egroj world: Oscar Peterson • On The Town With The Oscar Peterson Trio

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Como muchos habrán notado aparte del problema de Ulozto la cuenta principal Mega ha sido suspendida, por consiguiente el blog se verá disminuido temporalmente hasta poder reestructurar y normalizar el blog. Agradezco todas las muestras de apoyo que me han brindado. Gracias por comprender.



Saturday, May 14, 2022

Oscar Peterson • On The Town With The Oscar Peterson Trio



Review by Thom Jurek
This reissue of Oscar Peterson's live Toronto recording in the Desert Island Discs series at Verve brings to light the question that jazz audiences were debating at the time. With Peterson's legerdemain rhythmic possibilities, his knotting, shimmering waves of notes, his insanely huge harmonic structures, and his dense clusters played in every solo, half the jazz populace wondered if all the swinging noodling might be a skillful medicine show while the other half considered it genius. No matter. One thing that everyone agreed on: No matter how busy his busy got -- and this album illustrates the rule since it's in a live setting -- Peterson always, always swung, particularly with Herb Ellis on guitar and Ray Brown on bass. The set opens with "Sweet Georgia Brown" and it's all bets off as to what Peterson will do next. He skitters from one melodic possibility to the next while Ellis creates a dynamic flow of fresh ideas to keep the music full and bright. There are blues here, and they are gutbucket blues. They come from Ellis' guitar during this late '50s period more than at any other time in his life. But they come from Brown and Peterson too, and that's where the argument loses the wind in its sails: Everything this trio played was rooted in a blues so pervasive, so swinging, so hot, it could not be anything but truly fine jazz. Peterson's musical appetite matched his physical stature, and it is reflected in the selections here, which all seem to segue into one another: "Should I," "When the Lights Are Low," "Pennies From Heaven," "Moonlight in Vermont," and others through to "Love Is Here to Stay." All are reinvented and reinterpreted through the science of harmonic invention and rhythmic interval unique to this Oscar Peterson Trio. And while the plates and glasses rattle and tinkle, the jazz continues to burn, full of joy and light and just a hint of smoke. In 1958 this was a night to remember; in the 21st Century it's a disc to memorize in the depths of the heart.

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Reseña de Thom Jurek
Esta reedición de la grabación en vivo de Oscar Peterson en Toronto en la serie Desert Island Discs de Verve pone de manifiesto la cuestión que el público de jazz estaba debatiendo en ese momento. Con las posibilidades rítmicas de Peterson, sus nudos, sus brillantes olas de notas, sus enormes estructuras armónicas y sus densos grupos tocados en cada solo, la mitad de la población del jazz se preguntaba si todos los fideos oscilantes podrían ser un hábil espectáculo de medicina, mientras que la otra mitad lo consideraba un genio. No importa. Una cosa en la que todos estaban de acuerdo: No importa lo ocupado que esté, y este álbum ilustra la regla, ya que es en vivo, Peterson siempre, siempre ha estado muy ocupado, particularmente con Herb Ellis en la guitarra y Ray Brown en el bajo. El set se abre con "Sweet Georgia Brown" y todo está decidido en cuanto a lo que Peterson hará a continuación. Se desliza de una posibilidad melódica a otra mientras Ellis crea un flujo dinámico de ideas frescas para mantener la música llena y brillante. Hay azules aquí, y son azules como el cubo de la basura. Provienen de la guitarra de Ellis durante este período de finales de los años 50 más que en ningún otro momento de su vida. Pero también vienen de Brown y Peterson, y ahí es donde el argumento pierde el viento en sus velas: Todo lo que este trío tocaba estaba enraizado en un blues tan omnipresente, tan swinging, tan caliente, que no podía ser otra cosa que un jazz verdaderamente fino. El apetito musical de Peterson se correspondía con su estatura física, y se refleja en las selecciones aquí, que parecen encajar una en la otra: "¿Debería", "Cuando hay poca luz", "Centavos del cielo", "Luz de luna en Vermont" y otros hasta "El amor está aquí para quedarse". Todos son reinventados y reinterpretados a través de la ciencia de la invención armónica y el intervalo rítmico único de este trío de Oscar Peterson. Y mientras los platos y los vasos suenan y tintinean, el jazz sigue ardiendo, lleno de alegría y luz y sólo un toque de humo. En 1958 fue una noche para recordar; en el siglo XXI es un disco para memorizar en lo más profundo del corazón.


