Oscar Peterson - Marian Mcpartland's Piano Jazz
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CD Details
Artist: Oscar PetersonEdition: Music CD
CD Release Date: 2002-08-27
Music Label: Jazz Alliance
Soundtracks:
- Old Folks
- Conversation
- Place St. Henri
- Conversation
- Like Someone In Love
- Conversation
- Body And Soul
- Conversation
- Emily
- Conversation
- Take The 'A' Train
- Conversation
- Falling In Love With Love
- Conversation
- Willow Creek
- Conversation
- Cotton Tail
Music reviews of Marian Mcpartland's Piano Jazz
Music Review: Words and Music (if only it were this easy)
Rating: 5 Stars
Marian's session with Oscar probably belongs with the program she made with Bill Evans as among the most indispensable editions of "Piano Jazz." Oscar is as eloquent, fluent, and smooth verbally as he is pianistically--a striking contrast from the more modest and deliberative comments of Bill. There's no small amount of "exhibitionist" patter and banter to go along with the dazzling pianistics--and why not? If there's any musician for whom a pose of modesty would seem unbecoming, it's the prodigious Oscar.
One of the delightful moments occurs when Oscar does, in fact, hint at his competitive instincts and take-no-prisoners approach. He reveals that even with his best trios all three musicians would take the stage each night with the attitude of "I'm going to waste the other guy." And when Marian says some nice things about George Shearing's pianistic skills, Oscar comes back with a story about George being flummoxed by an Oscar Peterson performance. Even as he tells the story, Oscar's voice takes on the triumphant, gleeful tone of the reigning and unassailable king. He also reveals a little trick he does with playing "clashing" half-steps in the melody for a fuller sound (a page out of the Thelonius Monk technique book! and from one of Monk's most dismissive critics!).
About the music itself and its listeners, Oscar makes it clear that he takes nothing for granted. The music is both his hobby and his profession, and he works relentlessly at both, whether the listeners are a concert hall crowd or simply himself. He endorses Czerny as a woodshedding tool and surprisingly says that "Satin Doll" is still one of his favorite tunes (despite the abuse it suffers under the hands of numerous pianists). Then he demonstrates how he freshens the tune with "Auf Weidersehen" as a counter-melody (one of several musical highlights, along with sparkling if condensed performances of "Old Folks" and "Body and Soul").
What I wish Marian had asked him: Is it harder to find compatible bass players or drummers? Does he know that drummers are "terrorized" by him because of his relentlessly powerful pace and fast tempos, demanding percussion-athletes (with left ankles made of ball bearings and steel)? One of his drummers once told me that playing a set with him was simply a matter of hanging on for dear life. I wonder how Oscar in turn perceives his drummers. We know how he feels about Ray Brown. Who was his favorite drummer? Or did he prefer the early trios and numerous recording sessions when drums were excluded?
Finally, Oscar used to be a louder "screamer" than even Keith Jarrett. Was he consciously aware of doing it? Somewhere between the '50's and '70's he reduced, then eliminated the vocalizing, making his fingers sing without the vocal assists. How did he break the habit, and why? I guess questions like these are the reason Amazon sells books in addition to recordings. Still, it seems that an hour-long interview of Oscar Peterson with no mention of Art Tatum (or for that matter any pianist other than Shearing) could have used a slightly revised set of questions.
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