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At Newport
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2 of 2 people found the following review helpful
on 28 December 2007
If I carry on like this, I'll end up buying the entire Newport 1957 series...

This is another hot gem - first the Oscar Peterson trio lights the fire with some really well tuned in and hot playing, starting with "Will You Be Mine" and ending with Monk's "52nd Street Theme", another showstopper... I can see why are Oscar, Ray Brown (b) and Herb Ellis (g) considered one of the best trios in the history of jazz (equal, for instance, to Benny Goodman's trio with Hampton and Wilson)...

And then come Jo Jones (dm), Sonny Stitt (ts,as) and Roy Eldridge (tp) to make things even more hot and swinging, jamming with Oscar's trio like mad on "Monitor Blues" and "Roy's Son", but also giving subtle performances on "Willow Weep for Me" (Roy) and "Autumn in New York" Sonny)...

This is mainstram jazz at its best or, as liner notes author Bill Simon put it at the time : "The style?...Let's call it not Dixieland, sometimes bebop, and sometimes something else."
I only wish that original liner notes were complemented with a fresh look at these great jazz performances, and an aditional picture of two would also be nice, but that's not important when music is shining so brightly...

BTW - Roy Eldridge and Jo Jones really had a good year at Newport that time; check out "Coleman Hawkins All stars" album and "Count Basie at Newport".
And if you want to see some later but equally hot (and at balladering - subtle) work from Roy Eldridge, who happens to be one of my favorite jazz musicians, check out his collaboration with Basie on "Loose Walk" in the same, Norman Granz fashioned, festival jamming format.

To see the span and majesty of Peterson in full, you might start with the brilliant compilation " Jazz Odyssey" (meant as an accompanyiment to the book I haven't read, but I enjoyed the CD nevertheless)...
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1 of 1 people found the following review helpful
on 7 August 2014
My trumpeter of choice is Buck Clayton, for his elegance, drive and endlessly melodic improvisation. Sometimes, though, you just feel the need for something, well, dirtier, and boy, does this CD fill the bill!

Several numbers from the Peterson Trio precede the arrival of Jones. Stitt and Eldridge and the whole place, already glowing nicely, goes up in flames. The two front-liners can't help swinging, and when they are supported by the furious incandescent drive of Peterson, no-one snoozes.

This is lovely stuff when you're in that particular mood, enhanced by some manic introductions from Stitt, who may well have been under the influence at the time. At this price, it's a steal, and I'm really grateful to the previous reviewer who brought it to my notice.

Incidentally, if you like this, then on no account fail to buy the studio album called Only The Blues,with the same line-up except for Stan Levey on drums. It's fabulous!
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