Oscar Peterson augmented his regular working trio of the time (bassist Sam Jones and drummer Louis Hayes) with Henley Gibson on congas, Marshall Thompson on timbales, and Harold Jones as an added percussionist for this release, which focuses mostly on the music of Brazilian composers (so the title Soul Espanõl is a bit misleading). With the surge of interest in bossa nova and samba, Peterson's interpretations of songs like "Manha de Carnaval," "How Insensitive," "Meditation," and "Samba de Orfeo" have stood up very well against similar jazz recordings of the mid-'60s. Peterson's "Soulville Samba" has a gospel flavor, while his "Sensitive Samba" is more laid-back; Vincent Youmans' decades-old "Carioca" also fit in nicely. This is an enjoyable, if not essential, part of Oscar Peterson's considerable discography.
A pleasant compilation of Oscar Peterson tracks with Ed Thigpen, Louis Hayes, Bobby Durham, and others sitting in, all anchored by Peterson's classic version of "Fly Me to the Moon," originally written by Bart Howard in 1954.
At the beginning of this set Oscar Peterson so overwhelms the normally gentle "Tristeza" that it almost becomes a parody. Fortunately, the remainder of the bossa nova-flavored LP is more tasteful. Even if Peterson is overly hyper in spots, he is able to bring out the beauty of such songs as George Gershwin's "Porgy," Antonio Carlos Jobim's "Trieste," and "Watch What Happens," in addition to stomping through the straight-ahead "You Stepped out of a Dream."
Some guest soloists get overshadowed by Oscar Peterson's technical prowess, while others meet him halfway with fireworks of their own; trumpeter Clark Terry lands in the latter camp on this fine 1964 session. With drummer Ed Thigpen and bassist Ray Brown providing solid support, the two soloists come off as intimate friends over the course of the album's ten ballad and blues numbers. And while Peterson shows myriad moods, from Ellington's impressionism on slow cuts like "They Didn't Believe Me" to fleet, single-line madness on his own "Squeaky's Blues," Terry goes in for blues and the blowzy on originals like "Mumbles" and "Incoherent Blues"; the trumpeter even airs out some of his singularly rambling and wonderful scat singing in the process…
Pianist Oscar Peterson is frequently astounding on this solo set. After nearly 20 years of mostly performing with trios, Peterson sounds quite liberated in this setting, throwing in some hot stride, unexpected changes in tempos and keys, and surprises whenever he thinks of them. "Give Me the Simple Life," "Honeysuckle Rose," and the ironically titled "A Little Jazz Exercise" are quite remarkable, yet Peterson also leaves space for some sensitive ballads.
Jerome Kern's stage tunes – going back to the late '20s with the acclaimed presentation Show Boat – right up to the '40s, will forever be at the core of quintessential American popular songs that hold a dear place in the heart of all straight-ahead jazz performers. Oscar Peterson's immortal trio with bassist Ray Brown and drummer Ed Thigpen play Kern's themes expertly, with no small degree of interpretation, and a clever angle on these well-worn songs that only Peterson can self-identify with his genius mindset. The title should be more accurately "The Jerome Kern & Friends Songbook," as he always co-wrote with such notables as Oscar Hammerstein II, Otto Harbach, Ira Gershwin, and Dorothy Fields, but these are all instrumental versions of his priceless musical scores and are immediately familiar without lyrics.
This limited edition reissue of clarinetist DeFranco's 1954 meeting with piano great Peterson is both charmingly mellifluous and slightly dated, in the manner of Charlie Parker's "with strings" recordings. (Norman Granz oversaw both.) But by the second cut - a languid workout on "I Was Doing All Right" - the charm wins out. The pair, aided by the likes of Herb Ellis on guitar and Ray Brown on bass, also apply a light once - over to "S'Wonderful," "They Can't Take That Away from Me," "It Ain't Necessarily So," and other well-chosen melodies from the Gershwin book. The CD adds two alternate takes.
Verve Jazz Masters 37 presents an introduction to the recordings of Oscar Peterson. The enclosed booklet includes biographical material and commentary on the songs selected.
Ever since the beginning of jazz its practitioners have embraced the songs of musical theater as a source for interpretation. But who can explain why show music has such a hold over jazz artists - especially when there are enough original compositions within their own medium to choose for reinterpretation. Perhaps it's because this music has universal appeal, and a song grows with each new recording by a different performer…