Oscar Peterson

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风格: #摇摆乐　#波普　#主流爵士
地区: United States of America 美国

艺人介绍

Oscar Peterson 1925年生于加拿大Montreal，六岁开始学习钢琴，十四岁时就已担任当地电台节目的音乐班底，1949年他在美国卡内基音乐厅的初次登场，获得美国爵士乐爱好者的热烈回响，也开始了他的录音生涯。他早期的钢琴作品受Nat King Cole的启发，后来则受现代爵士乐钢琴风格的影响，基本上他并不限于任一种演奏风格，在体裁方面，凡民谣，蓝调，放克或Bebop等等，他一律接纳，无论任何情形下，他所创造出的音符，总是生动和富变化，就像他擅长的和声变化，极具剌激性，非常的摇摆。他所有作品本质，始终依附在轻松且节拍灵活自由的摇摆乐上，虽然有时常充斥着反复的乐节，或一再地弹着同一音符，却使得曲子更具节奏的张力，由旋律的观点而言，有时虽有点散乱，却无损音乐的完整性，流畅性，反而塑造出他的特殊风格，爵士乐界的钢琴手，表少有人能像他将现与传统爵士乐，作极精湛的结合，他可说是爵士乐界最佳的伴奏者之一。当代杰出的爵士人多曾经与他合作过，从Louis Armstrong, Ella Fitzgrald, Billie Holiday, 他早期与Ray Brown贝斯手组了二重奏，从来以Nat King Cole的规制，加入了吉他手形成著名的三重奏，1970年后，他的演奏规制，不固定二重奏或三重奏或独奏，他的合作对象也不固定，唯一不变的是他仍持续地灌录唱片，他仍活力十足地为爵士乐留下不析的资产，同时他也是爵士乐界灌录唱片最多的乐师之一。

在无数的黑人乐手中奥斯卡·彼得森可谓是一位爵士钢琴中的领袖级人物，他把爵士乐轻佻、迷幻的色彩通过手指与琴键的接触直接勾勒在我们面前，虽然很多音阶听上去那么不和谐，但正是这些不和谐的、跳跃的音符造就了他的音乐在酒吧中盛行的趋势。现今社会的中坚力量也正是那些懂得享受生活，希望尝试多元化的生活的时尚一族。

数十年来他在爵士钢琴领域中的地位始终屹立不摇，他的风格Swing也一直坚持着，不在乎Fusion, Free Jazz的新潮流，他并不落伍，但没有人能够说他的风格是不合时宜的，他多变的风格，无疑是整个爵士钢琴史的综合体，他在1984年被Down Beat杂志列为爵士名人堂的唯一得主，同时从1950到现在，也几度被读者选为最佳钢琴手。与他合奏的对象除了二重奏，三重奏时期的固定班底外，也加铜管乐器和小提琴等等乐手，他的音乐时而高潮迭起，时而流畅自然，在在显示他技巧的成熟度以及乐手间的默契十足。他的音乐，可以说是一个自由的极至表现，听到他的音符，会令你感受到轻快却有秩序，你听到快速的音符却排列整齐地在他指下，你大可以轻松的心情，仔细聆听他音符的变化，你会发现听似杂乱无章的音乐其中居然是一篇自由即兴的旋律，要是你不懂Swing，由他的音乐就可以轻易入门，从他身上可以看出创作的精神及即兴演奏的美妙。就让他带给你最舒服，最无压力的一种感受吧。

他的钢琴作品并不限于任一种演奏风格，在体裁方面，对民谣，蓝调，放克或Bebop等等一律接纳；他所有的作品本质，始终依附在轻松且节拍灵活自由的摇摆乐上，虽然有时常充斥着反复的乐节，或一再地弹着同一音符，却使得曲子更具节奏的张力，由旋律的观点而言，略有些散乱却无损音乐的完整性与流畅性的特点，反而塑造出他的特殊风格，他可以说是爵士乐界最佳的伴奏者之一。

by Scott Yanow

Oscar Peterson is one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Petersons speed, dexterity and ability to swing at any tempo have long been amazing. Very effective in small groups, jam sessions and in accompanying singers, O.P. is at his absolute best when performing unaccompanied solos. His original style does not fall into any specific idiom. Like Erroll Garner and George Shearing, Petersons distinctive playing formed during the mid- to late-40s and fell somewhere between swing and bop.

