Some lovely bass work on that one Mat. Something I have only recently learnt to appreciate.
John. More More 10.
I posted this on LOVELY PIECE but it could well have been LATE NIGHT or here. So I am repeating myself. I said I am......................................
I'd give the Getz/Coltrane collaboration a solid 10/10. Quite a combination, with Getz's smoothness and Trane's driving push; combine that with Peterson on the ivories and they are simply unbeatable! I noticed that the opening notes on the piano were played by somebody else before Oscar took over the chair. Any insights into that, or was I mis-seeing things?
This is a nice one from another great sax player: http://www.youtube.com/watch?feature=player_detailpage&v=ld92Fa9sn6g
Thanks, Gord, that looked very strange at first blush, though I'm sure both Kelly and Peterson agreed to it beforehand. I guess they were pulling a prank or something for laughs?
Exquisite chemistry between Getz and Barron--whom I had never heard before--and I really enjoyed his improvisations on the piano. Of course--as always--the lush, rich sound of Getz. All adds up to an 8/10 in my book.
I love how on this next piece {in mono, mind you!} Trane effortlessly segues from tenor sax at its onset to soprano sax at the end. Also, I really dig how driving a force Tyner is when he takes over the main riff on piano. Elvin Jones on drums and Steve Davis on bass add the crowning touches to this masterpiece: http://www.youtube.com/watch?feature=player_detailpage&v=H_uO_UbBEAg
I missed Tyner's comping throughtout Coltrane's solo. It really would have added to the piece. Other than that it's a fine track, especially the soprano part. 8/10.
Here's Robbie Williams singing One For My Baby with Bill Miller (Sinatra's pianist for over fifty years) on piano.
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