Oscar Peterson Trio – The Greatest Jazz Concert In The World ’67 – vinyl

Oscar Peterson Trio - The Greatest Jazz Concert In The World '67 - vinyl

from vinyl http://www.discogs.com/Various-The-Greatest-Jazz-Concert-In-The-World/release/4307096 Recorded June 28,29 and July 1, 1967 Oscar Peterson Trio Osc…

7 thoughts on “Oscar Peterson Trio – The Greatest Jazz Concert In The World ’67 – vinyl

  1. caponsacchi

    I wonder if jazz fans do the music favors by the C&W and rock-addicted
    majority of listeners when they keep using such hyperbolic language. For a
    while “The Greatest Jazz Concert in the World” was the title of an album
    featuring Charlie Parker, Dizzy Gillespie, Bud Powell, Charles Mingus and
    Max Roach. And the most important concert in the career of jazz’ foremost
    Maestro was “Duke Ellington at Newport 1956.” Duke was being counted out
    by many jazz hipsters (“doesn’t swing as hard as Basie,” etc.). And at
    Newport he got off to a bad start when 4 musicians in the band were MIA. So
    Duke played a couple of tunes and stopped the band, getting permission from
    producer George Wein to come back after all of the other acts. It was 11:30
    p.m. by the time Duke got his chance, and what followed was the concert
    heard around the world-not only on radio but news reportage about the “jazz
    riot at Newport.” Duke pulled out two obscure 1980’s tunes from his book-‘Diminuendo
    and Crescendo in Blue”–and announced that in between the two tunes, his
    tenor saxophonist Paul Gonsalves would play an “interlude.” (The first that
    Paul himself knew about it!)

    The “interlude” turned out to be a 30-chorus monster solo that had people
    on their feet and dancing in the aisles (with a widely publicized photo of
    a blonde disrobing while dancing)–a harbinger of Woodstock and
    confirmation that from now on the most profitable and desirable venues for
    jazz musicians would be festivals–not clubs or concert halls.

    It was the best-selling record of Duke’s career, but most of the LP was a
    fraud, a fake–recorded the next day in a studio with artificial applause
    added. But the 2-CD set made in 1999 is the real deal, exactly as it went
    down–the best CD reissue of a 33 rpm LP that I’ve ever heard. It’s worth
    the price just for the liner notes, or for Duke’s Monk-like comping (while
    verbally encouraging band members), and for Gonsalves’ ability to “stay
    within himself,” remaining creative the whole time without disrupting the
    hard-swinging and contagious, dancing groove.

    As for Oscar, every concert or recording by him is the “greatest ever.”
    He’s so dominant, so consistent (he literally wore his drummers out, going
    through a new one every 5 years–one of the reasons he and Ray stuck with a
    guitarist–1st, Barney Kessel and then Herb Ellis–for almost 10 years
    before replacing Herb with a drummer (Ed Thigpen) in 1959. Drums forced
    Oscar to reign in some of his drive and swing (along with his manic
    vocalizing), but they also made his music “accessible” to more people.?

    Reply

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