Oscar Peterson was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson’s speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson’s distinctive playing formed during the mid- to late ’40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn’t evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his career; certainly it can be said that Peterson played 100 notes when other pianists might have used ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music. As with Johnny Hodges and Thelonious Monk, to name two, Peterson spent his career growing within his style rather than making any major changes once his approach was set, certainly an acceptable way to handle one’s career. Because he was Norman Granz’s favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson made an incredible number of albums. Not all are essential, and a few are routine, but the great majority are quite excellent, and there are dozens of classics. (by Scott Yanow)
Oscar Petersons relationship with Ray Brown had begun in 1949, when both performed together at Carnegie Hall during one of Norman Granzs Jazz at the Philharmonic concerts. From 1950 to 1952, Granz would often record the two musicians in a duo format, or even in trio, with Barney Kessel or Irving Ashby on guitar. From then on both would play and record in many formats, under Petersons name, multiple JATP concerts or backing such stars as Billie Holiday, Charlie Parker, Ella Fitzgerald (who was Browns wife), Lester Young or Ben Webster, to name just a few.
This release presents a rarely heard concert by Oscar Peterson in Yugoslavia. Brilliantly recorded, it is a perfect example of the interaction and mutual understanding of the Peterson – Brown – Thigpen unit, which would break apart in mid-1965. (
Personnel:
Ray Brown (bass)
Oscar Peterson (piano)
Ed Thigpen (drums)
Alternate frontcover:
Tracklist:
01. Les Feuillles Mortes (Autumn Leaves) (Prévert/Mercer/Kosma) 5.33
02. Tenderly (Lawrence/Gross) 7.42
03. Where Do We Go From Here (Robertson) 7.43
04. Cubana Chant (Bryant) 7.47
05. Waltz For Debbie (Evans) 5.35
06. It Ain’t Necessarily So (Gershwin) 4.35
07. I Want To Be Here (Getz) 8.22
08. The Golden Striker (Lewis) 7.31
Oscar Emmanuel Peterson (August 15, 1925 – December 23, 2007)