The Trio is a 1973 live album by Oscar Peterson, Joe Pass and Niels-Henning Ørsted Pedersen. At the Grammy Awards of 1975, The Trio won the Grammy Award for Best Jazz Performance by a Group. In his Allmusic review, critic Scott Yanow complimented the playing of Pass and Pedersen, but wrote "the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles… Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period."
Guitarist Joe Pass and bassist Niels-Henning Ørsted Pedersen both play well on these live performances, but the reason to acquire this set is for the remarkable Oscar Peterson. The pianist brilliantly investigates several jazz styles on "Blues Etude" (including stride and boogie-woogie), plays exciting versions of his "Chicago Blues" and "Easy Listening Blues," tears into "Secret Love," and shows honest emotion on "Come Sunday." Peterson really flourished during his years with Norman Granz's Pablo label, and this was one of his finest recordings of the period.
Helge Sunde is a 44-year-old Norwegian trombonist and composer who often works with jazz/classical composer Geir Lysne, sounds as if he checks out Hermeto Pascoal, Django Bates, Carla Bley, and British jazz and TV composer Colin Towns – and who has produced a cracker of a contemporary big-band album with this set. Sunde's Denada ensemble has produced powerful work before, but the balance of moods, melodic variety and arranging ingenuity on Finding Nymo (the sax-playing Nymo brothers Frode and Atle are star soloists) ought to raise his standing outside continental Europe. He throws listeners off the big-band scent with the eerie vocoder whispers at the start, but busy phrase-swapping between the horns, and arrhythmic ensemble riffs with solo-sax wails rising out of them introduce a Django Bates feel. When In Rome is a hooting, swaggering theme with revving engines and street noise, Valse Triste starts like a funeral lament and turns into a demonically waltzing dance, and the title track begins as tentative, sputtery improv, then coalesces into a melody.