| | Oscar Peterson Night Train CD Oscar Peterson Discography of CDs
 (4 Customer Reviews)
Master jazz pianist Oscar Peterson had his longest-running trio with bassist Ray Brown and drummer Ed Thigpen, and NIGHT TRAIN may be their finest moment. The repertoire here is comprised mostly of standards, although the choices seem deliberate. In treatments of jazz chestnuts like "C-Jam Blues" and "Georgia On My Mind," the trio works inside these well-known songs, painting over familiar colors and re-working traditional melodies, while staying true to the spirit of each tune. The chemistry between Thigpen, Brown, and Peterson is unassailable. Peterson, in particular, is at the top of his game here, running the whole history of jazz through his dexterous, nimble fingers with an in-the-pocket ease not always apparent on his earlier recordings.
NIGHT TRAIN was produced by Norman Granz, who had already sold Verve Records to MGM, but continued to record his favorite artists, of whom Peterson was one. The production is superb, and translates especially well via remastering. The Verve re-issue features additional tracks, including alternate takes, rehearsals, full versions of "My Heart Belongs to Daddy" and "Volare," and an incomplete take of Charlie Parker's "Now's the Time." New packaging, expanded liner notes, and photographs make the 1997 CD version of NIGHT TRAIN a keeper.
Additional Tracks
Recorded at Radio Recorders, Hollywood, California on December 16, 1962.
Oscar Peterson Trio: Oscar Peterson (piano); Ray Brown (bass); Ed Thigpen (drums).Down Beat (9/97, p.54) - 4 stars (out of 5) - "...[Peterson's] speed and flow are spotlit and the trio fits together with unparalleled grace..." Oscar Peterson Night Train Songs Purchase Night Train CD To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
Night Train
 $6.39  
With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, the innovative voicings and rarefied touch of pianist Bill Evans, the electrifying presence of Coltrane and Cannonball--that some thirty-plus years after its initial release, KIND OF BLUE is still recognized as Davis' point of departure towards jazz's less-explored regions.
Bill Evans' translucent chords and Paul Chambers' famous bass line herald the revolution that is "So What": Davis and Evans' taut, coiled lyricism stands in sharp relief to the saxophonists' labyrinthine elation. The fat, shimmering beat of the classic Evans/Chambers/Cobb rhythm team is an oasis of calm throughout the ...
| | Dave Brubeck Time Out CD (1959) Remastered
Night Train
$6.55
Dave Brubeck's TIME OUT ranks alongside Miles Davis' KIND OF BLUE as one of the few advanced jazz masterpieces to achieve great commercial success. In fact, the widespread popularity of TIME OUT, with its cool-toned ambience, smooth style, and elements borrowed from classical music, helped make modern jazz a mainstream phenomenon.
The ubiquitous "Take Five" may be overplayed, but that doesn't diminish the joy of its complex melodic hooks, its perfectly executed solos, or the swinging slink of its 5/4 signature. "Blue Rondo a la Turk" collages Mozart, cool swing, and Brubeck's own classically oriented ...
| | Oscar Peterson We Get Requests CD (1964)
Night Train
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| | Cannonball Adderley Somethin' Else CD (1958) Remastered
Night Train
$9.29
The Rudy Van Gelder Edition of SOMETHIN' ELSE includes an essay by Bob Blumenthal.
The track "Bangoon" is the correct title for the track "Allison's Uncle" that was originally included as a bonus on previous editions of SOMETHIN' ELSE.
Digitally remastered using 24-bit technology by Rudy Van Gelder.
This is part of the Blue Note Rudy Van Gelder Editions series.
When alto saxophonist Julian "Cannonball" Adderley, a high school band director from Florida, passed through New York with brother Nat during a school break, he found more excitement than he was counting on. After Julian offered to sit in for a late reedman, the session's leader, bassist Oscar Pettiford confronted him with the challenging changes of "I'll Remember April," at a breakneck tempo designed to humiliate the young upstart. Instead, Adderley responded with a solo that became the talk of the town; within days, his recording career had begun, and within a year he was able to give up his teaching job to front a full-time band.
Adderley gave up his own band in 1957 when he had the opportunity to become a sideman in Miles Davis' epic ensemble with John Coltrane, resulting in some of the greatest jazz recordings of all time (including MILESTONES and KIND OF BLUE). Davis returned the favor in March of 1958, appearing as a sideman on Adderley's all-star quintet date for Blue Note, and the resulting ...
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Universal.
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Live Recording
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******astor has been featured on electronic radio shows thoughout the country, from WUNH to Chicago's WNUR and California's "Morning Becomes Eclectic" on KCRW. They have also had their tracks "Mr. Burns" and "the Other Side of the Knot" featured on The Keyboard Corner Volume 4. This inclusion culminated in astor being featured in the Unsigned Artist of the Month column in KEYBOARD MAGAZINE (June 2003). *******Michele Doucet (aka 'astor') has been composing music for the past seven years covering the electronic spectrum ...
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