Der Pianist Oscar Peterson 22:04 – 24:00 Stand: 06.11.2017 E-Mail: [email protected] | Web: Jazz.Wdr.De Moderation: Hans W

Total Page:16

File Type:pdf, Size:1020Kb

Der Pianist Oscar Peterson 22:04 – 24:00 Stand: 06.11.2017 E-Mail: Jazz@Wdr.De | Web: Jazz.Wdr.De Moderation: Hans W WDR 3 Jazz & World 06.11.2017 Piano In The Foreground Der Pianist Oscar Peterson 22:04 – 24:00 Stand: 06.11.2017 E-Mail: [email protected] | Web: jazz.wdr.de Moderation: Hans W. Ewert Redaktion: Bernd Hoffmann 22:04-24:00 Laufplan 1. Give me the simple life K: Rube Bloom 3:55 22:04-24:00 OSCAR PETERSON MPS 060249827011 LC 00979 CD: Tracks 2. Boogie Woogie K: Pinetop Smith 3:08 BEN WEBSTER & OSCAR Verve 2683 023 LC 0383 PETERSON 2-LP: Soulville 3. I only have eyes for you K: Harry Warren 7:10 OSCAR PETERSON DUO Verve 314523 893/Disc9 LC 0383 10-CD: The Complete JATP 1944-49 4. Thag’s dance K: Oscar Peterson 5:40 OSCAR PETERSON TRIO Verve V6-8480 LC 0383 LP: The Sound Of The Trio 5. Honeysuckle Rose K: Fats Waller 6:10 OSCAR PETERSON TRIO Pablo Live 2620-118 LP: At Zaredis 6. Roy’s son K: Roy Eldridge,Sonny Stitt 9:00 O.P.TRIO & ROY ELDRIDGE, Verve MGV 8239 LC 0383 SONNY STITT, JO JONES CD: At Newport 7. Blues K: Harry Edison 7:15 HARRY EDISON Verve 2332082 LC 0383 LP: Blues For Basie 8. John Brown’s body K: P.D. 7:30 OSCAR PETERSON & MILT Verve 827 821 LC 0383 JACKSON CD: Very Tall 9. Rifftide K: Thelonius Monk 8:12 JOHN COLTRANE , STAN Jazzline N 78002 LC 08597 GETZ , OSCAR PETERSON LP 1960 Düsseldorf 10. Perdido K: Juan Tizol 6:10 OSCAR PETERSON MPS 2120671 LC 00979 LP: My Favorite Instrument 11. Naptown Blues K: Wes Montgomery 5:20 OSCAR PETERSON MPS 15262 LC 00979 QUARTET LP: Hello Herbie 12. Hymn to Freedom K: Oscar Peterson 5:30 OSCAR PETERSON TRIO Verve MV 2063 LC 0383 LP: Night Train 13. Night Train K: Jimmy Forrest 4:50 OSCAR PETERSON TRIO Verve MV 2063 Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 1 WDR 3 Jazz & World 06.11.2017 Piano In The Foreground Der Pianist Oscar Peterson 22:04 – 24:00 Stand: 06.11.2017 E-Mail: [email protected] | Web: jazz.wdr.de 22:04-24:00 LP: Night Train 14. Basie K: Oscar Peterson, Harry Edison 7:20 OSCAR PETERSON & OJC 738 LC 07638 HARRY “SWEETS” EDISON22:04 -24:00CD: Oscar Peterson & Harry Edison 15. Work Song K: Nat Adderley 5:00 OSCAR PETERSON & MILT Verve 827 821 LC 0383 JACKSON CD: Very Tall Dieses Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des WDR. 2 .
Recommended publications
  • A Farewell to Arms, by Ernest Hemingway
    A Farewell to Arms BY Ernest Hemingway Book One 1 In the late summer of that year we lived in a house in a village that looked across the river and the plain to the mountains. In the bed of the river there were pebbles and boulders, dry and white in the sun, and the water was clear and swiftly moving and blue in the channels. Troops went by the house and down the road and the dust they raised powdered the leaves of the trees. The trunks of the trees too were dusty and the leaves fell early that year and we saw the troops marching along the road and the dust rising and leaves, stirred by the breeze, falling and the soldiers marching and afterward the road bare and white except for the leaves. The plain was rich with crops; there were many orchards of fruit trees and beyond the plain the mountains were brown and bare. There was fighting in the mountains and at night we could see the flashes from the artillery. In the dark it was like summer lightning, but the nights were cool and there was not the feeling of a storm coming. Sometimes in the dark we heard the troops marching under the window and guns going past pulled by motor-tractors. There was much traffic at night and many mules on the roads with boxes of ammunition on each side of their pack-saddles and gray motor trucks that carried men, and other trucks with loads covered with canvas that moved slower in the traffic.
