The Classic Oscar Peterson Trio Studio Sessions with Ray Brown & Ed Thigpen – Mosaic Records #MD8-235 – 8 CD – 1959-1965 – ****1/2
(Oscar Peterson – piano; Ray Brown – bass; Ed Thigpen – drums)
Oscar Peterson (1925-2007) has been hailed as one of the greatest jazz pianists of all time. Said to rival Art Tatum in technique and melodic skills, raised in Montreal as a child prodigy, he was introduced to American audiences by Norman Granz, in the Jazz at the Philharmonic series of concerts beginning in 1949.
In the early 1950s, he was featured in trio settings, backed by bassist Ray Brown, and guitarist, Barney Kessel, and later, Herb Ellis. His fame was then cemented by replacing guitar with a drummer, in another trio setting.
His classic trio, composed of bassist, Ray Brown, and drummer, Ed Thigpen, is considered (along with the trios of Bill Evans) to be the epitome of jazz piano trio groups. The premier historical jazz label, Mosaic Records, recently has recently released in an eight CD box set, on 125 tracks, the studio sessions, recorded between 1959-1965, from Verve, Limelight, and MPS labels. This trio stayed together for six and a half years, and to say that their “communication” was symbiotic is an understatement.
The fidelity and acoustics are top grade, transferred from the original analog master tapes in 24 Bit/192 kHz remastering by Swan Studios in New York City. There are 14 pages of liner notes by jazz historian, Bob Blumenthal, as well as archival photos from the recording sessions. Limited to only numbered 5000 copies, this is a must purchase for fans of Peterson.
The material covered in this set ranges from swing to a bit of bop, with a strong dose of blues, as well. Though a virtuoso, Oscar had to somewhat harness his prodigious skills in a trio setting to focus on sensitivity. His talents still shine, and the symbiotic interaction between the trio is like a well oiled machine, highlighted by Ray Brown’s weighty, fulsome bass, and Ed Thigpen’s masterful brush work. With Brown slightly ahead of the beat, and Oscar’s rhythmic precision, their “in the pocket sound,” honed over the years of playing, both in the studio and in live settings, is on full display here.
Highlights abound over more than the twelve recording sessions. They range from tributes to Frank Sinatra, several Broadway musicals, big band and contemporary hits, and an album (Canadiana Suite) devoted to Oscar’s home country. There is so much to love here.
Beginning with the Sinatra tribute, and ending with the German label, MPS, “lost tapes,” here are some of my favorite tracks:
“Ol’ Blue Eyes” classic tunes are given a largely, jaunty treatment with all of the tracks clocking in at under four minutes. “The Tender Trap” has some nice call and response from Oscar and Ray, while “I Get a Kick Out of You” with its fine brush touch from Thigpen, are two winners, as is “Saturday is the Loneliest Night of the Week,” which makes it hard not to at least nod your head in time to its mood.
The Jazz Soul of Oscar Peterson has an intricate arrangement of “Woody N’ You,” as Oscar pushes the trio, with an Art Tatum inspired “off to the races” piano run.
On the Porgy and Bess album, the trio takes “It Ain’t Necessarily So,” on a stroll, gentle but swinging. “Oh, Lawd, I’m On My Way,” gives Ed Thigpen space for both brushes and sticks, as Peterson ups the ante to an inspired finish.
Fiorello!, a Broadway musical covered the colorful life of mayor, Fiorello La Guardia. This album is noted for giving more time for Ray and Ed. “When Did I Fall in Love?,”is a Ray Brown feature, and Oscar is more subdued than usual. “Home Again,” has Thigpen and Brown sharing the honors, with Ray taking charge, while Ed sparkles in response, both upfront in the mix.
West Side Story, recorded in 1962, honoring one of Broadway’s most famous musicals, has many memorable moments from the trio, “Somewhere,” has a lovely bowed bass intro from Brown, the tune done in waltz time, and Thigpen’s cymbals shimmer. “Maria,” has a Latin beat, and the interplay between each member is striking.
Affinity, from 1962, is noteworthy for the trio’s take on Bill Evans’ “Waltz for Debby.” Oscar provides improvisation in a blues vein. Brown’s own, “Gravy Waltz,” provides soul jazz, while Oliver Nelson’s “Six and Four,” has the group going in several “time” directions, and Thigpen gets a most welcome opportunity for a well timed solo.
Night Train is considered the greatest album from the trio, and may also be the most well known. It has a heavy blues influence, with four tracks from the Ellington book. Hoagy Carmichael’s “Georgia on My Mind,” later fleshed out by Ray Charles’ definitive version, is done here in a reflective fashion. The title track drips with a bluesy grease, while Basie’s “Moten Swing,” is a real “head nodder.”
Oscar Peterson Plays was recorded in 1964. It has Neal Hefti’s “Little Darlin’, one of my favorite all time tunes. Another winner is Frank Foster’s “Shiny Stockings,” done in a sprightly tempo. Thigpen’s energetic drumming drives the tune’s passion, and Peterson’s melodic genius is on full display.
Oscar’s Canadiana Suite was a special release that deserves attention. It was written to honor his home country. The themes move from East to West, from
Quebec to the Canadian Rockies. Opening with “Place St. Henri,” a 20 bar blues, we move to “Hog Town Blues,” his homage to Toronto, where he later relocated. There are visits to the Canadian prairie on “Blues on the Prairies,” and “Wheatland,” and ending on wide country journey with “March Past,” and “Land of the Misty Giants. The former has a tinge of Aaron Copland, while the closer, elicits a sense of wonderment.
We Get Requests covers contemporary songs ranging from Broadway to Hollywood, with a stop in Brazil. The trio re-imagines Mancini’s “Day of Wine and Roses,” and Barbra Streisand’s “People.” “The Girl from Ipanema” strays from the more bossa nova version, to a more gentler take, centered on piano with heavy rhythm section comping.
The Lost Tapes (1 & 2) close out the set. Recorded in Germany, the eight tracks revisit “Satin Doll, and “Gravy Waltz,” as well as other classic Peterson staples. Features include a magnificent performance of the Benny Goodman ballad, “Goodbye,” as well as a moving, extended seven and half
minute, “Hymn to Freedom.”
This superb set covers a lot of ground, and it is an opportunity to hear in remastered acoustics, one of the best jazz piano trios in history. It will likely sell out in short order. Don’t miss your opportunity…
Discography: (Sessions from 1959-1965)
The Classic Oscar Peterson Trio Studio Sessions with Ray Brown & Ed Thigpen
LP:
A Jazz Portrait of Frank Sinatra
The Jazz Soul of Oscar Peterson
Porgy and Bess
Fiorello!
West Side Story
Affinity
Night Train
The Oscar Peterson Trio Plays
Canadiana Suite
We Get Requests
I/We Had a Ball
Action
The Lost Tapes
The Greatest Names in Jazz
CD:
Night Train
Collectors’ Disc
Exclusively for My Friends
—Review by Jeff Krow
