Customer Reviews

Very Tall

5 star:		(14)
4 star:		(2)
3 star:		(1)
2 star:		(0)
1 star:		(0)

 

 

Just a perfect record. There is so much swing in this LP, and it comes out of a handful of instruments.

The vibes rule the record, but it is Peterson's piano that holds down the fort from beginning to end. Tasty bass, economic drums, and a sharp choice of tunes.

The soft intro will fool you. Two minutes in you will find yourself ready to move with it, and it doesn't let go.

I have gone through 3 copies of this record--2 vinyl and 1 CD--over the past 20 years, and I never get tired of it.

This ranks with the best of Mingus or Miles Davis, in my book.

I'm only 14 and most people would think that I listen to modern music, but no, this is the type of stuff that makes me look to the past for good music. This is one of the best albums ever, be it in Jazz or music in general.
This album is solid all the way through, starting off with the very mellow and relaxing "On Green Dolphin Street" to the last track, "Reunion Blues", probably my favorite track on the album. Oscar Peterson and Bags both really swing on this track and Ed Thigpen(drums) does a great job off backing them up. In addition to make this album even better Ray Brown is on the bass.
This album in my eyes is simply a classic; very mellow, very relaxing, very well done, and most importantly very good.

Oscar Peterson and Milt Jackson, two of the true giants of Jazz, meeting at the height of their powers - can it get any better? Probably not. Peterson is in full force, romping through "Reunion Blues" and "Work Song" as if in overdrive. Jackson adds his personal touch with incredible time and a big, big bag of arabesques, more than you can possibly think of. Even the ballads, like "A Wonderful Guy" and "On Green Doplhin Street" will make you tap your foot and long for more. The "Repeat"-button on your CD-player was invented for this record! (If you can't get enough, try the CDs "Ain't But A Few Of Us Left" and "Reunion Blues", the latter with a great rendition of "Satisfaction".)

On my list of absolutely must have CDs this one stands "Very Tall" indeed! It features three recognized Masters of their instruments: Milt Jackson - vibes, Oscar Peterson - piano, and Ray Brown - bass. How can you go wrong when you have these three together plus the skillful Ed Thigpen on drums? The answer is you can't! Highlights include "Green Dolphin Street, which starts out wonderfully moody before developing into a mid-tempo swinger; the hauntingly beautiful "Heartstrings;" and the rousing "Work Song" with Brown's sharp bowing at the beginning, Peterson's stirring piano solo and the masterful give-and-take between he and Jackson at the finale. These are just some highlights; the entire recording is a gem!

Having the good fortune of interviewing three members of this group, I must share their views with you.
Milt Jackson said:
"This is a jazz classic ! It's one of the best jazz records in the history of jazz, and in Oscar Peterson I found the swinging pianoplayer, with that blues feeling.
Ray (Brown) of course was my buddy in the Big Band of Dizzy (Gillespie) and we founded the Modern Jazz Quartet in those days.
But you see - although I loved all those years with the Modern Jazz Quartet - John Lewis is just another type pianoplayer.
Oscar swings hard, as does Ray, and this - our very first musical meeting - was just great.
Of course it was a studio recording, but we didn't feel that way.
It was like a "live" session."
Oscar Peterson:
"I think Bags (Milt Jackson) is right, it's a jazz classic and indeed: Very Tall.
Yes, I modified my style a little in John Lewis' direction, because I liked his style, but I think it's certainly me, in every way.
Of course my group was there and both Ray en Thags (Ed Thigpen) were in great shape.
I enjoyed the swingers: "Work Song" and "Reunion Blues", but there are some wonderful slow tunes on this record too.
I think there are several tracks of that session(s) still in Verve's Archives and it would be most interesting to hear these after so many years."
Ray Brown in his usual humor way:
"Of course this turned out great.
Damn, you got two of the greatest musicians in jazz on that record, so of course it turned out great.
Man we had a ball together and this record will ever be great, always, forever, period!"

