- Bernardo
- Vicky’ Dream
- Just Squeeze Me
- What is There to Say?
- Salute to Charlie Christian
- I Let a Song Go Out of My Heart
- Lullaby of Birdland
- Seven Come Eleven
- Night and day
- Long Ago and Far Away
- Somebody Loves me
- Strike Up the Band
- ‘S wonderful
- I Got Rhythm
- Love Walked In
- Tenderly
Tracks 1 to 7 & 16
Barney Kessel- Guitar
Bud Shank – Alto Sax & Flute
Arnold Ross – Piano
Harry Babbasin – Bass
Shelly Manne – Drums
Remaining Tracks
Kessel – Guitar
Oscar Petersen – Piano
Ray Brown – Bass
The tracks with Oscar Petersen were recorded in 1952
and those with Bud Shank in 1953.
This portrait series is a very mixed bag, some of
the records are mis-named, some of the personnel information obviously
in error, but it does offer some very good value for money jazz and
has brought back to the market music which may have disappeared without
trace. This release is excellent however; Barney Kessel is for me
the best guitar player the jazz world has ever produced. I heard him
with a trio in Paris in the 1960’s and was absolutely stunned by the
quality of his performance. Technical excellence, long flowing lines
and the ability to sound comfortable at any tempo and at any tune
are rare commodities. On the first session he is paired with Bud Shank,
another superbly talented musician, he plays both alto sax and flute
with equal brilliance throughout. As if that isn’t enough there is
also the great talents of Arnold Ross on piano and Shelly Manne on
drums.
On track 8, the series has another of its lapses;
there is a drummer and a soprano player who are not listed. In fact
track 8 is not acknowledged on the sleeve at all, it is a mystery
track! Track 9 is in fact Seven Come Eleven and all the following
track numbers are one adrift from what is given on the sleeve. This
does not spoil the musical enjoyment however, of the tracks with what
was obviously the Oscar Petersen Trio, which Barney Kessel was a part
of at that time. Oscar is the finest pianist jazz pianist around and
his performances on these tracks ably demonstrate the fact. Another
jazz master, Ray Brown on the double bass completes the trio. It is
said Oscar had the idea for the trio from Nat Cole, whom he greatly
admired, but wherever the idea came from it was a total success. It
is strange that you don’t miss the drums, I have heard this formula
tried by lesser musicians where the drums are sorely missed, because
there is a lack of drive throughout. It doesn’t happen here, this
trio swings throughout.
Despite the usual quirks of the series, I recommend
it to all fans of immaculately played, highly swinging jazz played
by some of the best musicians the jazz world has ever produced, playing
on top of their form and you do get 17 tracks and not sixteen for
your money!
Don Mather
CD Reviews
BLUE Classic line saban crescendo 7267 
