The Mind of Oscar Peterson

Join Adam and Peter as they geek out on the mesmerizing talent of the Oscar Peterson trio. Immerse yourself in the mastery of OP, exploring his incredible playing and leadership. Don't miss the chance to experience jazz through the lens of Oscar Peterson.
↓ Links from the pod ↓
Oscar and Ella
• Oscar Peterson Trio & ...
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[@michaelshark1]

One of many reasons while Oscar was so Great was his ability to be so melodic at any tempo. I know a professional pianist who played in the 1970s in Chicago and got to hear and meet Oscar after one of his gigs, he stood next to Oscar while he was playing and said it was surreal how Good he was, it was described as one of his Greatest musical memories of all time. He also said Oscar was one of the nicest persons he met.

[@kevinsavo718]

That tuning discrepancy can probably be credited to a change in tape speed between recording and printing.

[@jgadinas]

really advanced cinematography for the era as well - the whole JATP operation was just so high level, it's so easy to take for granted what they were doing when they were doing it.

[@DARKLYLIT]

So incredible. I had the great pleasure of seeing Oscar when I was 13 years old and I had no idea what I was hearing. Watching this all these years later is so mind-blowing. I mean, who plays like this anymore? Herb Ellis, Ray Brown...., almost 67 years ago and they're still MONSTERS! Thanks for the "play-by-play" you guys. I'd say "You Rock"....but "You Jazz!"🤣👌👍

[@RobertDimbleby]

They are actually playing it in E! Check out Ray Brown playing open E's, e.g. at 5:39. Crazy stuff

[@Noooo887]

Love it when jazz musicians hit up sharp keys. There's that video of Bill Evans playing My Foolish Heart in A major for instance. Btw, your music is incredible. The last video you posted was smooth af (And in B major no less!)

[@RobertDimbleby]

​@@Noooo887Oh thanks so much, really appreciate it! I will check out that Bill Evans recording

[@MrHignite]

Oscar is amazing! I love how close they are to. each other ! You feed off each other so much better when you sitting on top of each other...

[@MarkEisenman]

Norman Granz biography is a must read. Most people have no idea that jazz was integrated 10 years before baseball - (1947s appearance of Jackie Robinson for the Dodgers.) You can thank Granz for a lot of that. (Benny Goodman too) Norman Granz The Man Who Used Jazz for Justice Granz played an essential part in bringing jazz to audiences around the world, defying racial and social prejudice as he did so, and demanding that African-American performers be treated equally everywhere they toured.

[@Xarthis]

One of the things that I really like about Oscar Peterson, is that he can comp without ego. As you can see from this video, he certainly can entertain as the lead, or even solo, but what you don't see in this one, is that when he plays with another soloist, that he gives them space, and uses his comping to make the soloist sound better. Like picking up their melody lines, call and response things and suchlike, without getting in the way or trying to steal the spotlight from the soloist. I'll enjoy any album that ends its title with "... with the Oscar Peterson Trio". (Also because, as mentioned in this video, the stellar work of Ray Brown and Herb Ellis, or later Ed Thigphen or NHOP)

[@gitarmats]

What a master!

[@yeet4837]

Damn what a difference that curtain makes, would've bet you guys moved studios hahaha

[@Usefulmusic]

Oscar Peterson and Clifford Brown have remained my favorite musicians for 70 years.

[@ant_adlibs]

I actually hadn't ever heard this either and the quality is so good; phenomenal combo work sublime.

[@HazeAnderson]

My introduction to Oscar Peterson was seeing the infamous Roland ad of him playing their Roland PianoPlus with a FREAKIN TB-303 and TR-606 on top of it. Absolutely NOT the intended genre for those electronic noise makers but nonetheless ... in the minds of the blissfully unaware, Oscar Peterson is THE ORIGINAL representative of Acid House Techno!! 😆

[@tonyperiphoto]

It sounds so good, as Peter noted, because the studio techs knew how to mic acoustic instruments (and how to photograph). A modern equivalent would be miced to the hilt, especially with drums, and too loud. It sounds acoustic. Wonderful footage. The three of them are superb musicians.

[@PaulieStamets]

Thank you!

[@alexdelliponti3629]

Love this "hat shop" for jazz musicians

[@reddeckelman1802]

Check out the Ella and Louis album. The band is Oscar Peterson, Ray Brown, Herb Ellis and Buddy Rich. The acccompaniment is the most laid back, solid sound imaginable. Not one of those virtuosos overplays or tries to grab the spotlight. The greatest backup band ever.

[@mvarick1]

Re: Music in the Round. First - just want to thank you gents for your reaction on Oscar (I might ask you to do the same for his contemporary and countryman - Glenn Gould. They were coming up at the same time. Something, something in the water up in Canada!). Anyhow, in this reaction video you both noted the music in the round layout. I did something similar. Back in 2008 my friends and I opened Le Poisson Rouge (LPR) in NYC. It was the ol' Village Gate. It's still doing great (although I have now moved onto other projects, fyi). Anyhow, we 'stumbled' into Music in the Round by my screw-up (as manager). I'm not sure if you know who Steve Reich is. Steve's one of the great living classical composers of modern classical music. Anyhow, we had Steve in to play 'Music for 18', along with his orchestra. For a week during the day we had the orchestra rehearing on the floor of the venue. For the show the group would be on the stage. Buuut, this is where I screwed up. I did not read the notes and did not move the orchestra up on stage. We only realised this a few hours before doors opened. Far to late to reset. Crap... Thus, we decided to keep the orchestra where they were and bring in the audience (almost 700 people - sold out) standing around the group. I'm not joking - an audience member could have been able to reach out to a musician and turn the page of music for them. Meanwhile I'm nervously standing up in the sound booth with Steve Reich, sipping on whiskey (his drink of choice) watching his piece being played. (with Phillip Glass conducting, fyi). Steve said to me, "This is the best I've ever heard it." (IT being Music for 18). By an honest mistake we were able to introduce a new way to hear and experience this music. But it is ol' school. That being the 'salons' of Europe at the time of Mozart and the other greats. Jazz is no different. Simply put, people around the the musicians - supporting them. And not some dull' chuch-like auditorium. Anyhow, hope you liked the story. And, you might take a stab at doing a treatment on Steve Reich's 'Music for 18'. Modern classical and jazz are so similar in many ways! kzbin.info/www/bejne/bWKkkKajbJaSeKs

[@giampierogirolamo7134]

❤ great guys thanks

[@tysonleuthauser1412]

love it

[@edzielinski]

Fantastic. Regarding Ray Brown's timing which you pointed out, I'm listening very closely, and it sounds like he's playing ahead just a bit more on some beats than others, like more ahead on the one, less on the two, etc. Also, I think that timing is the key to the sound - if the attack on the bass was perfectly on top of the piano, it would be too much - because the attack on the bass leads the piano, there's actually a more interesting sound pattern when the bass rings out for a fraction of a second while the piano hits, and the guitar, mostly on the beat glues them together. Of course there's still a little room for expression in that very tight space, but that's where the action happens.

[@tromBoyer]

One could ask if Oscar played a micro bit behind Ray Brown…

[@Usefulmusic]

A really excellent analysis, Edzie.

[@GizzyDillespee]

That last one was a hootenanny jamboree but the first one was gorgeous. There weren't any synths, but that can be excused by their relative lack of availability, at the time. Someday, I'll probably snap, but instead of going postal, I'll start uploading classic recordings, but with synths added, only I won't mention the additions.

[@AzlanValentine]

Oscars Joy Spring starts in A it’s not detuned.

[@pianohugo69420]

I feel like I should be paying for these eps. Please advise (seriously)

[@m.k.m.]

I think the last 1 or 2 minutes may be sped up!

[@RC_Cola2020]

I saw Benny Green play solo last year. His technique and melodics is comparable to Oscar’s.

[@godisbollocks]

Benny's a monster, but I personally think his touch and swing feel don't compare to Oscar's.

[@timcooper5613]

I like how Peter accidentally coined a term, techxpert, and didn’t even realize it. Perfect! A technical expert! See 7:27 🎉

[@svensvensson6705]

12:27 ray is playing open E. They play in E

[@dutchkeys]

It's in A major that explains also the E

[@epw0031]

Oscar Peterson's musical skill made up for his hair lining.

[@jmags5332]

pod cave?

[@akoolstik]

shred

[@belindadrake5487]

OSCAR IS GOD! ( to me). 🎹😈✨👑

[@geoffreykeezer4056]

Anybody who says anything bad about Oscar Peterson is just jealous!

[@therealrussellsmyth]

As great as Oscar Peterson was in many ways , I’m still left cold. Never got that from Tatum despite some overlap/ similarities. Every note was always special. So many pianists before and since who are infinitely more interesting than OP.

[@RobertDimbleby]

Oscar has his own voice. He's got so much joy and fire in his playing - his swing feel, articulation, phrasing, blues influence etc. check out his playing on the album with Sonny Stitt. Particularly on Blues for Pres which is so so tasteful. Also his solo on Au Privave - insane phrasing and feel and just so exciting to listen to, you cant help but dance.

[@RobertDimbleby]

I love Tatum btw, just they are two very different pianists

[@reddeckelman1802]

Oscar Peterson is the bluesiest, swinginest, pianist ever. That's very interesting to me.