Showing 37–45 of 45 results
Oscar Peterson Trio With Milt Jackson – Very Tall
Many will know the great Oscar Peterson only as a soloist or as part of a trio. But he is equally sovereign and sensitive when accompanying soloists on all kinds of instruments. And this has been proved not only by this particular Verve LP!
Shelly Manne / Bill Evans with Monty Budwig – Empathy
This album came about through a fortuitous convergence of circumstances. Shelly Manne & His Men were appearing at New York's Village Vanguard, sharing the bill with the Bill Evans Trio. Getting Riverside's permission to let the pianist participate, Creed Taylor set up a session at Rudy Van Gelder's studio with Evans and Manne sharing top billing. Manne's bass player, Monty Budwig, made up the trio.
Sonny Stitt – Sits In With The Oscar Peterson Trio
The Penguin Guide to Jazz rated the album three and a half stars out of four and wrote of the session, "they intermingle their respective many-noted approaches as plausibly as if this were a regular band (in fact, they never recorded together again) Joining hands, in a manner of speaking, in this jumping jazz endeavor are four of the fastest hands that jazz has known. We're referring, of course, to the two saxophone playing hands of the fantastically facile Sonny Stitt, and the piano playing hands of his collaborator, Oscar Peterson.
Sonny Stitt : Sonny Stitt Sits In with The Oscar Peterson Trio
Joining hands, in a manner of speaking, in this jumping jazz endeavor are four of the fastest hands of the fantastically facile Sonny Stitt, and the piano playing hands of his collaborator, Oscar Peterson.
Stan Getz – With Guest Artist Laurindo Almeida
Almeida composed the musically strongest number on this compilation and added to that he is also a virtuoso classical guitar player. Getz performs highly expressive solos but remains jazzy and favors long drawn-out improvisations.
Stan Getz & Charlie Byrd – Jazz Samba
This is the first true bossa nova album by jazz artists - the one that began the wave. The name Stan Getz can easily be substituted for bossa nova whenever the music is being discussed in jazz circles. But would audiences have ever known of bossa nova if not for Charlie Byrd? Byrd played records he'd gotten in Brazil for Getz; a session was arranged, and the results - the album hit No. 1 on the charts.
Stan Getz & Gary McFarland – Big Band Bossa Nova
The Stan Getz LPs Jazz Samba for small ensemble and the classic Focus for big band were surprisingly big sellers – so it is no wonder that Verve producer Creed Taylor, himself an arranger and fan of light, airy strings, put the two components together. The young Gary McFarland took melancholy Brazilian themes by Antonio Carlos Jobim, Joao Gilberto and Luiz Bonfa, wrote four songs himself and combined the lightfootedness of the bossa nova with the cool, toned-down emotions so typical for Stan Getz’s sound in the Sixties.
Stan Getz & Luiz Bonfa : Jazz Samba Encore!””
The music contained in this album delved somewhat deeper into the heart of Brazilian melodies. Bonfa and Jobim, the composers and famous guitarists, picked up their instruments and both they and their soloists, – Maria Toledo in particular proves herself a maestra of her country‘s music –, proceeded to delight their fans with their seemingly effortless music-making. Although he was not Brazilian and only later became a samba expert, Stan Getz fits amazingly well into this ensemble. His full tenor voice even in the upper regions and his rippling legato are wholly characteristic of his art. A delightful sound and natural rhythm – above all, rhythm! – make this record a “must” for every party.
Wynton Kelly Trio & Wes Montgomery – Smokin At The Half Note
An American jazz critic once said that Wes Montgomery was the "best thing that could happen to a guitar". Grand words, one might say quickly racking one's brains to come up with other great names. But after only a few minutes of listening to this live recording made in 1965 at the Half Note in New York, you will forget your brain-storming and concentrate on the unfused performance of this brilliant guitarist and the superb Wynton Kelly Trio. The very first number on this album, which despite its tongue-in-cheek title "No Blues" is full of the spirit of black jazz, makes plain Montgomery's unique talents. Highly-polished arching melodies, sharply-dissonant chordal runs and free improvisation displaying brilliant technique are the characteristics of this wizard of the "semi-acoustic" guitar. The quartet's thrilling mixture of Blues, Latin and Soul is as fresh, modern and compelling as it was 30 years ago. This is music which gets down to the nitty-gritty, is always cool and straight with no fuss or frills getting in the way: the message comes over clearly - and it makes the blood surge through one's veins! The almost tangible atmosphere of the recording venue and the pure sound quality further enhance this collector's item and guarantee a jazz happening of the very highest order.