor, and four numbers ("Sister Cheryl," "Footprints," "Silence" and "Hesitation") with trumpeter Wynton Marsalis (who was then 20), Shorter, Hancock, bassist Charlie Haden and drummer Tony Williams. The results are consistently inspired and often memorable.

The Modern Jazz Quartet And The Oscar Peterson Trio At The Opera House (1957) {2013 Japan Jazz The Best Series 24-bit Remaster UCCU-9945}
EAC rip (secure mode) | FLAC (tracks)+CUE+LOG -> 151 Mb | MP3 @320 -> 94 Mb
Full Artwork @ 600 dpi (png) -> 109 Mb | 5% repair rar | 24-bit remaster | Mono
© 1957, 2013 Verve / Universal Japan | UCCU-9945
Jazz / Bop / Cool / Third Stream

The Modern Jazz Quartet make a rare appearance on Verve Records in the 50s – splitting half the album here with the classic Oscar Peterson Trio! The live performance was recorded in Chicago, and definitely has the MJQ working in a looser vibe than on some of their late 50s recordings for Atlantic – a bit more open and swinging, in a Verve mode – with some of the bop inspiration that first showed up on their early Prestige recordings – as you'll hear on the cuts "Now's The Time", "Round Midnight", and "D&E Blues". The second half of the record features live material from Oscar Peterson's hip group with Herb Ellis on guitar and Ray Brown on bass – that great drum-less lineup that really lets Oscar take off on piano – on tunes that include "Big Fat Mama", "Should I Love You", "Indiana", and "Elevation".

Whatever Norman Granz was using as a thinking man's energy drink in 1957 when he formulated this Jazz at the Philharmonic all-star band should be bottled and sold to the world. This stroke of genius was manifested in pairing Stan Getz with J.J. Johnson, backing them up with pianist Oscar Peterson's legendary trio including bassist Ray Brown and guitarist Herb Ellis, and adding MJQ drummer Connie Kay to this truly classic jazz sextet. Two JATP concerts done in Chicago (in stereo) and Los Angeles (in mono) comprise this expanded edition CD, with some stretched-out jams, repeat tunes, and extra material. Originally tabbed as an unusual teaming of tenor sax and trombone, the two principals sound well-suited, very compatible in their dynamic levels, and especially congruous when they play together, while Peterson is absolutely supportive so that these two giants of jazz can cut loose…

Taken from a Jazz at the Philharmonic tour, Ella Fitzgerald is backed by pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer Jo Jones on two well-rounded sets. Actually, the two dates are quite similar, with eight of the nine songs being repeated (although the second "Stompin' at the Savoy" and "Oh, Lady Be Good" find her backed by a riffing eight-horn all-star group), so this album is mostly recommended to her greatest fans. However, the music is wonderful, there are variations between the different versions, and her voice was at its prime.

Taken from a Jazz at the Philharmonic tour, Ella Fitzgerald is backed by pianist Oscar Peterson, guitarist Herb Ellis, bassist Ray Brown, and drummer Jo Jones on two well-rounded sets. Actually, the two dates are quite similar, with eight of the nine songs being repeated (although the second "Stompin' at the Savoy" and "Oh, Lady Be Good" find her backed by a riffing eight-horn all-star group), so this album is mostly recommended to her greatest fans. However, the music is wonderful, there are variations between the different versions, and her voice was at its prime.

Alva Noto & Ryuichi Sakamoto share recordings of their show at Sydney Opera House in 2018, yielding 80 minutes of sublime, glassy electronics; minimal but full of that light-handed emotive brilliance Sakamoto seems to always supply so generously, and with such little effort. Gorgeous, moving music.

Like the Mona Lisa for the Louvre, Keith Jarrett's Köln Concert is a showcase for ECM. With 4 million copies sold, it is not only the biggest success in the label's history but also the best-selling piano solo album! And many of those who bought this live recording, recorded on January 24, 1975 in the Cologne Opera House, did not yet own a jazz album in their record collection.