Found a playlist with a McPartland/Peterson interview on Piano Jazz. These are important archives. Each one a national treasure respectively. th-cam.com/play/OLAK5uy_kjYCW8hqEWUcblHH6S3Z_OWOAP5y8H4K4.html
Been working on this for about a month and nearly finished transcribing but have literally only just realised about the extra 4 bars added to the form. I kept wondering why it sounded a odd in my head. Thanks for that!
Well, all these nice rhythmic effects make jazz what it is: polyrhythms, all kinds of triplets and other xxx-plets, possibly nested, syncopations, accent shifts ... . It originates from the black, African influences via the blues and indirectly via latin. I encounter them in most of the solo's of the great ones I transcribe. Sometimes makes me need more coffee to get it written down. But great fun.
Great vid! - Oscar is basically playing a 4 bar drum filler, but instead of the percussionist doing that, usually, he does it himself, on the piano... The greatest!
On your last point @Aimee, regarding 'whether he [Oscar] told them ahead of time' - Ray Brown famously wouldn't entertain 'surprises'. For example, if Oscar started a tune in another key, Brown would decline to play and walk off stage, quoted as saying "If you're going to play in that key, you're on your own". Also, the Trio were highly rehearsed. Brown and Thigpen, famously, had their own private club, away from Oscar, and would attempt to trip him up [See liner notes: 'Born To Swing']. Furthermore, let's always remember and regard the veil between musician and magician.
Hi Aimee. I wish I could speak the language of musical theory. I'd write something light and romantic for a Steinway piano; some soulful jazz, with a cookin' groove, for a tenor saxophone; something raw and rocking for a beat up old Strat; and maybe a theme tune for a children's television show about a talking tortoise on a tuba. Sadly, I cannot play. But that hasn't stopped me from listening to a bouillabaisse bowl full of music over the last 50+ years. And now I enjoy listening to you - even if I don't know exactly what you're saying half the time! Anyway, keep up the good work and have a lovely Valentine's Day tomorrow!
That’s so interesting to know that he worked out these things ahead of time and had a game plan. Of course, he had many thousands and hundred of thousands of things worked out from decades of hard work, but I always wonder how much of a performance are lines that someone has been working on recently. Thanks for the great video! That particular break doesn’t sound unusual to me at all and doesn’t sound like he’s messing around with us or flipping the time around. I think because he’s hitting the 2 and 4 with emphasis in place of the hi hat it sounds totally natural and I don’t see how the drummer and bassist would be thrown. It would sound weird if it were on 1 and 3.
In parallel to Aimee's point re Oscar emphasizing the "two" (and the "four").... I am just catching up with this channel after the nod to Aimee from Rick Beato's channel where, a couple of days ago, he briefly analyzed the whole raft of Oscar's "Blues Etudes" from the Ronnie Scott's 1974 clip; and, during Barney Kessel's guitar solo, Oscar is clapping along... one clap per bar... on "the two" - I guess sometimes things can seem unnatural... until you do it!!
Dave Baker has this theory that there surround pitches and bebop harmonic vocabulary arose out of the rhythmic drive to swing and have a phrase come out right. At least that's what Dave Baker told us when we studied with him. Very interesting.- connect also to the Bach-bebop commotion too.
Part of what a great rhythm section does when comping is lock down the beat above anything else. You lose that and the whole thing falls apart. I'm sure those guys expected Peterson to deliberately try to catch someone napping!! Used to listen to McPartland and Piano Jazz all the time back in my L.A. days.
Hey Aimee...huge fan from Chicago! Hey in the spirit of Valentines, would you do an instructional video of "My Funny Valentine". I would LOVE to hear your interpretation of the song. It has some really interesting chords. Thanks so much and have a fabulous day!
and, when Oscar was practicing he had a pet hobby-horse; playing both hands the same skill technique... Listen to his lines played in octave at a hell-tempi... Tatum was his favorite and mainly inspiration!
Hi Aimee I hear it as G C-C G C G C-C G C with G on the one; the emphasis on C makes it sound like the one. Maybe I'm overreacting after hearing the break in "Stairway To Heaven" wrongly over the years :-)...
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great introduction and very interesting, Aimee! Could you make something similar with a piece of Don Shirley? I like his mix of Classic and Jazz!
