Oscar Peterson: Live At The Concertgebouw 1961

17,00

1 CD 

Jazz Μουσική 

Fondamenta

9 Ιουνίου 2022

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Περιγραφή

889853901227

Καλλιτέχνες

Oscar Peterson (Piano)

Contents

  1. Announcement
  2. Softly as in a morning sunrise
  3. Band call
  4. Con Alma
  5. Politics and poker
  6. Where do I go from here
  7. I remember Clifford
  8. It ain’t necessarily so
  9. Chicago

Oscar Peterson (1925-2007) Feat. Ray Brown, Ed Thigpen

  1. February 1961: Norman Granz took to the stage of the Concertgebouw to present one of the finest concerts of the Philharmonic’s jazz series, which he organized. He introduced Oscar Peterson, his protégé since 1949, the pianist always interested in playing in this hall known for its exceptional acoustics and resonating with the performances of the classical musicians he loved so much. At 35, at the height of his extraordinary technical ability and at the peak of his fame, the pianist seemed to have nothing left to prove. At the beginning of the decade, he stood for elegance, modesty and joy

In 1952, on the initiative of producer and impresario Norman Granz, the legendary hall of the Amsterdam Concertgebouw opened its doors for the first time to music other than classical. African-American popular music was still too often considered “illegitimate” in the ears of many respected music lovers. But jazz was an immediate success, and thereafter the venerable institution welcomed jazz musicians to perform concerts in its great hall at midnight. The Canadian pianist Oscar Peterson was, of course, one of the great stars to make the motto of swing known in Europe. In the 1950s, the stars of jazz played several times in the Concertgebouw. Peterson was a lover of classical music from Bach to Rachmaninov and a connoisseur. It was believed that the Verve label, using the legitimacy of performing in such a prestigious concert hall, released a record titled Oscar Peterson Trio at the Concertgebouw in 1957. And although Peterson played in Amsterdam with Ray Brown and Herb Ellis, the album turned out to be a fake, consisting of excerpts from concerts recorded in far less prestigious halls in Chicago and Los Angeles

Peterson, a phenomenon of the keyboard in terms of synthesis between the masters of classical piano jazz, even as he incorporated the influence of artists in transition, won over enlightened amateurs and jazz novices with his radiant, virtuosic and charmingly light music. Although everything around him was shaking in its foundations, shaken by the emerging free jazz, Peterson’s music, serene and free of conspicuous whimsy, embodied the permanence of a certain golden age of jazz. It seemed sheltered from the vicissitudes of the times and the aesthetic upheavals ushered in by the revolutions. But even if it seemed impossible to change a style that had come to maturity and seemed frozen in its perfection, Peterson did reach a particularly creative phase in his career

He spent most of the 1950s making the orchestral formation of piano, bass and guitar, created by Art Tatum and transformed into the myth of Nat King Cole, a pinnacle of sophistication and organic cohesion. He had recently formed a particularly tightly knit new trio that substantially modified the orchestral dynamics in which his piano had to fit, integrating the subtle beat of the great drummer Ed Thigpen alongside bassist Ray Brown, his faithful partner since the early 1950s

After two years of touring the world, the trio was in top form and the sound quality was on par with their music.

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