<
 
 
 
 
?
>
Vous consultez une page Web conservée, recueillie par Bibliothèque et Archives Canada le 2007-05-17 à 01:31:43. Il se peut que les informations sur cette page Web soient obsolètes, et que les liens hypertextes externes, les formulaires web, les boîtes de recherche et les éléments technologiques dynamiques ne fonctionnent pas. Pour toutes les demandes ou pour recevoir du soutien, envoyez un courriel à archivesweb-webarchives@bac-lac.gc.ca. Voir toutes les versions de cette page conservée.
Chargement des informations sur les médias

You are viewing a preserved web page, collected by Library and Archives Canada on 2007-05-17 at 01:31:43. The information on this web page may be out of date and external links, forms, search boxes and dynamic technology elements may not function. For all requests or for support, email archivesweb-webarchives@bac-lac.gc.ca. See all versions of this preserved page.
Loading media information
X
Skip navigation links (access key: Z)Library and Archives Canada / Biblioth?que et Archives Canada
Graphical element Fran?aisContact UsHelpSearchCanada Site
HomeAbout UsWhat's NewWhat's OnPublications


Oscar Peterson - A Jazz Sensation spacer Compositions Memorabilia Articles
Just a Memory
© By permission of Mark Miller

Transcription:


The Globe and Mail   October 14, 1995

Peterson's Energy Bursts out of Early
Recordings

JAZZ

1951

Oscar Peterson

Just a Memory

Reviewed by Mark Miller

OSCAR Peterson’s U.S. recording career was nicely under way when he obliged the CBC’s International Service in 1951 with 20 concise performances from the pop-song repertoire. Previously available only as a transcription for broadcast use, they have been issued for the first time commercially on 1951 as part of a new Justin sub-series that will also include more recent Radio Canada International recordings by Maynard Ferguson, Brian Barley and Kenny Wheeler. Given the brevity of the pieces - as short as the 97 seconds of Get Happy - there’s a barely contained energy to Peterson’s playing. (Montreal bassist Austin Roberts accompanies but does not solo.) The pianist is in typically robust and authoritative form; his ballads can be a little cloying but his dazzling right-hand choruses on uptempo tunes such as Flying Home, I Got Rhythm, Seven Come Eleven and Air Mail Special are explosive. This may be early Peterson, but the best of it is classic Peterson. Either way, 1951 is of far more than simply historical interest.

List of Articles

Previous | Next