Oscar Peterson – Tracks - Oscar Peterson Piano Solo
Oscar Peterson – Tracks - Oscar Peterson Piano Solo   Oscar Peterson – Tracks - Oscar Peterson Piano Solo   Oscar Peterson – Tracks - Oscar Peterson Piano Solo   Oscar Peterson – Tracks - Oscar Peterson Piano Solo  

Oscar Peterson – Tracks - Oscar Peterson Piano Solo

  • Artist: Oscar Peterson
  • Cod produs: 21 20879-6
  • Disponibilitate: In Stoc
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Cantitate

Artist: Oscar Peterson
Label: MPS Records
Format: Vinyl - LP, Album, Repress
Country: Germany
Year: 0
Genres: Jazz
Styles: Bop
Collection Media Condition: Near Mint (NM or M-)
Collection Sleeve Condition: Near Mint (NM or M-)

Notes: Successor version to [r=2531699] that have the big, deep groove pressing rings, in use till summer 1972. This version shows the small pressing rings as introduced in 1972, but still white GEMA STEREO on the labels. There also exist a later version with black GEMA STEREO. Produced in 1970, Villingen

Tracklist:
A1 Give Me The Simple Life (3:58)
A2 Basin Street Blues (4:14)
A3 Honeysuckle Rose (3:05)
A4 Dancing On The Ceiling (5:05)
A5 A Child Is Born (2:33)
B1 If I Should Lose You (5:18)
B2 A Little Jazz Exercise (2:42)
B3 Django (5:13)
B4 Ja-Da (4:16)
B5 Just A Gigolo (5:27)

Video

Artist: Oscar Peterson

Canadian jazz pianist, composer, and band leader
Born 15 August 1925 in Montreal, Quebec, Canada, died 23 December 2007 in Mississauga, Ontario, Canada

He went through a classical piano education before turning to jazz, playing mostly in Canadian night clubs in Toronto and Montreal.

Only after repeated urgings by American colleagues he was persuaded to give a JATP performance at New York's Carnegie Hall in 1949. It was a smashing success. He then worked together with [a=Ray Brown], at first as a duo, before founding in 1952 his first trio which included in succession, the guitarists [a=Irving Ashby], [a=Barney Kessel] and [a=Herb Ellis]. At the end of the 1950s the guitar was replaced by drums.

Peterson went on many European tours. He has made recordings with just about everybody who's anybody in jazz.

His keys touch corresponds to almost explosive ornamentation in phrasing. Despite all the dynamics, a boundless desire for improvisation, a sublime artistic technique, however, the structure of his play (i.e. the over-all conception of harmonic means, phrasing, rhythms, etc.) remains translucent and tight.

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