This reissue of
Oscar Peterson
's live Toronto recording in the
Desert Island Discs
series at
Verve
brings to light the question that
jazz
audiences were debating at the time. With
Peterson
's legerdemain rhythmic possibilities, his knotting, shimmering waves of notes, his insanely huge harmonic structures, and his dense clusters played in every solo, half the
populace wondered if all the swinging noodling might be a skillful medicine show while the other half considered it genius. No matter. One thing that everyone agreed on: No matter how busy his busy got -- and this album illustrates the rule since it's in a live setting --
always, always swung, particularly with
Herb Ellis
on guitar and
Ray Brown
on bass. The set opens with
"Sweet Georgia Brown"
and it's all bets off as to what
will do next. He skitters from one melodic possibility to the next while
Ellis
creates a dynamic flow of fresh ideas to keep the music full and bright. There are
blues
here, and they are gutbucket
. They come from
' guitar during this late '50s period more than at any other time in his life. But they come from
Brown
and
too, and that's where the argument loses the wind in its sails: Everything this trio played was rooted in a
so pervasive, so swinging, so hot, it could not be anything but truly fine
.
's musical appetite matched his physical stature, and it is reflected in the selections here, which all seem to segue into one another:
"Should I,"
"When the Lights Are Low,"
"Pennies From Heaven,"
"Moonlight in Vermont,"
and others through to
"Love Is Here to Stay."
All are reinvented and reinterpreted through the science of harmonic invention and rhythmic interval unique to this
Oscar Peterson Trio
. And while the plates and glasses rattle and tinkle, the
continues to burn, full of joy and light and just a hint of smoke. In 1958 this was a night to remember; in the 21st Century it's a disc to memorize in the depths of the heart. ~ Thom Jurek