Well Oscar is correct about several tracks still waiting to be released:
In fact there are 5 unissued tracks: 2 originals by Oscar Peterson and the tunes: "Seven Come Eleven", "Soft Winds" and "Like Someone In Love".
So I am begging Verve or the present owner of those masters: please bring out the entire VERY TALL sessions!
If there ever was a jazz classic that deserved it, this is it!

So jazzlovers: join me in this, write Verve or Universal, because this is jazz history and all of this music must be out.

Arnold van Kampen, jazz writer, discographer, etc., etc.

When you read the two names on the cover you immediately get excited about two of the biggest names when it comes to jazz and how the collaboration will be. It does not disapoint. Although Peterson clearly adapted his play a bit to Jackson, it does not make him any less brilliant, the way he allowed Jackson to shine even more but still be able to express himself is the way only a great musician can. Jackson himself plays as he is supposed to do, as we know him. It is slightly different than in the MJQ, but then in a fresh way. The timing and choices of all of the artists are perfect.

The result is a sound fresh and uncomplicated, it is truly what two geniusses who have nothing to prove make while having fun.
Greatly recommended, to any Jazz fan.

I can't imagine why I am the first person to recommend this recording. I wore a hole in the LP years ago and now as a CD it sounds better than ever. You will need one for the house and one for the car

When vibraphonist Jackson accepted a recording date with pianist Peterson in 1961, along came the other two members of Oscar's trio, Ray Brown on bass and Ed Thigpen on drums. While bass and drums remain in the background of this excellent CD, Brown and Thigpen were great players, and add a lot to the success of this effort. The opener, "Green Dolphin Street" is relaxed, but "Heartstrings" and "Work Song" jump. Then comes the wonderful, almost eight-minute take on "John Brown's Body" that soars. The final two cuts, "A Wonderful Guy" and "Reunion Blues" are also superb. Milt and Oscar, of course, went on to do great work up to the mid-90's, but they were already old pros 41 years ago. If you have a friend who is afraid of jazz, play this for him or her. It's a perfect blend of the four instruments and a great introduction to the category.

The reunion of the "very tall band" whet my appetite for the first meeting. Musically, it doesn't disappoint. From the very first track, "On Green Dolphin Street," Oscar plays with uncommon yet swinging economy and restraint, drawing the listener in as on few other recordings (he's clearly showing the influence of both Bill Basie and John Lewis). And when he does finally explode with a torrent of notes, he's neither intrusive nor overwhelming. In fact, he's all but perfect as a complementary and solo voice on this remarkable session. And Bags is, as usual, the master of bop and blues, a peerless player of the instrument when it comes to playing a vibraharp with two mallets (Gary Burton would cut the rotators, add two more mallets, and take the instrument in a different direction). As recently as 5 years earlier, Milt was still playing with fast-spinning rotators, but by the time of this session his distinctive sound is firmly in place. (To a previous reviewer who made reference to the MJQ, if you really want to hear the MJQ minus John Lewis, check out "Bags and Trane.")

One caveat: the audio on this most recent edition is a disappointment. Apparently Verve was enamored of the novelty of "stereophonic sound" at the time of recording because the separation is so extreme the principals could be playing in separate rooms. Oscar's piano sound is squeezed and even slightly distorted; Ed Thigpen's drums lack dispersion and upper-register presence. In fact, there's a slightly "canned" quality to the overall sound, making you want to take the lid off. I have a hunch that if Verve sensed a sufficient market for this recording, they could do wonders by it in terms of refreshing the sound. (Sometimes it's worth paying a premium for a Japanese or Spanish import. Other countries are more likely to view the project of restoration as worth the time and money.)

When two top stars play together, they often compete, to the loss of the listener. Bags and Oscar complement and support each other beautifully.

Green Dolphin Street is very tastefully done.
Work Song is irresistable.
John Brown's Body is addictive music.
I hear elements of Bag's Groove in Reunion Blues.

Jazz doesn't get any better than this.