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A Time for Love: The Oscar Peterson  Quartet - Live in Helsinki, 1987

Oscar Peterson

A Time for Love: The Oscar Peterson Quartet - Live in Helsinki, 1987

Price: € 23.95
Format: CD
Label: Mack Avenue
UPC: 0673203115125
Catnr: MAC 1151
Release date: 26 November 2021
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2 CD
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€ 23.95
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Label
Mack Avenue
UPC
0673203115125
Catalogue number
MAC 1151
Release date
26 November 2021

"As mentioned, Peterson's style has hardly changed over the years and is therefore immediately recognizable. The biggest difference between the two albums is of course Pass, who immediately shows his swinging side in the opener 'Cool Walk', in a style that fits perfectly with Peterson's, it was not without reason that they enjoyed working together."

Nieuwe Noten, 25-1-2023
Album
Artist(s)
Composer(s)
Press
EN

About the album

Oscar Peterson is widely regarded as one of the greatest jazz pianists of all time. He was renowned for his remarkable speed and dexterity, meticulous and ornate technique, and dazzling, swinging style. Jazz pianist, virtuoso, and composer. He was called the "Maharaja of the keyboard" by Duke Ellington, simply "O.P." by his friends, and informally in the jazz community as "the King of inside swing". A noted jazz educator and advocate for racial equality, Peterson released over 200 recordings, won a Juno Award and eight Grammy Awards, including one for lifetime achievement. The first recipient of the Governor General's Performing Arts Award for Lifetime Achievement, he was inducted into the Canadian Music Hall of Fame and the International Jazz Hall of Fame. He was also made an Officer and then Companion of the Order of Canada, and an Officer in the Order of Arts and Letters in France, among many other honors. He played thousands of concerts worldwide in a career lasting more than 60 years. A statue of Oscar Peterson was unveiled by Queen Elizabeth II at the National Arts Centre in Ottawa in June 2010.

Artist(s)

Oscar Peterson (piano)

Oscar Peterson was 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 were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did 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 was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his...
more
Oscar Peterson was 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 were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did 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 was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and 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 played 100 notes when other pianists might have used 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 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.

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Dave Young (double bass)

Joe Pass (guitar)

Martin Drew (drums)

Composer(s)

Oscar Peterson (piano)

Oscar Peterson was 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 were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did 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 was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and recorded a remarkable number of albums. Perhaps it is because critics ran out of favorable adjectives to use early in his...
more
Oscar Peterson was 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 were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did 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 was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and 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 played 100 notes when other pianists might have used 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 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.

less

Press

As mentioned, Peterson's style has hardly changed over the years and is therefore immediately recognizable. The biggest difference between the two albums is of course Pass, who immediately shows his swinging side in the opener 'Cool Walk', in a style that fits perfectly with Peterson's, it was not without reason that they enjoyed working together.
Nieuwe Noten, 25-1-2023

A Time for Love is as solid a package as there is.
Jazztimes, 15-12-2021

Then things stand out that might otherwise seem obvious. One of them is: the amount of notes. All those eighth, sixteenth and 32nd notes. On top of the beat timed, rattling like a telex. They show a gigantic intensity. Peterson reveled in it, loved it when his fingers operated at top speed. He loved the piano, the music and the audience with a disarming sincerity.
Jazzflits, 06-12-2021

The ideas merge, the swing disturbs the slightest ballad, here is a pianist who has fun and amuses his audience, completely devoted to his cause.
Jazzmania, 29-11-2021

Ideas fuse, swing interferes with the slightest ballad, here is a pianist having fun and entertaining his audience completely committed to his cause.
Jazzhalo, 12-11-2021

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Often bought together with..

On a Clear Day: The Oscar Peterson Trio - Live in Zurich, 1971
Oscar Peterson
Ludwig van Beethoven
Piano Concertos Op. 58 & Op. 61
Nino Gvetadze | Phíon | Benjamin Levy
Cyril Scott
Visions
Nino Gvetadze
Live at The Concertgebouw 1961
Oscar Peterson Trio
Frédéric Chopin
Ghosts
Nino Gvetadze

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