Tracklist:
1 - Sweet Georgia Brown - 7:44
2 - Should I? - 5:02
3 - When Lights Are Low - 5:54
4 - Easy Listenin' Blues - 6:46
5 - Pennies From Heaven - 7:20
6 - The Champ - 5:22
7 - Moonlight In Vermont - 5:47
8 - Baby, Baby All The Time - 6:45
9 - I Like To Reconize The Tune - 4:14
10 - Joy Spring - 8:59
11 - Gal In Calico - 5:15
12 - Love Is Here To Stay -


Credits:
    Bass – Ray Brown
    Guitar – Herb Ellis
    Piano – Oscar Peterson


Label: Verve Records ‎– 314 543 834-2
Series: Verve Master Edition
Released: 1958
Genre: Jazz
Style: Hard Bop




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7 comments:

  1. Oscar Peterson is one of the musicians responsible for bringing jazz to a wider audience, and it's easy to understand why from listening to any of his instantly appealing records. He took the knuckle-busting runs of Art Tatum and wedded them to the delicate approach of Nat King Cole in a series of accomplished trio recordings, most of which are still widely available today. Not much of a pioneer, Peterson was content to play familiar songs at a consistently high level of musicianship. As a result, all Peterson records sound pretty similar, but it's difficult to argue with someone so gifted at making piano playing seem so effortless and inviting. Critics argue that this is because Peterson plays it safe, sticking to familiar songs and creating solos from a warehouse of stock riffs, but that misses the point; Peterson wasn't an innovator like Powell or Monk, but more of a stylist who was a master of various techniques in the jazz idiom.

    This live outing (so intimate you can hear glasses clink in the background) was recorded in Peterson's home country of Canada, and features what was arguably Peterson's best trio. Generally a piano-bass-guitar trio leaves too much room to fill, but Peterson is too boisterous to leave any open space and too swinging to really need a drummer in the first place. By the time of this recording the three musicians had developed an almost telepathic rapport which enabled them to flawlessly run through any tune; a daunting task, since Peterson isn't the easiest pianist to keep up with. Reportedly Ellis and Brown spent many practice sessions by themselves working through the changes, anticipating his every possible move. Good thing, since many of these tunes go off at a fearful pace. The live setting no doubt brought out the showman in Peterson, who stitches together elements of gospel, blues, and stride to create dazzling solos with his steady left hand and knuckle-busting right, entertaining at times simply because of brilliant technique.

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    1. Certainly, although on some albums, which he has shared with other musicians, such as Freddie Hubbard, he has partly gone out of his style.
      Thanks for your comment.

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  2. 𝑪𝒐𝒎𝒐 𝒆𝒓𝒂 𝒅𝒆 𝒆𝒔𝒑𝒆𝒓𝒂𝒓, 𝒎𝒆 𝒍𝒐 𝒒𝒖𝒆𝒅𝒐 𝒑𝒐𝒓 𝑴𝒓𝒔. 𝑯𝒆𝒓𝒃 & 𝑹𝒂𝒚. 𝑻𝒂𝒎𝒃𝒊𝒆́𝒏 𝒂𝒑𝒓𝒐𝒗𝒆𝒄𝒉𝒐 𝒑𝒂𝒓𝒂 𝒐𝒇𝒓𝒆𝒄𝒆𝒓𝒕𝒆, 𝒄𝒐𝒏 𝒍𝒐𝒔 𝒎𝒊𝒔𝒎𝒐𝒔, 𝑶𝒔𝒄𝒂𝒓 𝑷𝒆𝒕𝒆𝒓𝒔𝒐𝒏 [𝟏𝟗𝟓𝟓-𝟏𝟗𝟗𝟒] 𝑻𝒓𝒊𝒐 (𝑻𝒉𝒆) - 𝑨𝒕 𝒁𝒂𝒓𝒅𝒊'𝒔 (𝟐 𝑪𝒅𝒔 𝑰𝒏 𝟏). ¿𝑯𝒂𝒛𝒆́?."𝙈𝙞𝙘𝙝"𝙞́𝙨𝙞𝙢𝙖𝙨 𝙜𝙧𝙖𝙘𝙞𝙖𝙨 𝙮 𝘼𝙗𝙧𝙖𝙯🤗. 🖖😷

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    1. 𝒀 𝒚𝒂 𝒒𝒖𝒆 𝒆𝒔𝒕𝒂𝒎𝒐𝒔, ¿"𝑯𝒂𝒛𝒆́"? 𝑶𝒔𝒄𝒂𝒓 𝑷𝒆𝒕𝒆𝒓𝒔𝒐𝒏 [𝟏𝟗𝟔𝟗] 𝑻𝒓𝒊𝒐 (𝑻𝒉𝒆) 𝑾𝒊𝒕𝒉 𝑯𝒆𝒓𝒃 𝑬𝒍𝒍𝒊𝒔 - 𝑯𝒆𝒍𝒍𝒐 𝑯𝒆𝒓𝒃𝒊𝒆, 𝒑𝒆𝒓𝒐 𝒔𝒊𝒏 𝑹𝒂𝒚. 𝘼𝙗𝙧𝙖𝙯🤗. 🖖😷

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