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┌─────────────────────────────────────────────────────────────────────┐
│ Title │
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ─│─│─┐
│ │ | RiPPER..: Billy Cristal │ GENRE......: Jazz | │ │
│ │ :.LABEL...: Verve │ SCENE DATE.: 01/30/2003 .: │ │
│ │ · bITRATE.: 192kbps/44.1Hz/Full S│ STORE DATE.: 00/00/1994 · │ │
│ │ : ENCODER.: Lame │ TRACKS.....: 13 │ │
│ │ | SiZE....: 96,2 MB │ SOURCE.....: CDDA | │ │
└─│─│─· ·─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└─────────────────────────────────────────────────────────────────────┘
───────────────────────────────────────────────────────────────────────
───────────────────────────────────────────────────────────────────────
┌────────────────────────[ TRACKLIST ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Number Trackname Time │ │
│ │ │ │
│ │ 01 The Lady is A Tramp 04:50 │ │
│ │ 02 We'll Be Together Again 02:34 │ │
│ │ 03 Bluesology 09:23 │ │
│ │ 04 Budo [aka 'hallucinations'] 04:41 │ │
│ │ 05 I've Got the World on A String 06:40 │ │
│ │ 06 Daahoud 06:59 │ │
│ │ 07 When Lights Are Low 04:03 │ │
│ │ 08 Eurev 04:51 │ │
│ │ 09 Should I 05:16 │ │
│ │ 10 Big Fat Mama 07:34 │ │
│ │ 11 [back Home Again In] Indiana 04:07 │ │
│ │ 12 Joy Spring 05:33 │ │
│ │ 13 Elevation 03:28 │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ RELEASE NOTES ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ Recorded: Sep 29,1957 + Oct 9,1957 │ │
│ │ │ │
│ │ Genre: Jazz │ │
│ │ Styles: Bop, Swing, Mainstream Jazz │ │
│ │ Tones: Elegant, Sophisticated, Stylish, Amiable/Good-Natured, │ │
│ │ Playful, Reflective, Delicate │ │
│ │ Type: Live │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ AMG Review: │ │
│ │ Although the music on this CD was originally said to be │ │
│ │ recorded in Europe, it actually comes from a Chicago concert, │ │
│ │ and the five additional selections (last issued on an LP shared │ │
│ │ with the Modern Jazz Quartet), supposedly performed in Chicago, │ │
│ │ are from an appearance in Los Angeles. But despite the │ │
│ │ geographical mixups, the music is consistently brilliant and │ │
│ │ often wondrous. The trio of Oscar Peterson, Herb Ellis, and Ray │ │
│ │ Brown had been together for over four years, and these would be │ │
│ │ among the threesome's last (and finest) recordings. The very │ │
│ │ tricky arrangements sandwiched remarkable solos, with pianist │ │
│ │ Peterson sounding especially inspired. Together with the │ │
│ │ Stratford Shakespearean CD of the previous year, this set │ │
│ │ features the trio at the peak of its powers. Highlights include │ │
│ │ "The Lady Is a Tramp," "Budo," "Daahoud," "Indiana," and "Joy │ │
│ │ Spring." │ │
│ │ - Scott Yanow │ │
│ │ │ │
│ │ * │ │
│ │ │ │
│ │ About Oscar Peterson: │ │
│ │ │ │
│ │ Real name: Oscar Emmanuel Peterson │ │
│ │ Born: Aug 15, 1925 in Montreal, Quebec, Canada │ │
│ │ Years Active: 40's-Today │ │
│ │ │ │
│ │ Genres: Jazz │ │
│ │ Styles: Swing, Bop │ │
│ │ │ │
│ │ Instruments: Leader, Piano │ │
│ │ │ │
│ │ Labels: Verve (90), Pablo (37), Telarc (17), Clef (16), │ │
│ │ Polygram (9), Original Jazz Classics (9), MPS (8) │ │
│ │ │ │
│ │ │ │
│ │ Oscar Peterson is 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 have long been amazing. Very effective in │ │
│ │ small groups, jam sessions and in accompanying singers, O.P. is │ │
│ │ at his absolute best when performing unaccompanied solos. His │ │
│ │ original style does 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 has been criticized through the years because he uses │ │
│ │ so many notes, has not evolved much since the 1950s, and has │ │
│ │ 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 plays 100 notes │ │
│ │ when other pianists might use 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 has 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. │ │
│ │ │ │
│ │ Oscar 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 1945-49, 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. │ │
│ │ │ │
│ │ Norman 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 1953-58. Their complex yet │ │
│ │ swinging arrangements were competitive ù Ellis and Brown were │ │
│ │ always trying to outwit and push the pianist ù 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 (1965-66), Bobby Durham │ │
│ │ (1967-70), Ray Price (1970) and bassists Sam Jones (1966-70) │ │
│ │ and George Mraz (1970). │ │
│ │ │ │
│ │ In 1960, Oscar 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 Norman 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. Since then, he has gradually returned to │ │
│ │ the scene, although his left hand has been weakened. But even │ │
│ │ when he is not 100%, Oscar Peterson remains a classic │ │
│ │ improviser, one of the finest musicians that jazz has ever │ │
│ │ produced. │ │
│ │ │ │
│ │ The pianist has appeared on an enormous number of records │ │
│ │ through the years. As a leader, he has recorded for Victor, │ │
│ │ Granz's Clef and Verve labels (1950-64), MPS, Mercury, │ │
│ │ Limelight, Pablo and Telarc. │ │
│ │ - Scott Yanow │ │
│ │ : : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ────────┘
┌────────────────────────[ GROUP NEWS ]────────────────────────────┐
┌─────────────────────────────────────────────────────────────────────────┐
┌─│─│─∙ ∙ · · ∙ ∙─│─│─┐
│ │ | | │ │
│ │ : : │ │
│ │ OSC is still holding it down after more than a year in tha scene. │ │
│ │ Our dedication to bringing you the best in ol skool classics is, │ │
│ │ and always will be, our driving force. Quality over quantity. │ │
│ │ │ │
│ │ "It's all about the music, fuck the other ish." - OSC │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ │ │
│ │ As always we'd like to greet those groups adding, not taking away: │ │
│ │ │ │
│ │ aPC - WHOA - SSR - OMNi - XXL - KSi - CHR - RNS - ESC │ │
│ │ │ │
│ │ If you're not listed, don't worry, props go out to all good groups. │ │
│ │ │ │
│ │ One last note: we at OSC do not fill requests, nor do we condone │ │
│ │ piracy. For review purposes only, so delete after 24 hrs and │ │
│ │ : support the artists. : │ │
│ │ | | │ │
└─│─│─∙ ∙ · · ∙ ∙─│─│─┘
└─────────────────────────────────────────────────────────────────────────┘
└──────── ASCII BY mMhCkB ───────┘
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