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| Oscar Peterson Plays Duke Ellington |
| Oscar Peterson |
első megjelenés éve: 1986
66 perc |
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| (2000)
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CD |
Kérjen
árajánlatot! |
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| 1. | Main Stem
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| 2. | In a Sentimental Mood
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| 3. | Lady of the Lavender Mist
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| 4. | Don't Get Around Much Anymore
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| 5. | Satin Doll
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| 6. | Cotton Tail
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| 7. | Medley: Perdido/Caravan [Live]
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| 8. | I Got It Bad (And That Ain't Good) [Live]
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| 9. | Things Ain't What They Used to Be [Live]
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| 10. | Take the "A" Train [Live]
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Jazz / Bop, Jazz Instrument, Piano Jazz
Recorded: Jul 1, 1967-Nov 14, 1986
Oscar Peterson - Piano, Original Session Producer
Buster Cooper Trombone
Cat Anderson Trumpet
Chris Columbus Drums
Chuck Connors Trombone
Chuck Stewart Photography
Clark Terry Trumpet
Cootie Williams Trumpet
David Luke Remixing
David Young Bass
Dizzy Gillespie Trumpet
Don Hahn Engineer
Duke Ellington Piano
Ed Green Engineer
Eddie "Lockjaw" Davis Sax (Tenor)
Harry Carney Saxophone
Herb Jones Trumpet
Jamie Putnam Art Direction
Jimmy Hamilton Saxophone
Joe Pass Guitar
John Lamb Bass
Johnny Hodges Saxophone
Ken Dryden Liner Notes
Kirk Felton Remastering
Louis Hayes Drums
Martin Drew Drums
Mercer Ellington Trumpet
Niels-Henning Orsted Pedersen Bass
Norman Granz Original Session Producer
Paul Gonsalves Saxophone
Phil Edwards Engineer
Russell Procope Saxophone
Sam Jones Bass
Val Valentin Engineer
Duke Ellington's music has long excited Oscar Peterson. So when Pablo, in 1999, decided to assemble a collection of Peterson's interpretations of Ellington favorites, the label had a lot to choose from. Spanning 1967-1986, this collection of Norman Granz-produced Pablo sides reminds us how rewarding a combination Peterson's pianism and the Duke's compositions can be. The most obscure piece on the CD is "Lady of the Lavender Mist," which Ellington recorded in 1947 and quit playing altogether in 1952. But most of the gems that Peterson interprets are well-known standards; even those with only a casual interest in jazz are likely to be familiar with "Cotton Tail," "Satin Doll," "Don't Get Around Much Anymore," "In a Sentimental Mood," and "I Got It Bad and That Ain't Good." Not all of the songs were actually written or cowritten by the Duke: "Take the A Train" is a Billy Strayhorn composition, while "Things Ain't What They Used to Be" was written by his son Mercer Ellington. But all of the songs were, at some point, in the Duke's repertoire, and even the songs that he didn't write himself were written or cowritten by those he employed. This CD isn't the last word on Peterson playing the Ellington songbook: He was playing Ellington's music long before signing with Pablo, and continued to perform it long after leaving the label in 1986. But it's a fine collection that Peterson's admirers will enjoy.
---Alex Henderson, AMG
Oscar Peterson
Active Decades: '40s, '50s, '60s, '70s, '80s, '90s and '00s
Born: Aug 15, 1925 in Montreal, Quebec, Canada
Died: Dec 23, 2007 in Mississauga, Ontario, Canada
Genre: Jazz
Styles: Bop, Swing, Mainstream Jazz
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.
Peterson started classical piano lessons when he was six and developed quickly. After winning a talent show at 14, he began starring on a weekly radio show in Montreal. Peterson picked up early experience as a teenager playing with Johnny Holmes' Orchestra. From 1945-1949, he recorded 32 selections for Victor in Montreal. Those trio performances find Peterson displaying a love for boogie-woogie, which he would soon discard, and the swing style of Teddy Wilson and Nat King Cole. His technique was quite brilliant even at that early stage, and although he had not yet been touched by the influence of bop, he was already a very impressive player. Granz discovered Peterson in 1949 and soon presented him as a surprise guest at a Jazz at the Philharmonic concert. Peterson was recorded in 1950 on a series of duets with either Ray Brown or Major Holley on bass; his version of "Tenderly" became a hit. Peterson's talents were quite obvious, and he became a household name in 1952 when he formed a trio with guitarist Barney Kessel and Brown. Kessel tired of the road and was replaced by Herb Ellis the following year. The Peterson-Ellis-Brown trio, which often toured with JATP, was one of jazz's great combos from 1953-1958. Their complex yet swinging arrangements were competitive -- Ellis and Brown were always trying to outwit and push the pianist -- and consistently exciting. In 1958, when Ellis left the band, it was decided that no other guitarist could fill in so well, and he was replaced (after a brief stint by Gene Gammage) by drummer Ed Thigpen. In contrast to the earlier group, the Peterson-Brown-Thigpen trio (which lasted until 1965) found the pianist easily the dominant soloist. Later versions of the group featured drummers Louis Hayes (1965-1966), Bobby Durham (1967-1970), Ray Price (1970), and bassists Sam Jones (1966-1970) and George Mraz (1970).
In 1960, Peterson established the Advanced School of Contemporary Music in Toronto, which lasted for three years. He made his first recorded set of unaccompanied piano solos in 1968 (strange that Granz had not thought of it) during his highly rated series of MPS recordings. With the formation of the Pablo label by Granz in 1972, Peterson was often teamed with guitarist Joe Pass and bassist Niels Pedersen. He appeared on dozens of all-star records, made five duet albums with top trumpeters (Dizzy Gillespie, Roy Eldridge, Harry "Sweets" Edison, Clark Terry, and Jon Faddis), and teamed up with Count Basie on several two-piano dates. An underrated composer, Peterson wrote and recorded the impressive "Canadiana Suite" in 1964 and has occasionally performed originals in the years since. Although always thought of as a masterful acoustic pianist, Peterson has also recorded on electric piano (particularly some of his own works), organ on rare occasions, and even clavichord for an odd duet date with Joe Pass. One of his rare vocal sessions in 1965, With Respect to Nat, reveals that Peterson's singing voice was nearly identical to Nat King Cole's. A two-day reunion with Herb Ellis and Ray Brown in 1990 (which also included Bobby Durham) resulted in four CDs. Peterson was felled by a serious stroke in 1993 that knocked him out of action for two years. He gradually returned to the scene, however, although with a weakened left hand. Even when he wasn't 100 percent, Peterson was a classic improviser, one of the finest musicians that jazz has ever produced. The pianist appeared on an enormous number of records through the years. As a leader, he has recorded for Victor, Granz's Clef and Verve labels (1950-1964), MPS, Mercury, Limelight, Pablo, and Telarc.
---Scott Yanow, All Music Guide |
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