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Bosh on those who say Pablo artists were "past their prime."

The label was started and overseen by Norman Granz. He recorded many of the artists he had championed in the fifties and sixties, but who had fallen out of (commercial/critical) favor with the advent of free jazz and fusion. There's some tremendous small-group Basie on the label (a little irony is the fact that Granz had resuscitated the Count's career once before, continuing to record his superb big band through the 50s after most had given up the format for dead); a wealth of stuff by Oscar Peterson; stellar sets by Ray Bryant, Joe Pass, Sweets Edison, Milt Jackson, and others. A lot of the recordings, in the tradition of Granz' productions for Norgran, Clef, and Verve, were loose jam sessions with rotating leaders, so some of the performances meander, but overall it's quality stuff, well-recorded.

Just because the alleged tastemakers in the press and industry had moved along to the next big thing doesn't automatically negate the later efforts of established masters. For my ears, just about any one of the Oscar Peterson or Ray Brown releases on this label outshines the bulk of the tepid fusion efforts that took up so much air- and shelf-space in the wake of Miles/Chick/Herbie's groundbreaking, earthshaking efforts.

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