    [Show full text]
  • JREV3.8FULL.Pdf
    JAZZ WRITING? I am one of Mr. Turley's "few people" who follow The New Yorker and are jazz lovers, and I find in Whitney Bal- liett's writing some of the sharpest and best jazz criticism in the field. He has not been duped with "funk" in its pseudo-gospel hard-boppish world, or- with the banal playing and writing of some of the "cool school" Californians. He does believe, and rightly so, that a fine jazz performance erases the bound• aries of jazz "movements" or fads. He seems to be able to spot insincerity in any phalanx of jazz musicians. And he has yet to be blinded by the name of a "great"; his recent column on Bil- lie Holiday is the most clear-headed analysis I have seen, free of the fan- magazine hero-worship which seems to have been the order of the day in the trade. It is true that a great singer has passed away, but it does the late Miss Holiday's reputation no good not to ad• LETTERS mit that some of her later efforts were (dare I say it?) not up to her earlier work in quality. But I digress. In Mr. Balliett's case, his ability as a critic is added to his admitted "skill with words" (Turley). He is making a sincere effort to write rather than play jazz; to improvise with words,, rather than notes. A jazz fan, in order to "dig" a given solo, unwittingly knows a little about the equipment: the tune being improvised to, the chord struc• ture, the mechanics of the instrument, etc.
    [Show full text]
  • CELEBRATING OSCAR PETERSON Posted on February 16, 2021
    BLACK HISTORY MONTH | CELEBRATING OSCAR PETERSON Posted on February 16, 2021 Category: News Oscar Emmanuel Peterson (1925–2007) | Agent of Change | Remembered as a virtuoso jazz pianist and composer of Hymn to Freedom, an international anthem to civil rights. The son of immigrants from the West Indies, Oscar Peterson was born in Montréal, Québec and grew up in Little Burgundy, a predominantly Black neighbourhood of the city where he was immersed in the culture of jazz. He was five years old when he began taking music lessons from his father. He also studied classical piano with his sister, Daisy Peterson Sweeney, who went on to teach other renowned jazz artists. Peterson later attended the Conservatoire de musique du Québec è Montrèal and studied classical piano with Paul de Marky, but with a deep interest in jazz, he also played boogie-woogie and ragtime. At only 14 years old, Peterson won the national Canadian Broadcasting Corporation music competition, after which he dropped out of high school and joined a band with jazz trumpeter and classmate Maynard Ferguson. While still a teenager, Peterson played professionally at hotels and at a weekly radio show. He also joined the Jonny Holmes Orchestra as its only Black musician. From 1945 to 1949, Peterson recorded 32 songs with RCA Victor. Beginning in the 1950s, he released several albums each year while appearing on over 200 albums by other artists including Billie Holiday, Louis Armstrong, Count Basie, Ella Fitzgerald, and Dizzy Gillespie. In 1949, jazz impresario Norman Ganz was on his way to the airport in Montréal, when hearing Peterson playing live on radio, asked the cab driver to take him to the club where the concert was being aired.
