The Music That Made Oscar Peterson A Star
This Mosaic Records collection is the first comprehensive study of Oscar Peterson's earliest trio recordings, the setting for which he was best known, throughout his reign. The collection includes 127 tunes, including five alternate masters that have never appeared on any record, in any format. The earliest recording dates from November 25, 1951 and the last is from December 7, 1953. In the interest of being complete, we amassed a collection that exceeds even the one held in the Universal Music vaults; with some original masters missing entirely, we went to collectors for vintage 78s, second generation tapes, even rare LPs and EPs, performing sonic miracles when necessary to achieve a quality that meets our Mosaic standards.
Coming up in the era he did, he fell somewhere in between the swing players and the be-boppers, and the two strains wove together into something he never felt any reason to abandon. He and Ray Brown had developed an almost brotherly relationship thanks to the JATP tours they did together, and in Barney Kessel he found another player whose solos could wipe the floor, the walls, and the ceiling. With the JATP tours combined with these Clef and Mercury recordings the trio found the time and opportunity to hone their craft together and become a tight unit. Norman Granz' vision of the "Songbook" album, was perfected by the trio and the series of "Oscar Peterson Meets…" have long been unavailable and are finally in one package.
What is so compelling about the Peterson technique is the fusion of wizardry and swing. Even when his improvisations lean more toward the flashy, fast finger approach, it still is accomplished with swing and taste. There are many standards and ballads where he solos beautifully and sweetly, and with restraint. And while he would never be mistaken for the economical Count Basie, his comping behind other musicians was spot on, delicate, and tasteful. On other songs, when the goal was to set the keyboard on fire, no one could put together as many choruses of blazing combinations - which he did while always remaining tuneful, and without ever duplicating an idea.
We've included a meticulously researched discography and have corrected known mistakes in previously published works. The essay on Peterson's life and times, and a track by track analysis of his work, was written by John McDonough.
By sticking to the style and presentation about which he felt passionate, Oscar Peterson unquestionably established his own voice as unmistakable and personal, and his name as one of the great ones.
More info:
http://www.allaboutjazz.com/php/article_print.php?id=30919
http://www.mosaicrecords.com/prodinfo.asp?number=241-MD-CD
http://www.answers.com/topic/the-complete-clef-mercury-studio-recordings-of-the-o...n-trio-1951-1953
