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Kérjen
árajánlatot! |
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| 1. | You Look Good To Me
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| 2. | Let's Fall In Love
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| 3. | Someday My Prince Will Come
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| 4. | On A Clear Day
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| 5. | Waltz For Debby
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| 6. | Noreen's Nocturne
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| 7. | Never Say Yes
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| 8. | Summer Samba
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| 9. | Li'l Darlin'
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| 10. | Medley: I Concentrate On You/ I Got It Bad And That Ain't Good
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| 11. | The Lamp Is Low
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Jazz
Recorded in the Konzerthaus, Vienna, Austria, on November 9, 1968
Oscar Peterson (p)
Sam Jones (b)
Bobby Durham (d)
Oscar Peterson was already a well known figure with nearly 20 years of playing experience and multiple recordings under his belt by the time this Vienna concert was performed in 1968. After the separation of his celebrated unit with Ray Brown and Ed Thigpen in mid-1965, the Oscar Peterson Trio began a period of personnel changes. First, Ray Brown stayed and Louis Hayes filled in on drums.
An excellent, long-unavailable concert in Vienna by the Oscar Peterson Trio with Sam Jones, bass, and Bobby Durham, drums - recorded in the Konzerthaus, Vienna, Austria.
Oscar Peterson was already a well known figure - with nearly 20 years of playing experience and multiple recordings under his belt, by the time of this Vienna concert.
The set includes such iconic numbers as the opening "You Look Good to Me", "Someday My Prince Will Come" and Bill Evans' "Waltz for Debby", as well as Peterson's only known version of "Summer Samba".
Originally issued in 1994 as "The Vienna Concert" (Philology CD 34).
Originates from a fan's home taping of a European radio broadcast of a concert by the Oscar Peterson Trio in Vienna in 1968. An announcer is briefly heard over the introduction but, other than that, the only flaws occur as the recording level is occasionally overmodulated, resulting in some distortion (but not so much that it is unlistenable). In spite of the sound problems, the pianist is in top form, joined by bassist Sam Jones and drummer Bobby Durham, for a set that relies mainly on some of Peterson's favorite standards ("The Lamp Is Low" and "Someday My Prince Will Come") as well as Neal Hefti's "Little Darlin'," Bill Evans' "Waltz for Debby," and the leader's "Never Say Yes" and "Noreen's Nocturne." Compared to the immense quantity of commercial releases available by Oscar Peterson, especially live albums, this one can't be considered essential, but completists won't be disappointed with the consistently outstanding performances on this 71-minute CD.
---Ken Dryden -All Music Guide
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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