Category Archives: OSCAR PETERSON
Performers: Oscar Peterson-Ray Brown-Milt Jackson
Album: What’s Up? The Very Tall Band
Record Label: TELARC
Sound Quality: LOSSLESS / FULL
Format: FLAC / mp3_256Kbps
Recording Date: November 24-26, 1998
Personnel: Peterson, Brown, Jackson, Karriem Riggins- drums.
Total Time: 58:59
Size: FLAC 366 MB / MP3 107 MB
1. SQUATTY ROO (J.Hodges) 8:17
2. SALT PEANUTS (Gillespie-Clark) 8:14
3. AD LIB BLUES (L.Young) 10:20
4. IF I SHOULD LOSE YOU (Rainger-Robin) 7:12
5. LIMEHOUSE BLUES (Braham-Furber) 6:51
6. SOFT WINDS (Henderson-Alfred) 7:59
7. THE MORE I SEE YOU (Gordon-Warren) 8:40
OSCAR PETERSON- piano
RAY BROWN- bass
MILT JACKSON- vibes
KARRIEM RIGGINS- drums
All Music Guide Review
Very Tall, the initial 1961 summit that found pianist Oscar Peterson and vibist Milt Jackson combining forces (with Ray Brown on bass), is considered by many to be among the most artistically successful collaborations in the careers of both musicians. A long 37 years later, and despite Peterson’s 1993 stroke, all three were still going strong when they hooked up as «the Very Tall Band» to play a series of dates at New York’s prestigious Blue Note. Telarc previously released one set of recordings made at the shows, simply called Live at the Blue Note, but this sequel, What’s Up?: The Very Tall Band, repeats none of the material from that album, and serves as proof that everything the trio produced on those dates — with young drummer Karriem Riggins keeping pace — was nothing less than sublime. Peterson and Jackson (who has since died, as has Brown) allow each other all the space required to stretch out, but the brightest sparks come from the spontaneous interactions. On the Dizzy Gillespie standard «Salt Peanuts,» Jackson is particularly sparkling, and Peterson makes the most of Lester Young’s simple, unhurried «Ad Lib Blues.» But when the quartet is locked into a groove together, as on «Limehouse Blues» and «The More I See You,» that’s when the specialness of this rare occasion is made clear once again. ~ Jeff Tamarkin, All Music Guide
The Very Tall Band at All About Jazz
By FRANZ A. MATZNER, Published: February 8, 2007
Like director’s cuts, material scrounged from studio archives isn’t always worthy of release. As with scenes that belong on the cutting room floor, some tracks, particularly from live performances, should remain closeted away—or at the very least held for box set bonus tracks targeting the completist.
Hearing the seven tunes presented on What’s Up?, however, reminds us that some moments should never have been allowed to slip by in the first place. Presenting previously unreleased material recorded during a three-day live performance at the Blue Note in 1998 by Oscar Peterson (then 73), Ray Brown (72), Milt Jackson (75), and a young Karriem Riggins, What’s Up? grants listeners access to three veteran musicians as they stroll their way through a loose, effervescent jam session.
A wonderful companion to the originally released material, these seven tracks provide insight into what happens when three masters take the stage without a script. The music resonates with three lifetimes of experience, and it is clear from first note to last that their individual styles were veritably made for each other. Brown’s deep swing propels each track, while Jackson and Peterson glide effortlessly through classic bop pieces like «Salt Peanuts, the blues tunes «Ad Lib Blues and «Limehouse Blues, and mellow ballads like «The More I See You.
Both Jackson and Brown passed away within a handful of years after this three-night gathering, which makes What’s Up? an important document of a historical moment near the end of these musicians’ extended, influential careers. But producer Elaine Martone has done more than resurrect an evening of music for documentary purposes. This is music of venerable character, to be enjoyed simply for the musical joy it expresses.
Album: The Very Tall Band – Live At The Blue Note
Album Artist: Oscar Peterson
Sound Quality: High
Record Label: TELARC
Year Released: 1998
This CD was recorded using Sony Direct Stream Digital & Super Bit Mapping technology.
Recorded live at the Blue Note, New York, New York from November 24-26, 1998. Includes liner notes by Alyn Shipton.