Peterson has been criticized through the years because he uses so many notes, has not evolved much since the 1950s, and has 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 plays 100 notes when other pianists might use 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 ones career. Because he was Norman Granzs favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson has 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.

Oscar Peterson started classical piano lessons when he was six and developed quickly. After winning a talent show at 14, he began starring on a weekly radio show in Montreal. Peterson picked up early experience as a teenager playing with Johnny Holmes Orchestra. From 1945-49, he recorded 32 selections for Victor in Montreal. Those trio performances find Peterson displaying a love for boogie-woogie, which he would soon discard, and the swing style of Teddy Wilson and Nat King Cole. His technique was quite brilliant even at that early stage, and although he had not yet been touched by the influence of bop, he was already a very impressive player.

Norman Granz discovered Peterson in 1949 and soon presented him as a surprise guest at a Jazz at the Philharmonic concert. Peterson was recorded in 1950 on a series of duets with either Ray Brown or Major Holley on bass; his version of Tenderly became a hit. Petersons talents were quite obvious, and he became a household name in 1952 when he formed a trio with guitarist Barney Kessel and Brown. Kessel tired of the road and was replaced by Herb Ellis the following year. The Peterson-Ellis-Brown Trio, which often toured with JATP, was one of jazzs great combos from 1953-58. Their complex yet swinging arrangements were competitive — Ellis and Brown were always trying to outwit and push the pianist — and consistently exciting. In 1958, when Ellis left the band, it was decided that no other guitarist could fill in so well, and he was replaced (after a brief stint by Gene Gammage) by drummer Ed Thigpen. In contrast to the earlier group, the Peterson-Brown-Thigpen Trio (which lasted until 1965) found the pianist easily the dominant soloist. Later versions of the group featured drummers Louis Hayes (1965-66), Bobby Durham (1967-70), Ray Price (1970) and bassists Sam Jones (1966-70) and George Mraz (1970).

In 1960, Oscar Peterson established the Advanced School of Contemporary Music in Toronto, which lasted for three years. He made his first recorded set of unaccompanied piano solos in 1968 (strange that Norman Granz had not thought of it) during his highly rated series of MPS recordings. With the formation of the Pablo label by Granz in 1972, Peterson was often teamed with guitarist Joe Pass and bassist Niels Pedersen. He appeared on dozens of all-star records, made five duet albums with top trumpeters (Dizzy Gillespie, Roy Eldridge, Harry Sweets Edison, Clark Terry and Jon Faddis), and teamed up with Count Basie on several two-piano dates. An underrated composer, Peterson wrote and recorded the impressive Canadiana Suite in 1964 and has occasionally performed originals in the years since. Although always thought of as a masterful acoustic pianist, Peterson has also recorded on electric piano (particularly some of his own works), organ on rare occasions, and even clavichord for an odd duet date with Joe Pass. One of his rare vocal sessions in 1965, With Respect to Nat, reveals that Petersons singing voice was nearly identical to Nat King Coles.

A two-day reunion with Herb Ellis and Ray Brown in 1990 (which also included Bobby Durham) resulted in four CDs. Peterson was felled by a serious stroke in 1993 that knocked him out of action for two years. Since then, he has gradually returned to the scene, although his left hand has been weakened. But even when he is not 100 percent, Oscar Peterson remains a classic improviser, one of the finest musicians that jazz has ever produced.

The pianist has appeared on an enormous number of records through the years. As a leader, he has recorded for Victor, Granzs Clef and Verve labels (1950-64), MPS, Mercury, Limelight, Pablo and Telarc.

Oscar Peterson　奥斯卡·皮特森

艺人介绍

最新简评（共146条）

Oscar Peterson 奥斯卡·皮特森

艺人介绍

最新简评（共146条）

Oscar Peterson　奥斯卡·皮特森