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Last year's celebration of the 100th birthday of Duke Ellington brought a cornucopia of CD releases, which ranged from collections of old recordings by the orchestra and a miscellany of tributes by assorted contemporary jazz artists. There were some challenging and involving albums that reached store shelves.
You don't have to be a serious devotee of the Ellington catalog to find delights galore in "Oscar Peterson Plays Duke Ellington" (Pablo Records). The selections encompass a wide part of Peterson's career, even though a majority of the tracks were recorded in the 1970s.
The album opens with Peterson's stirring rendition of "Main Stem." This is a trio number, but it makes a big noise anyway. Next, "In a Sentimental Mood" is another trio version, played with Peterson's confidence and sensitive understanding of this beautiful tune.
An unaccompanied solo of an Ellington tune that will be unfamiliar to most is "Lady of the Lavender Mist," which was recorded in 1974. The album notes by Ken Dryden explain that the song was premiered by Ellington during a studio session in 1947. Seldom played afterward, it was retired from the band's book in 1952. Its a lovely melody and receives a passionate reading from Peterson.
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Another Ellington classic, "Cotton Tail," receives a spirited handling by Peterson, backed by guitarist Joe Pass, drummer Martin Drew and bassist Neils-Henning Orsted Pedersen. A 1986 live recording of a medley of "Perdido" and "Caravan" should bring smiles to the faces of avid Peterson fans.
Saving the best for last, the album's penultimate selection is a riotously enjoyable version of "Things Ain't What They Used to Be," featuring the masterful Dizzy Gillespie along with Clark Terry on trumpets, the great Eddie "Lockjaw" Davis on tenor sax, with the aforementioned Pedersen and Durham rounding out the group. Recorded in 1977 at the Montreaux Jazz Festival in Switzerland, this is a truly special performance.
Winding up what's a thoroughly entrancing album is a 1967 appearance by the Ellington band at the Hollywood Bowl. Sitting in is Peterson. Some of the great musicians then working for Ellington included Cat Anderson, Mercer Ellington, Cootie Williams, Harry Carney, Russell Procope, Johnny Hodges, Paul Gonsalves, and drummer Chris Columbus.
For those who aren't familiar with Peterson's superb work, this album would be a good introduction to one of the most important jazz pianists of the 20th century.
COMING NEXT: Dont miss next week's "Powerssound," which focuses on the just-released "Sonny Rollins: The Complete Riverside & Contemporary Recordings." This five-CD set is sure to be one of the best collections to appear in 2000, by the undisputed champ of tenor saxophonists of the 1950s. Rollins, who continues to record, turns 70 this year.
The Canadian-born pianist, lauded for decades because of his two-handed approach to jazz piano, can send shivers down a listener's spine with his bold attack at jump tunes. And he can elicit tears with his incomparable arrangements of classic ballads.
"Don't Get Around Much Anymore" will be familiar even to those who don't know Ellington. It's a prime jazz standard and here Peterson, Sam Jones on bass and Louis Hayes on drums give it a stirring rendition. From a 1975 session comes "Satin Doll," another Ellington war-horse that includes some delicious trumpet work by the awesome trumpet master Clark Terry, who will be remembered by many for his "Mumbles" recording of about 20 years ago. Terry performed with the Tonight Show band for years and still tours the country working with various groups or symphony orchestra.
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Event # 205: SPEAKING IN TONGUES
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