Oscar Peterson’s landmark meeting with Milt Jackson in the mid-’60s produced the very successful studio date Very Tall. They’ve played and recorded together on a number of occasions since then, joined by Ray Brown more often than not, but these live tracks recorded at the Blue Note are among their most satisfying sessions. Peterson continues his strong comeback from the serious stroke that he suffered in 1993, replacing his once ferocious tempos with an uncanny lyricism. Brown’s introduction to «Blues for JR» and his bass solo medley are superb, while Jackson remains a master of the blues. The finale of «Caravan» features drummer Karriem Riggins and brings the session to a thunderous climax. Highly recommended. ~ Ken Dryden
/Ray Brown/Milt Jackson.
The Very Tall Band: Oscar Peterson (piano); Milt Jackson (vibraphone); Ray Brown (bass); Karriem Riggins (drums).
Personnel: Oscar Peterson (piano); Milt Jackson (vibraphone); Karriem Riggins (drums).
Liner Note Author: Alyn Shopton.
Recording information: Blue Note Jazz Club, New York, NY (11/24/1988-11/26/1988).
01 – Ja-Da – (Carleton, Bob)
02 – Skj Blues – (Jackson, Milton 1923-1999)
03 – I Remember Clifford – (Golson, Benny)
04 – When Summer Comes – (Peterson, Oscar)
05 – Blues For Jr – (Brown, Ray)
06 – Nature Boy – (Ahbez, Eden)
07 – Sometimes I’m Happy – (Youmans, Vincent Millie 1898-1946)
08 – Bass Solo Medley (Full Moon & Empty Arms-The Very Thought Of You-The Work Song – (Mossman, Ted – Noble, Ray – Adderley, Nathaniel/kaye, Buddy)
09 – Caravan – (Tizol, Juan 1900-1984/ellington, E.k.)
by Richard S. Ginell
This is one of the best post-stroke Oscar Peterson sessions in the catalog, thanks in great part to the distinguished company he keeps (Ray Brown and Milt Jackson) and the stimulating atmosphere of the live setting (New York’s Blue Note club). Right from the first track, «Ja-Da,» you can tell that this is going to be a fun session, as the slippery, swinging, totally interlocked, totally assured way in which these vets react to each other kicks in immediately. Peterson’s right hand is fleet, feathery in touch, and bluesy in feel; the left providing just enough punctuation, and at 75, Jackson’s bluesy eloquence had not diminished in the least. Ray Brown’s time and placement of notes is, as usual, impeccable, and the very talented drummer in his group at the time, Karriem Riggins, provides a swinging kick for the quartet. In the spirit of democracy, each star gets a solo number — Peterson plays his ballad «When Summer Comes,» Jackson pours out a doleful «Nature Boy,» and Brown’s stream-of-consciousness medley eventually attracts the funky brushes of Riggins. But it’s always better to hear them together.
Ben Webster meets Oscar Peterson is a 1959 studio album featuring a jazz trio, led by the Canadian jazz pianist Oscar Peterson, with the tenor saxophonist Ben Webster.
«The Touch of Your Lips» (Ray Noble) – 6:20
«When Your Lover Has Gone» (Einar Aaron Swan) – 3:59
«Bye Bye Blackbird» (Mort Dixon, Ray Henderson) – 6:45
«How Deep Is the Ocean?» (Irving Berlin) – 2:36
«In the Wee Small Hours of the Morning» (Bob Hilliard, David Mann) – 3:13
«Sunday» (Chester Conn, Benny Krueger, Ned Miller, Jule Styne) – 3:57
«This Can’t Be Love» (Lorenz Hart, Richard Rodgers) – 9:51
Oscar Peterson – piano
Ben Webster – tenor saxophone
Ray Brown – double bass
Ed Thigpen – drums
They don’t come much better than Ben Webster and Oscar Peterson. And this CD demonstrates why.
From Webster’s opening on «The Touch of Your Lips» to the final notes of «This Can’t Be Love», these two great artists combined to create one of the best albums in jazz history. Its impossible to listen to this and not find yourself getting carried away. The highlight of the album, though, is Webster’s rendition of «In The Wee Small Hours of the Morning». As the liner notes state, its not surprising that Webster captures this Sinatra classic perfectly given the fact that he’d probably listened to it hundreds of times before this recording was made. All the same, the lush, lyrical, tone he achieves is simply awesome, and it lead me to wonder what a duet between Ben and Frank might’ve sounded like…….
Not only do you need to buy this album right now, when you get it you need to play it as loud as possible with all the windows open. Everyone in the world deserves to hear this one.
By D. Mataconis (Bristow, Virginia) –
Ανάρτηση αφιερωμένη στο φίλο μου Δημήτρη Τσαγανό, που στις αρχές του ’80 μου σύστησε αυτούς τους 2 γίγαντες της μουσικής!