Time: 51:39
Size: 118.2 MB
Styles: Small combo jazz, Piano jazz
Year: 1992
Art: Front
[2:25] 1. Jumpin' At Capitol
[3:18] 2. The Man I Love
[3:17] 3. Body And Soul
[2:54] 4. Prelude In C Sharp Minor
[2:55] 5. What Is This Thing Called Love
[3:09] 6. Easy Listening Blues
[2:16] 7. Sweet Georgia Brown
[3:00] 8. This Way Out
[2:53] 9. Smoke Gets In Your Eyes
[2:36] 10. Honeysuckle Rose
[2:31] 11. Rhumba Azul
[3:10] 12. Moonlight In Vermont
[2:38] 13. How High The Moon
[2:47] 14. I'll Never Be The Same
[3:11] 15. These Foolish Things
[3:18] 16. Laugh! Cool Clown
[2:34] 17. Bop-Kick
[2:37] 18. Peaches
When Nat King Cole started he had to overcome the perception that small groups were not viable entertainment (this was the big band heyday.) What he did, with two kindred spirits - Oscar Moore and Johnny Miller - was to prove that not only could a small trio be a powerhouse, but a drummer was not needed. Pretty heady stuff for the times.
The tracks on this album are not only superb examples of the virtuoso musicianship of Cole, Moore and Miller, but rivaled what was arguably the greatest rhythm section in jazz: Basie, Freddie Green, Walter Page and Papa Jo Jones. However, unlike the All American Rhythm Section, Nat's trio have to also handle melody and harmony. Their music excelled in all three, and especially harmony which set the trio apart from any other small group of not only the era, but just about any trio that has since followed.
Regarding the instruments in the ensemble: Oscar Peterson came close to achieving the same level of musicianship in his earlier trio, which included Herb Ellis on guitar and Ray Brown on bass. One of the best examples of their music (and a good comparison to this album) is Oscar Peterson Trio At The Stratford Shakesperean Festival. This same format was successfully employed by another piano great, Hank Jones, with this album showcasing yet another drummerless piano trio that set high standards: The Very Best Of 1953-1960.
However, it all started with Nat who was fortunate to have found both Johnny Miller and Oscar Moore (and Moore's later replacement, Irving Ashby.) As great as Nat was on piano Moore and Miller made significant contributions to the trio's success, and a careful listen to this album and how they played off each other will illustrate that. ~Mike Tarrani
The tracks on this album are not only superb examples of the virtuoso musicianship of Cole, Moore and Miller, but rivaled what was arguably the greatest rhythm section in jazz: Basie, Freddie Green, Walter Page and Papa Jo Jones. However, unlike the All American Rhythm Section, Nat's trio have to also handle melody and harmony. Their music excelled in all three, and especially harmony which set the trio apart from any other small group of not only the era, but just about any trio that has since followed.
Regarding the instruments in the ensemble: Oscar Peterson came close to achieving the same level of musicianship in his earlier trio, which included Herb Ellis on guitar and Ray Brown on bass. One of the best examples of their music (and a good comparison to this album) is Oscar Peterson Trio At The Stratford Shakesperean Festival. This same format was successfully employed by another piano great, Hank Jones, with this album showcasing yet another drummerless piano trio that set high standards: The Very Best Of 1953-1960.
However, it all started with Nat who was fortunate to have found both Johnny Miller and Oscar Moore (and Moore's later replacement, Irving Ashby.) As great as Nat was on piano Moore and Miller made significant contributions to the trio's success, and a careful listen to this album and how they played off each other will illustrate that. ~Mike Tarrani
The Best Of The Nat King Cole Trio: Instrumental Classics
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