Artist: Dizzy Gillespie, Oscar Peterson
Album: All that Jazz, Vol. 150: Bebop meets Blues – A Jazz Summit on 78 rpm
Genre: Jazz
Release Date: 2023
Audio Format:: FLAC (tracks) 24 bit, 48 kHz
Duration: 59:15
Total Tracks: 20
Total Size: 350 MB

Tracklist:

1-1. Dizzy Gillespie – Night in Tunisia. (03:02)
1-2. Oscar Peterson – Jumpin’ with Symphony Sid (02:56)
1-3. Dizzy Gillespie – Cubana be (02:37)
1-4. Dizzy Gillespie – Cubana bop (03:10)
1-5. Oscar Peterson – Honeydripper (03:07)
1-6. Dizzy Gillespie – Oop Bob’Sh Bam (02:59)
1-7. Oscar Peterson – Oscar’s Blues (03:11)
1-8. Dizzy Gillespie – Ol’ Man Bebop (02:41)
1-9. Oscar Peterson – Babes in Arms: Where or when (03:25)
1-10. Dizzy Gillespie – Anthropology (02:36)
1-11. Oscar Peterson – The Sheik of Araby (02:56)
1-12. Dizzy Gillespie – 52nd Street Theme (03:02)
1-13. Oscar Peterson – Angel Eyes (02:54)
1-14. Oscar Peterson – Get Happy (02:28)
1-15. Dizzy Gillespie – Things to come (02:43)
1-16. Oscar Peterson – Willow weep for me (03:16)
1-17. Dizzy Gillespie – One Bass Hit (02:51)
1-18. Dizzy Gillespie – One Bass Hit No. 2 (02:55)
1-19. Oscar Peterson – Jubilee: Just one of those things (03:00)
1-20. Oscar Peterson – Unforgettable (03:15)

Download:

Oscar Emmanuel Peterson CC CQ OOnt (August 15, 1925 – December 23, 2007) was a Canadian jazz pianist and composer. Considered a virtuoso and one of the greatest jazz pianists of all time, Peterson released more than 200 recordings, won eight Grammy Awards, as well as a lifetime achievement award from the Recording Academy, and received numerous other awards and honours. He played thousands of concerts worldwide in a career lasting more than 60 years. He was called the “Maharaja of the keyboard” by Duke Ellington, simply “O.P.” by his friends, and informally in the jazz community, “the King of inside swing”.John Birks “Dizzy” Gillespie (/ɡɪˈlɛspi/ ghil-ESP-ee; October 21, 1917 – January 6, 1993) was an American jazz trumpeter, bandleader, composer, educator and singer. He was a trumpet virtuoso and improviser, building on the virtuosic style of Roy Eldridge but adding layers of harmonic and rhythmic complexity previously unheard in jazz. His combination of musicianship, showmanship, and wit made him a leading popularizer of the new music called bebop. His beret and horn-rimmed spectacles, scat singing, bent horn, pouched cheeks, and light-hearted personality provided one of bebop’s most prominent symbols.