Have you listened to his earlier version with Barney Kessel and Ray Brown. On the album The Oscar Peterson Trio at JATP. It is a Verve vinyl MGV - 8368
I feel like the point you're making here is very subjective... I personally never heard it as messing with the time at all... Maybe it stems from how strongly you associate the rhythm with the familiar rhythm you brought up
Miles Davis said once there is no such a thing as a wrong note, Grand Master like Oscar and many other just don't play wrong notes, because they are cats that always rebund on their feet, or birds that change direction very fast... Its not proper to Oscar, it a necessity for any Grand Jazz Master
Im a drummer and let me say you have over complicated this and are not hearing it correctly. The accent and feel is on 1 and 2. single note then double notes... repeated pattern for 3 bars. Not in bar 4 as he is doing the transition run. 1 - 2 - . . 1 - 2 - . . 1 - 2 - . . . . . .
![The Blues - Episode #01 ENG-SUB]](http://i.ytimg.com/vi/A7O36Rhf_sU/mqdefault.jpg)
Found a playlist with a McPartland/Peterson interview on Piano Jazz. These are important archives. Each one a national treasure respectively. th-cam.com/play/OLAK5uy_kjYCW8hqEWUcblHH6S3Z_OWOAP5y8H4K4.html
Thanks for this find. Oscar was so humble too! Such a gentleman.
Been loving Oscar all week. My Gpa lent me this tape back in the 90s.
Going to spend my morning commute listening to this over and over again now.
great video
Thank you. Love your Oscar Peterson videos.
Thanks for this professional tribute to Oscar's great legacy ! Very interesting.
Been working on this for about a month and nearly finished transcribing but have literally only just realised about the extra 4 bars added to the form. I kept wondering why it sounded a odd in my head. Thanks for that!
thank you.
Wonderful dissection of the master, Doctor! I could listen to you disassemble and reassemble the entire piece!
Well, all these nice rhythmic effects make jazz what it is: polyrhythms, all kinds of triplets and other xxx-plets, possibly nested, syncopations, accent shifts ... . It originates from the black, African influences via the blues and indirectly via latin. I encounter them in most of the solo's of the great ones I transcribe. Sometimes makes me need more coffee to get it written down. But great fun.
Thank you very much dear teacher ! 🙏🌹
So much to notice in such a playing speed
Super cool!
Great vid! - Oscar is basically playing a 4 bar drum filler, but instead of the percussionist doing that, usually, he does it himself, on the piano... The greatest!
One of the greatest performances of the Oscar Peterson trio in his entire career - and that's saying a lot.
On your last point @Aimee, regarding 'whether he [Oscar] told them ahead of time' - Ray Brown famously wouldn't entertain 'surprises'. For example, if Oscar started a tune in another key, Brown would decline to play and walk off stage, quoted as saying "If you're going to play in that key, you're on your own". Also, the Trio were highly rehearsed. Brown and Thigpen, famously, had their own private club, away from Oscar, and would attempt to trip him up [See liner notes: 'Born To Swing']. Furthermore, let's always remember and regard the veil between musician and magician.
Hi Aimee. I wish I could speak the language of musical theory. I'd write something light and romantic for a Steinway piano; some soulful jazz, with a cookin' groove, for a tenor saxophone; something raw and rocking for a beat up old Strat; and maybe a theme tune for a children's television show about a talking tortoise on a tuba. Sadly, I cannot play. But that hasn't stopped me from listening to a bouillabaisse bowl full of music over the last 50+ years. And now I enjoy listening to you - even if I don't know exactly what you're saying half the time! Anyway, keep up the good work and have a lovely Valentine's Day tomorrow!
@SunRa59 This Comment Jams! You Are Tuned In!
You're a free spirit man
That’s so interesting to know that he worked out these things ahead of time and had a game plan. Of course, he had many thousands and hundred of thousands of things worked out from decades of hard work, but I always wonder how much of a performance are lines that someone has been working on recently.
Thanks for the great video!
That particular break doesn’t sound unusual to me at all and doesn’t sound like he’s messing around with us or flipping the time around. I think because he’s hitting the 2 and 4 with emphasis in place of the hi hat it sounds totally natural and I don’t see how the drummer and bassist would be thrown. It would sound weird if it were on 1 and 3.
