The Harry Edison album occupies a special place in Oscar Peterson’s celebrated series of duets with trumpeters. Unlike his colleagues Dizzy Gillespie, Clark Terry, Roy Eldridge, and Jon Faddis, Edison has specialized not in the florescence of technique, but in keeping technique under wraps. Rarely playing two notes where one, or half of one, will do, Edison’s spareness contrasts with the ebullience of Peterson’s keyboard excursions. And yet, as in the scorching blues called “Basie,” he sometimes matches not only Peterson’s heat but very nearly his note count.