Go ahead-make a list of the All Time Top 100 Movies. Then ask the question, “What actor/actress has been in most of them?” Most people will guess John Wayne, James Stewart, Tom Hanks.
You know who it was? Ward Bond.
There was just something about him that made him fit right into every classic film made.
That’s how it was with pianist Oscar Peterson. He and his various trios (usually with Ray Brown/b and Herb Ellis/g, but sometimes with Ed Thigpen/dr) were essentially the “house band” for Verve Records when that label was the home to the best straight-ahead jazz on the earth. This four disc set gives 323 minutes from eight classic albums with Peterson as the foundation, and it swings like nothing else.
The first disc features the classic 1957 summit of Peterson’s classic trio and drummer Louie Bellson with none other than Louis Armstrong, catching Satchmo during his Renaissance, golden in voice for pieces like “What’s New?” the agonizing “You Go To My Head”. The trio of Peterson, Brown and Thigpen in lyrical fashion on “My Heart Stood Still” and sublimely bopping on “Con Alma”.
Disc two has Peterson at the 1957 Newport Jazz Festival with his trio plus Basie drummer Jo Jones with bopper Sonny Stitt/as and swinger Roy Eldridge/tp. The team jams and gels on a steaming “ Monitor Blues” and “Roy ‘s Son” with Eldridge expressive on “Willow Weep For Me” and Stitt bel canto on ”Autumn in New York”. Stitt returns on tenor and alto for some hard core bebopping on “Au Privave” and “Scrapple From the Apple” and the team going to Kansas City of “Moten Swing”.
The third disc features what is arguably Peterson’s best record, a 1958 “live” recording form Toronto with the Ellis/Brown team in sync like horses from Ben-Hur. Peterson creates an almost seamless selection, as his clever twists of harmonies, melodies and rhythm seem to come from way beyond on “Should I”, “When Lights Are Low” and “Pennies From Heaven”. From 1961, Milt Jackson brings his good vibes to the Peterson/Thigpen/Brown combo for one of the hardest swinging sessions you’ll ever come across. The team sizzles on “The Work Song” and “John B rown’s Body”.
For the fourth disc, Peterson and his Ellis/Brown team are caught in a collection of concert sessions from Chicago and Los Angeles, and show what a long standing team is capable of doing as they seem to read each other’s minds on “Bud”, “The Lady Is a Tramp” and “Daahoud”. Last but not least is a one off big band that includes Cannonball Adderley/as, James Moody/ts and Roy Eldridge/tp working t hrough some swinging Ernie Wilkins arrangements on “West Coast Blues” , “Tricotism” and “Manteca”.
My only advice for the uninitiated is to take this feast in small bites, or you might get overpowered by the high caloric content, ending up in a high protein coma.