Oscar Peterson una montagna troppo alta da scalare grazie per la pazienza!!!
In parallel to Aimee's point re Oscar emphasizing the "two" (and the "four").... I am just catching up with this channel after the nod to Aimee from Rick Beato's channel where, a couple of days ago, he briefly analyzed the whole raft of Oscar's "Blues Etudes" from the Ronnie Scott's 1974 clip; and, during Barney Kessel's guitar solo, Oscar is clapping along... one clap per bar... on "the two" - I guess sometimes things can seem unnatural... until you do it!!
Damm. ...Aimee, you gotta talk about that piano you're using. The sound is amazing! !!!
I’ve talked about it in previous videos. Look up “Aimee bosendorder hallet davis” and you’ll find a fun video!
Hi Aimee great channel and glad I have subscribed. Name is Ray (Floatwithme) a Dutch composer. Keep up that amazing work in all you do. Cheers Ray :)
Dave Baker has this theory that there surround pitches and bebop harmonic vocabulary arose out of the rhythmic drive to swing and have a phrase come out right. At least that's what Dave Baker told us when we studied with him. Very interesting.- connect also to the Bach-bebop commotion too.
Part of what a great rhythm section does when comping is lock down the beat above anything else. You lose that and the whole thing falls apart. I'm sure those guys expected Peterson to deliberately try to catch someone napping!! Used to listen to McPartland and Piano Jazz all the time back in my L.A. days.
I think Duke Ellington’s original version of C Jam Blues has those 4 bar breaks
Hey Aimee...huge fan from Chicago! Hey in the spirit of Valentines, would you do an instructional video of "My Funny Valentine". I would LOVE to hear your interpretation of the song. It has some really interesting chords. Thanks so much and have a fabulous day!
and, when Oscar was practicing he had a pet hobby-horse; playing both hands the same skill technique... Listen to his lines played in octave at a hell-tempi... Tatum was his favorite and mainly inspiration!
You also did a great video on the subject of swinging even though the video title doesn't explicitly say that :)
Hi Aimee I hear it as G C-C G C G C-C G C with G on the one; the emphasis on C makes it sound like the one. Maybe I'm overreacting after hearing the break in "Stairway To Heaven" wrongly over the years :-)...
great introduction and very interesting, Aimee! Could you make something similar with a piece of Don Shirley? I like his mix of Classic and Jazz!
UGHHHHHHHHHHHH those 4-bar breaks. oscar was a catttttt
Have you listened to his earlier version with Barney Kessel and Ray Brown. On the album The Oscar Peterson Trio at JATP. It is a Verve vinyl MGV - 8368
Thanks and Chonk Chonk Chonk!
I really like his crisp style of playing.
Please breakdown monty alexanders chord on nite mist blues..thx
Yeah.
So you taunt your friends with na na na nanana do you Aimee?! The beauty of it is you can do so with such lovely musicianship!
its crazy i never heard this the "wrong" way until watching this video!! so weird how we as humans interpret rhythms
What did you think about Oscars gospel changes to the F7 in the live version?
Is that interview you mentioned with Marian on TH-cam? I can't seem to find it
Look at the top of the comments ;)
Awesome, thanks!
Maybe it's a drummer thing, but I didn't get turned around on this break. Emphasizing 2 and 4 is our bread and butter.
Please transcribe the first break in the video.. wow
Needs a natural sign in front of the 2nd D in bar 8 ;)
I feel like the point you're making here is very subjective... I personally never heard it as messing with the time at all... Maybe it stems from how strongly you associate the rhythm with the familiar rhythm you brought up
lol @ "etc."
Miles Davis said once there is no such a thing as a wrong note, Grand Master like Oscar and many other just don't play wrong notes, because they are cats that always rebund on their feet, or birds that change direction very fast...
Its not proper to Oscar, it a necessity for any Grand Jazz Master
Im a drummer and let me say you have over complicated this and are not hearing it correctly. The accent and feel is on 1 and 2. single note then double notes... repeated pattern for 3 bars. Not in bar 4 as he is doing the transition run. 1 - 2 - . . 1 - 2 - . . 1 - 2 - . . . . . .