 | This article relies largely or entirely on a single source .(August 2015) |
| Jazz Maturity...Where It's Coming From | ||||
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| Studio album by | ||||
| Released | 1975 | |||
| Recorded | June 3, 1975 | |||
| Genre | Jazz | |||
| Length | 49:16 | |||
| Label | Pablo | |||
| Producer | Norman Granz | |||
| Oscar Peterson chronology | ||||
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| Roy Eldridge chronology | ||||
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Jazz Maturity...Where It's Coming From is a 1975 album featuring Oscar Peterson, Dizzy Gillespie and Roy Eldridge.
| Review scores | |
|---|---|
| Source | Rating |
| Allmusic |   [1] |
| The Penguin Guide to Jazz Recordings | [2] |
In a retrospective review writing for AllMusic, critic Scott Yanow wrote "The material performed for this CD reissue is just not all that inspiring—a few overly played standards and blues. Despite some good efforts by Gillespie and Eldridge, pianist Oscar Peterson easily emerges as the most impressive soloist; better to acquire the magnificent collaborations of the 1950s instead." [1]
David Roy Eldridge, nicknamed "Little Jazz", was an American jazz trumpeter. His sophisticated use of harmony, including the use of tritone substitutions, his virtuosic solos exhibiting a departure from the dominant style of jazz trumpet innovator Louis Armstrong, and his strong impact on Dizzy Gillespie mark him as one of the most influential musicians of the swing era and a precursor of bebop.
Mitchell Herbert Ellis was an American jazz guitarist. During the 1950s, he was in a trio with pianist Oscar Peterson.
At the Opera House is a 1958 live album by Ella Fitzgerald. The album presents a recording of the 1957 Jazz at the Philharmonic Concerts. This series of live jazz concerts was devised by Fitzgerald's manager Norman Granz; they ran from 1944 to 1983. Featured on this occasion, in 1957, are Fitzgerald and the leading jazz players of the day in an onstage jam session. The first half of the 1990 CD edition includes a performance that was recorded on September 29, 1957, at the Chicago Opera House, whilst the second half highlights the concert recorded on October 7, 1957, at the Shrine Auditorium, in Los Angeles. The original LP obviously included only the mono tracks (#10-18).
Amsterdam Concert is a rare live Miles Davis recording from 1957. This album was recorded at the Concertgebouw in Amsterdam on December 8, 1957, a couple of days after the recording of the movie soundtrack Ascenseur pour l'échafaud. Davis recorded the album with drummer Kenny Clarke and three French musicians: Pierre Michelot on bass, Rene Urtreger on piano, and Barney Wilen on tenor saxophone.
Oscar Peterson and Dizzy Gillespie is an album by Oscar Peterson and Dizzy Gillespie that was released in 1974. At the Grammy Awards of 1976, Gillespie won the Grammy Award for Best Jazz Performance by a Soloist for his performance on this album.
Oscar Peterson and the Trumpet Kings – Jousts is a 1974 album by Oscar Peterson, consisting of duets with the trumpeters Harry "Sweets" Edison, Jon Faddis, Clark Terry, Roy Eldridge and Dizzy Gillespie. Peterson had recently recorded individual albums with each of the trumpeters, released as Oscar Peterson and Dizzy Gillespie (1974), Oscar Peterson and Roy Eldridge (1974), Oscar Peterson and Harry Edison (1974), Oscar Peterson and Clark Terry (1975), and Oscar Peterson and Jon Faddis (1975).
Oscar Peterson and Harry Edison is a 1974 album by Oscar Peterson, accompanied by Harry "Sweets" Edison.
Oscar Peterson and Roy Eldridge is an album by Oscar Peterson, on which he is accompanied by Roy Eldridge.
The Alternate Blues is a 1980 album featuring the trumpeters Dizzy Gillespie, Clark Terry, and Freddie Hubbard, supported by a quartet led by Oscar Peterson. It was recorded at Group IV Studios, Los Angeles on March 10, 1980. With one exception, the tracks were previously unissued recordings from The Trumpet Summit Meets the Oscar Peterson Big 4.
The Trumpet Summit Meets the Oscar Peterson Big 4 is a 1980 album featuring the trumpeters Dizzy Gillespie, Clark Terry, and Freddie Hubbard, supported by a quartet led by Oscar Peterson. Outtakes from the 1980 session that produced this album were released as The Alternate Blues.
The Modern Jazz Sextet is a jazz album featuring the combined talents of Dizzy Gillespie, Sonny Stitt, John Lewis, Percy Heath, Skeeter Best and Charlie Persip. The album was conceived by producer Norman Granz for his own label, Norgran Records. Although no single album artist is credited as a bandleader for this album, Verve Records - which owns the Norgran catalogue - files it as a Dizzy Gillespie album.
Krupa and Rich is a 1956 studio album by jazz drummers Gene Krupa and Buddy Rich, released on Norman Granz' Clef Records. Krupa and Rich play on two different tracks each and play together only on "Bernie's Tune." Krupa and Rich would record again for Verve Records; their album Burnin' Beat was released in 1962.
Trumpet Kings at Montreux '75 is a 1975 live album featuring the jazz trumpeters Roy Eldridge, Dizzy Gillespie and Clark Terry recorded at the 1975 Montreux Jazz Festival. The rhythm section is led by Oscar Peterson.
Diz and Getz is an album by Dizzy Gillespie, featuring Stan Getz.
Roy and Diz is an album by trumpeters Roy Eldridge and Dizzy Gillespie, recorded in 1954 and originally released on the Clef label as two separate volumes. Selections from these sessions were also released as Trumpet Battle and The Trumpet Kings.
The Trumpet Kings Meet Joe Turner is an album by vocalist Big Joe Turner with trumpeters Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison and Clark Terry, recorded in 1974 and released on the Pablo label.
Byrd Jazz is an album by trumpeter Donald Byrd recorded in Detroit in 1955 and originally released on Tom Wilson's Transition label. The album contains Byrd's first recordings as a leader, and was later re-released as First Flight on the Delmark label.
Dale's Wail is an album by American jazz trumpeter Roy Eldridge recorded in 1953 and originally released on the Clef label.
Nothing but the Blues is the second album by jazz guitarist Herb Ellis. In the liner notes, Nat Hentoff calls it Ellis's "best album yet and one of the most directly fulfilling sessions" of 1958. In his glowing review for DownBeat, John Tynan says, "Gather 'round, children, and listen to the message of the blues. The whole story is right here in eight, eloquent preachments by as fine a quintet of wailers as can be assembled." He ends his review by calling it "One of the very best jazz albums of this year.”
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