a ce prix là ! une malle aux trésors. Oscar en trio revisite entre autres, les" song books " de Cole Porter, de Gershwin, et de Sir Duke. Quelques doublons donc, puisqu'il reprend également "Porgy and bess".... tant mieux, FABULEUX !
les Gershwin Songs book sont une pure merveille... et le reste est superbe aussi
"never sit at the piano after Oscar Peterson" c'est vrai, mais il faut écouter aussi Monty Alexander que j'ai vu lors d'un festival de jazz succéder à Oscar Peterson et qui s'en est sorti comme un prince.
Commentaires client les plus utiles sur Amazon.com (beta)
2 internautes sur 2 ont trouvé ce commentaire utile
Great music, great value28 décembre 2011
- Publié sur Amazon.com
These are all trio recordings with Ed Thigpen (drums) and Ray Brown (bass) from 1959. The remastered sound is excellent - crisp and clean. I don't have the original recordings to compare, but I couldn't ask for better sound from late 50s recordings. There is presence and clarity in the sound, with all three instruments clearly heard. Oscar and the trio's playing is, as always, absolutely top-notch. These are all studio recordings, with individual tracks mostly under 5 minutes in length. Recommended as an economical way to gain exposure to this great music if you don't already own these albums.
7 internautes sur 10 ont trouvé ce commentaire utile
Not a single "classic" in the bunch.3 décembre 2011
- Publié sur Amazon.com
[Note: 8 negatives already? I'm not downrating the album based on the quality of the music or the value of this package. A listener is going to find sheer pleasure in these 8 albums at a price that's practically a "steal." But it's the way the albums are advertised--"Classic"--that's highly misleading. Especially with an artist as prolific as Oscar, it can be extremely challenging to pick out the very best albums (when I want to impress friends, I usually start with the duo album, "Oscar Peterson and Joe Pass at A Salle la Pleyel"--which I wouldn't even regard as a "classic"). I can easily envision a new Oscar Peterson listener picking up this set and thinking, "Eight albums. That's got to be all I need by him." Sorry, but such a limited representation of a major artist would be highly unfortunate, especially to younger listeners who don't even rank Oscar among the greats (Brad Mehdau is winning polls in part by employing an accessible, familiar repertory, eg. the Beatles and Radiohead). Selecting Oscar's truly classic sessions remains a task for experienced collectors and trained ears. See the suggestions in the commentary following the review. Otherwise, imagine someone releasing the "8 Classic Jazz Recordings of All time" and omitting Miles' "Kind of Blue," or Coltrane's "Giant Steps," or Bill Evans' "Vanguard Sessions," or "Getz/Gilberto," or "Time Out," or Louis' "West End Blues." Hardly representative of the legacy, the beauty and luminous moments in the history of this indigenous African-American art form ininseparably linked to the "Great American Songbook" and its composers. The same criteria apply ti any individual artist.]
Any recording by Oscar, especially before the stroke he suffered in the mid-nineties, is five stars. Apart from his prodigious technique, rivaled only by Art Tatum, is the visceral power of his music, its ability to lift the listener right out of his chair. He took traditional "swing" to a new level, one that has not been equaled much less surpassed by any musician since his passing. Louis had it practically all to himself in the '20s and early '30s, then it spread to other musicians from the Count Basie rhythm section of the mid-30s, and finally Oscar represented yet another level--a groove that a few select trios have located, viz. Gene Harris (The Three Sounds) or Monty Alexander or Red Garland amd Wyn Kelly. Of course, there are many different "time feels" and ways of swinging (Tatum's and Monk's time was as impeccable as it was different from one another as well as from Oscar. And Max Roach would take the music out of the traditional groove into more adventurous, open territory, though no less visceral in its impact on the listener.) So the preceding is a descriptive characterization rather than a value judgment (Bill Evans is as far from an O.P. "groove" as you can get, but he is, at least to my ears, the most profound and deeply moving pianist, so much so that the traditional groove is no longer an important feature of the music.) Oscar's time feel was the fullest realization of the 4/4 swing that characterized the so-called Swing Era. As for these eight albums, they all represent comparatively commercial and formulaic, studio recordings by Oscar--"tribute" or thematic albums that would frequently limit him to 3-5 minutes per song in an effort to appeal to the widest possible audience. All of which is laudatory, but not necessarily "classic."
Any representative collection of classic Oscar Peterson must include some examples from both of his drummer-less trios, first with Barney Kessel and second with Herb Ellis as the 3rd member complementing Oscar and Ray Brown. The best example of the first trio can be found on a box set at Mosaic Records. The second trio is best represented on several Verve albums--including "At the Stratford Shakespearean Festival," "At the Concertgebouw," and "On the Town."
Next is the trio, with drummer Ed Thigpen replacing the guitarist as third member. "Live at the London House" is a fine example of this trio's work. From here Oscar made a series of impressive recordings, "Exclusively for My Friends," in the Black Forest chateau of a German jazz producer who supplied Oscar with a Bosendorfer and small audience, all recorded in lustrous sound. Comprising a sizable set of albums, the first half of them were made with Ray Brown and Ed Thigpen (try "The Lost Tapes"), but not much is lost in the second half of the series when the places of the Brown and Thigpen are taken by bassist Sam Jones and drummer Bobby Durham ("Mellow Mood" is a fine example of this lesser-known trio).
Next are the recordings made with the great European bassist, Nils Orsted Pederson ("Nigerian Marketplace" is a good example; "The Trio" is another). Following that are killer concerts and records by the trio, sometimes in the company of a jazz all-star like Milt Jackson, Clark Terry, Dizzy Gillespie, Jon Faddis, Prez, Ben, Sonny Stitt. And coming full circle, Oscar would reunite with Ray Brown, Herb Ellis and Bobby Durham for some sparkling performances in the early to mid-90s (especially "Live at the Blue Note" and "The Very Tall Band").
There's no way to experience the greatness of Oscar Peterson if you limit your recordings to his studio offerings. The man's outsized talents were way too large for the confines of Verve or any other recording studio.
Here's one that will put you in the middle of one of Oscar's "live" overwhelming, physical, work-outs, demonstrating the challenge for a drummer to keep the hi-hat consistently closing on 2 and 4 (Martin Drew, who once disclosed his special exercise for conditioning the left ankle to be in step with Oscar) and for a bassist (Nils Pederson, who somehow could play these thousands of beats and miraculously emerge, not necessarily alive, but with all 5 fingers still attached to his hand):
1 internautes sur 1 ont trouvé ce commentaire utile
Oscar Peterson. Eight Classic Albums5 janvier 2012
Brian A. Gymer
- Publié sur Amazon.com
As most of these were on the old Clef label it was good to have them in one box.five of the discs are from the song book series which Norman Granz did with a few in his stable.Oscar together with Ray Brown & Ed Thigpen were at the height of their powers & went on to do many great things. Well worth the money.
2 internautes sur 4 ont trouvé ce commentaire utile
great value5 décembre 2011
- Publié sur Amazon.com
Very good quality, and a good value...the cd's were cheaper than if I purchased it via itunes..plus others can now use the cd's too...I would highly recommend this purchase