    [Show full text]
  • Pan African Agency and the Cultural Political Economy of the Black City: the Case of the African World Festival in Detroit
    PAN AFRICAN AGENCY AND THE CULTURAL POLITICAL ECONOMY OF THE BLACK CITY: THE CASE OF THE AFRICAN WORLD FESTIVAL IN DETROIT By El-Ra Adair Radney A DISSERTATION Submitted to Michigan State University in partial fulfillment of the requirement for the degree African American and African Studies - Doctor of Philosophy 2019 ABSTRACT PAN AFRICAN AGENCY AND THE CULTURAL POLITICAL ECONOMY OF THE BLACK CITY: THE CASE OF THE AFRICAN WORLD FESTIVAL IN DETROIT By El-Ra Adair Radney Pan African Agency and the Cultural Political Economy of the Black City is a dissertation study of Detroit that characterizes the city as a ‘Pan African Metropolis’ within the combined histories of Black Metropolis theory and theories of Pan African cultural nationalism. The dissertation attempts to reconfigure Saint Clair Drake and Horace Cayton’s Jr’s theorization on the Black Metropolis to understand the intersectional dynamics of culture, politics, and economy as they exist in a Pan African value system for the contemporary Black city. Differently from the classic Black Metropolis study, the current study incorporates African heritage celebration as a major Black life axes in the maintenance of the Black city’s identity. Using Detroit as a case study, the study contends that through their sustained allegiance to African/Afrocentric identity, Black Americans have enhanced the Black city through their creation of a distinctive cultural political economy, which manifests in what I refer to throughout the study as a Pan African Metropolis. I argue that the Pan African Metropolis emerged more visibly and solidified itself during Detroit’s Black Arts Movement in the 1970s of my youth (Thompson, 1999).
    [Show full text]
  • Trevor Tolley Jazz Recording Collection
    TREVOR TOLLEY JAZZ RECORDING COLLECTION TABLE OF CONTENTS Introduction to collection ii Note on organization of 78rpm records iii Listing of recordings Tolley Collection 10 inch 78 rpm records 1 Tolley Collection 10 inch 33 rpm records 43 Tolley Collection 12 inch 78 rpm records 50 Tolley Collection 12 inch 33rpm LP records 54 Tolley Collection 7 inch 45 and 33rpm records 107 Tolley Collection 16 inch Radio Transcriptions 118 Tolley Collection Jazz CDs 119 Tolley Collection Test Pressings 139 Tolley Collection Non-Jazz LPs 142 TREVOR TOLLEY JAZZ RECORDING COLLECTION Trevor Tolley was a former Carleton professor of English and Dean of the Faculty of Arts from 1969 to 1974. He was also a serious jazz enthusiast and collector. Tolley has graciously bequeathed his entire collection of jazz records to Carleton University for faculty and students to appreciate and enjoy. The recordings represent 75 years of collecting, spanning the earliest jazz recordings to albums released in the 1970s. Born in Birmingham, England in 1927, his love for jazz began at the age of fourteen and from the age of seventeen he was publishing in many leading periodicals on the subject, such as Discography, Pickup, Jazz Monthly, The IAJRC Journal and Canada’s popular jazz magazine Coda. As well as having written various books on British poetry, he has also written two books on jazz: Discographical Essays (2009) and Codas: To a Life with Jazz (2013). Tolley was also president of the Montreal Vintage Music Society which also included Jacques Emond, whose vinyl collection is also housed in the Audio-Visual Resource Centre.
    [Show full text]
  • Proquest Dissertations
    A comparison of embellishments in performances of bebop with those in the music of Chopin Item Type text; Thesis-Reproduction (electronic) Authors Mitchell, David William, 1960- Publisher The University of Arizona. Rights Copyright © is held by the author. Digital access to this material is made possible by the University Libraries, University of Arizona. Further transmission, reproduction or presentation (such as public display or performance) of protected items is prohibited except with permission of the author. Download date 03/10/2021 23:23:11 Link to Item http://hdl.handle.net/10150/278257 INFORMATION TO USERS This manuscript has been reproduced from the miaofillm master. UMI films the text directly fi^om the original or copy submitted. Thus, some thesis and dissertation copies are in typewriter face, while others may be fi-om any type of computer printer. The quality of this reproduction is dependent upon the quality of the copy submitted. Broken or indistinct print, colored or poor quality illustrations and photographs, print bleedthrough, substandard margins, and improper alignment can adversely affect reproduction. In the unlikely event that the author did not send UMI a complete manuscript and there are missing pages, these will be noted. Also, if unauthorized copyright material had to be removed, a note will indicate the deletion. Oversize materials (e.g., maps, drawings, charts) are reproduced by sectioning the original, beginning at the upper left-hand corner and contLDuing from left to right in equal sections with small overlaps. Each original is also photographed in one exposure and is included in reduced form at the back of the book.
    [Show full text]
  • 200 Essential Small Group Jazz Recordings 1925-1975 by Dan Miller
    200 Essential Small Group Jazz Recordings 1925-1975 By Dan Miller www.danmillerjazz.com This list comprises two hundred of the most historically important small group jazz recordings. Represented is the work of every major innovator, as well as many of the great stylists. