A late-career Oscar Peterson performance is nothing short of a triumphant comeback.
Oscar Peterson – City Lights: The Oscar Peterson Quartet Live In Munich 1994 – Two Lions/Mack Avenue Music Group MAC1212LP Limited Edition Royal Plum double vinyl, 78:31 ****1/2:
(Oscar Peterson – piano; Niels-Henning Ørsted Pedersen – double bass; Lorne Lofsky – guitar; Martin Drew – drums)
There are many great jazz pianists…and then, there are a few whose talent and creativity are transcendental. Oscar Peterson is one of these special artists. His blazing technique has been compared to Art Tatum, and his counterparts (including Duke Ellington) are very laudatory. In 1993, the “Maharajah of The Keyboards” suffered a stroke, impacting the dexterity of his left hand. Fourteen months later, he returned to live performances with City Lights: The Oscar Peterson Quartet – Live In Munich 1994. He was joined by Niels-Henning Ørsted Pederson (double bass), Lorne Lofsky – guitar and Martin Drew (drums). Mack Avenue Music Group has released a limited edition royal plum vinyl of this amazing concert (also available on CD).
Side A opens with a perennial standard, “There Will Never Be Another You”. Percussionist Drew gets the jam started and is joined in medium groove by bassist Ørsted Pedersen. Peterson walks onto stage to an enthusiastic response. His first run is spirited and maintains a distinct level of technical expertise. Guitarist Lofsky glides through a percolating solo with Peterson countering in accents before delivering a soulful, rhythmic flurry. Drum breaks and quartet chemistry make this a great arrangement. “The Gentle Waltz” (one of five Peterson originals) displays exquisite lyricism with tender articulation. His lengthy runs are shimmering with trills and melodic nuances. Lofsky and Ørsted Pedersen contribute solos before turning it back to OP. and his gossamer notation. Shifting to down ’n’ dirty, Kelly’s Blues (Side B) is as advertised. Peterson and the ensemble operate in a tight groove. Both Peterson and Lofsky distill the essence of blues in their solos. In a change of pace, “Love Ballade” is lyrical and exudes melancholy. Peterson seems to draw on classical motifs to capture the ethereal mood. The rhythm section joins around the 2:05 mark for additional texture. Peterson shines with feeling and artistry. Drew, Ørsted Pedersen and Lofsky join in this hushed treatment.
The title track begins with balladry aesthetics, then shifts to an understated waltz tempo. Peterson’s nimble runs glow with warmth and demonstrate his adroit sense of timing and phrasing. Drew’s brush work fits nicely into the mellower dynamics. With a lilting touch, “You Look Good To Me” slides into a relaxed gentle swing and picks up steam after two minutes. Peterson’s intermingling of jazz and soul is compelling and NHOP solos gracefully before the final piano trills. The bassist performs his original composition, “Samba Petite” without accompaniment in a stellar multi-textured (also with classical influences) approach. It seems fitting that Peterson covers “Satin Doll”, a song closely associated with fellow icon Duke Ellington. His breezy first verse sets a jaunty tone. Then he lays down some cool, syncopated riffs with bluesy countenance. Lofsky answers with purpose. But Peterson steals the show with his funky rolls and crescendos. It is joyfully quintessential. The finale, “Nighttime” is more introspective, showcasing Peterson’s ability to intermingle jazz and classical structures. The quartet it at its peak here.
Kudos to Mack Avenue Music Group for bringing this unique comeback into the mainstream. The vibrant sound mix is superior with excellent stereo separation. The gatefold packaging is top-notch with impressive night scape cover art by Timothy Cobb.
—Robbie Gerson
City Lights: The Oscar Peterson Quartet Live In Munich 1994
TrackList:
Side A: There Will Never Be Another You; The Gentle Waltz
Side B: Kelly’s Blues; Love Ballade
Side C: City Lights; You Look Good To Me; Samba Petite
Side D: Satin Doll; Nighttime.
