To call this CD (a reissue of a Pablo date) an all-star session would be an understatement. Joining pianist Oscar Peterson, guitarist Joe Pass, bassist Ray Brown, and drummer Bobby Durham are three classic trumpeters: Dizzy Gillespie, Clark Terry, and Freddie Hubbard. They clearly inspire each other (Gillespie flew in from the East Coast specifically for this date) and the music ("Daahoud," "Just Friends," the new blues "Chicken Wings," and a torrid version of "The Champ") has plenty of exciting moments.
This unassuming and delightful little album visits a time when jazz and blues were still directly entwined, drawing on the ghosts of guitarists like Charlie Christian, Eddie Durham, Bill Jennings, Tiny Grimes, Barney Kessel, and Kenny Burrell, guitarists who used the blues to enrich the jazz pieces they played on, a kind of ensemble contribution that is all too frequently missing on the contemporary blues scene. Duke Robillard, Jay Geils, and Gerry Beaudoin are all gifted guitar players, each with his own career, but as a trio working three-part harmony lines around each other, they bring a stately ensemble grace to the tracks on New Guitar Summit (the trio also appears under that name when they do live shows).
Louis Armstrong and Duke Ellington were (and are) two of the main stems of jazz. Any way you look at it, just about everything that's ever happened in this music leads directly – or indirectly – back to them. Both men were born on the cusp of the 19th and 20th centuries, and each became established as a leader during the middle '20s. Although their paths had crossed from time to time over the years, nobody in the entertainment industry had ever managed to get Armstrong and Ellington into a recording studio to make an album together. On April 3, 1961, producer Bob Thiele achieved what should be regarded as one of his greatest accomplishments; he organized and supervised a seven-and-a-half-hour session at RCA Victor's Studio One on East 24th Street in Manhattan, using a sextet combining Duke Ellington with Louis Armstrong & His All-Stars.
“The Endless Jam” by the Schenker-Pattison Summit might be considered its companion album. Schenker is of course Michael Schenker, fabulous guitarist of Scorpions, UFO and MSG. Vocalist Davey Pattison was Ronny Montrose’s sidekick in Gamma, who later joined Robin Trower’s band. Backed by Varney’s regular rhythm section of Aynsley Dunbar and Gunter Nezhoda, they go back in time to the 60’s and 70’s and tackle some of the best and best known tracks of the time. And to come straight to the point: this effort is so much better than Pat Travers’s.
"This album has been recorded live at Berlin Jazz Festival 1971 on Nov 7 in the Philharmonic Hall. Ponty is clearly the dominant force behind this extraordinary violin meeting with Harris, Urbaniak and Brantner, a follow up to his 1966 'Violin Summit' concert with Grappelli, Smith and Asmussen. Fully half of this release is dedicated to Ponty's potent compositions, including an unaccompanied exploration of "Flipping," a duet with Don Sugarcane Harris on "Astrorama," and "Violin Summit No. II," a finale featuring all four men. Unlike it's predecessor of 1966, the rhythm section is strongly fusion oriented and consists of world famous jazz celebrities. An very important example of jazz violin from the early fusion era." allmusic.com
For several years in the 1970s, Bob Wilber and Kenny Davern teamed up to co-lead Soprano Summit, a group that featured the pair doubling on clarinets and sopranos. Their appearance at the 1976 Concord Jazz Festival found the group at its peak. With Marty Grosz contributing some perfectly suitable chordal acoustic guitar and vocals, and bassist Ray Brown and drummer Jake Hanna keeping the music moving, Wilber and Davern constantly challenge each other on such hot numbers as "Stompy Jones," "Doin' the New Lowdown" and "Swing That Music." This exciting set is highly recommended. ~ AllMusic