Joe Pass

The title of this CD certainly fits the players. Pianist Oscar Peterson (who switches to organ on two of the eight selections), guitarist Joe Pass, and bassist Ray Brown would each be on literally dozens of recordings for Norman Granz's Pablo label; all are worth acquiring by fans of straightahead jazz. This particular set has three Peterson originals (including one called "Jobim"), a few veteran standards, and Quincy Jones's "Eyes of Love."

Bud Shank, Clare Fischer, Joe Pass - Brasamba! (1962) {2013 Japan Jazz & Bossa Nova Best & More Series CD08of8}
EAC rip (secure mode) | FLAC (image)+CUE+LOG -> 260 Mb | MP3 @320 -> 85 Mb
Full Artwork @ 300 dpi (png) -> 34 Mb | 5% repair rar
© 1962, 2013 Pacific Jazz / Universal Japan | TOCJ-66628 | 24bit remaster
Jazz / Bossa Nova / Cool / Latin Jazz

Reissue with the latest 24bit remastering. Features original cover artwork. Comes with a descripton in Japanese. One of the greatest albums of Brazilian jazz that Bud Shank ever recorded — done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before — but there's something about this record that really gets the whole thing right — as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion.

The second of three duet albums by Ella Fitzgerald and guitarist Joe Pass (which has been reissued on CD) finds the duo uplifting 14 superior standards with subtle improvising and gentle swing. Highpoints include the wordless "Rain," "I Ain't Got Nothin' but the Blues," "That Old Feeling," "You Took Advantage of Me" and "The One I Love"; even "Tennessee Waltz" comes out sounding like classic swing.

One of the greatest albums of Brazilian jazz that Bud Shank ever recorded - done with a style that's a lot more like some of the best bossa albums from Rio at the time! Bud's recorded in other bossa settings before - but there's something about this record that really gets the whole thing right - as Shank's alto and flute come into play with a killer combo that includes Clare Fischer on piano, Larry Bunker on vibes and drums, Joe Pass on guitar, and Milt Holland and Chuck Flores on percussion. The added percussion really brings a lot to the set - and gives it a strongly bossa-driven groove that really lets Shank take off on alto and flute solos. Fischer's piano is remarkably strong - caught at that clear early point in his career when he was such a fresh voice on the scene.

This is a tremendous recording of Joe Pass at his most elegant. His selection of tunes is marvelous and his live improvisations are sublime. Recorded just a few years before his passing he is at best, relaxed and having fun as witnessed by some of his comments included on the CD. If there is one criticism to make it's that the volume levels are a bit low, but nothing to downgrade the music itself. this was a very difficult recording to acquire but worth it if one can find it.

Guitarist Joe Pass and bassist Niels-Henning Ørsted Pedersen both play well on these live performances, but the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles on "Blues Etude" (including stride and boogie-woogie), plays exciting versions of his "Chicago Blues" and "Easy Listening Blues," tears into "Secret Love," and shows honest emotion on "Come Sunday." Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.

Ella Fitzgerald and guitarist Joe Pass teamed up in a set of duets for this album. Because the emphasis is on ballads and not all of the songs are that well suited to Fitzgerald's musical personality (particularly "Lush Life" and "I Want to Talk About You"), this set is only a mixed success. Much more successful are "Don't Be That Way" and "A Foggy Day" but this is not one of the more essential Ella Fitzgerald records.