The cool-toned tenor saxophone of Stan Getz proved to be the perfect partner for Oscar Peterson on this iconic meeting from 1957. His sincere interpretation of Duke Ellington’s ‘Come Sunday’, and cascading blues runs on his own ‘Chicago Blues’ are particular gems.
Whilst Pass and Pederson are exceptional talents in their own right, it is Peterson who stands out, firing on all cylinders as he joyfully romps through a mixture of originals and jazz standards. Peterson’s stint with Norman Granz’s ‘Pablo’ recording captured the pianist in the midst of a golden era of creativity, and these live recordings from 1973 with guitarist Joe Pass and double bassist Niels-Henning Orsted Pedersen are well worth seeking out. Whilst it doesn’t feature the fireworks that we come to expect from an Oscar Peterson trio album, it’s a stunning recording and a great example of Peterson’s versatility. Peterson listens to Webster intently throughout, and follows his playing unobtrusively. A follow up to their exquisite collaboration on Webster’s Soulville (released in 1957), this 1959 release sees the saxophonist ably accompanied by Oscar Peterson and his then trio of Ray Brown and Ed Thigpen (drums).Ī master in the art of ballad playing, Webster elegantly weaves his way through a set of 7 standards (a particular highlight being his treatment of ‘In the Wee Small Hours of the Morning) and provides fans of Peterson an opportunity to hear the pianist in the role of accompanist, not bandleader.
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