Very Tall
What's this? Milt Jackson, the tasteful, restrained, and subtle vibraphone player meets Oscar Peterson, the busy, blazing, and emphatic pianist, for the first time? The 1961 pairing works like a charm for two reasons. First, each player adapts rather nicely to the other's style--Jackson is a bit more spirited and active overall, Peterson is a bit more low-key and leisurely (especially in support of Jackson)--without dramatically altering his own sound. Secondly and most importantly, both share a great passion for the blues and have the ability to translate this love with a balance of technical prowess and deep emotion. With the opener "On Green Dolphin Street," they seem to trade roles completely, as Jackson's energetic solo gives way to Peterson tip-toeing through the upper register during his. However, on the scintillating "Work Song," Peterson is back to his old self, raising the intensity level to great heights as only he can. And the two mine "John Brown's Body" for all the blues they can find.--Marc Greilsamer