Even from using less-than-representative sessions in some cases, Verve was able to put together a credible trumpet primer for its Jazz-Club series. We hear, for example, Louis Armstrong from his later, relaxed mid-'50s encounters with Oscar Peterson on "You Go to My Head." There are two Miles Davis tracks, first as a staccato sideman with Charlie Parker ("Au Privave") and then accompanied by the Michel Legrand big band with harp in "'Round Midnight," neither of which rank as landmarks. The EmArcys and Norman Granz Verves of the 1950s yield the largest crop of stellar trumpets -- Dizzy Gillespie, Kenny Dorham, Clifford Brown, Nat Adderley, Thad Jones (slyly quoting a Perez Prado hit on "Corner Pocket" with the Count), Roy Eldridge, and a troika of Clark Terry, Maynard Ferguson and Brownie behind Dinah Washington on "I've Got You Under My Skin." From European sources, there is some Chet Baker, Donald Byrd and supersonic Freddie Hubbard, and the film Les liaisons dangereuses yields some fine Lee Morgan on "Miguel's Party." And to its credit, Verve places the shamefully overlooked Don Ellis in the Jazz Club with his exciting, typically odd-metered, rock-tinged "Whiplash."
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AllMusic Review by Richard S. Ginell