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Louis Armstrong Meets Oscar Peterson CD
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Cette rencontre de Titans va tellement de soi, sonne avec un tel "naturel", qu'on en oublierait presque avoir affaire là à l'un des quelques sommets inégalés du classicisme middle-jazz dont le label Verve s'était fait une spécialité au milieu des années 50. Le lyrisme solaire de Louis Armstrong, son phrasé elliptique, concis, sa sonorité rugueuse et éclatante trouvent, comme par miracle, leur parfait complément dans la volubilité virtuose et raffinée du piano d'Oscar Peterson. Il y a là une telle évidence musicale, un tel plaisir de jouer ensemble, une telle décontraction qu'on ne parvient jamais à saisir qui se met au service de l'autre. Un modèle de connivence. --Stéphane Ollivier
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Le trio d' Oscar Peterson se révèle un parfait écrin pour la voix et la trompette de Satchmo.
Pour moi, c'est un de ses meilleurs albums, rempli de swing tout en finesse.
A ne pas manquer, la longue et voluptueuse version de "Let's Do It" qui clôt le programme.
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A fitting intro to this recording.Satchmo is not encumbered by that saccharine pop stuff of his later years, nor is he too Bourbon Street to bear. Instead, he swings gracefully, wittily, almost effortlessly from track to track, contributing some growls where needed, a little soulful commentary now and then, and, of course, that smile that one almost see in his voice.
He tackles these standards in a mellow but never vapid way; you've heard most of these songs before, but Armstrong makes you want to listen, makes you hum a little in the car, a few finger pops, and, of course, you find yourself singing along.
O.P.'s trio is exactly what Armstrong needed for an outing like this. As always, they absolutely swing, with wonderful licks from Herb Ellis, Ray Brown's steady but playful bass, and some brushes and softly pulsing rhythm from guest drummer Louie Bellson.
Ah, and there's Oscar himself, as relaxed as Armstrong, as casual, even as restrained, because, like Satchmo, on this recording Oscar does not even begin to lapse into self-indulgence or caricature-- as both artists at times tend to do. Nope, O.P. just runs the keyboard in a manner that seems to steady and support Armstrong. These two giants share the spotlight here, with respect for each other and for the music.
The Trio(plus one) is in sweet form here. Satch sings up a quiet storm, and even contributes a few licks on that always startling, always shining trumpet of his.
Buy it. Add to your O.P. collection, or to your Armstrong collection. Or begin your collection of either or both masters.
This is a no-brainer.
How can you define real greatness? How can something so singular and sublime be defined with mere words? This recording speaks for itself. Simply put, this is one hell of an effort, a collaboration of the highest nature. If you are a fan of jazz, a fan of great music, then place your order today.
When this album was first cut back in October of 1957, fans, critics and musicians alike were at first a bit apprehensive & sceptical. Many of the so-called experts of the day considered it an unwise move for both Satchmo and Peterson's trio. Sure, they had all cut a classic recording with Ella a year before. But Pops, the king of the dixieland era on his OWN with O.P. and the boys was looking like an unwise partnership. It was viewed as a potential regressive step down for the latter, and too unsuitable a step for the former (a simple case of biting off more than one can chew). But Armstrong would prove all the critics wrong again (of course with a little help from his friends)! Satch proved yet once again that he could play and croon with anyone, anytime, anywhere. And the results were magical!
We dont get to hear Pops on his trumpet a whole lot (however his opening trumpet solo on "You Go to My Head" leaves me in goosebumps every time I hear it!), but we do get to hear his serene and sandy voice backed by one hell of a great quartet - Peterson (piano), Herb Ellis (guitar), Ray Brown (bass), and Louis Bellson (drums) - all playing in top form. Ellis in particular gives such an understated performance on this one, especially the way he plays with the great Ray Brown on bass.
I could write pages for ages about this one and still not do it justice. One reviewer complained about the hiss in the background, but I only heard that slightly on two songs and not enough to complain or dock it even one tenth of star. This one is legendary! This one is definitely worth every penny and then some! If you don't own it yet, order it today.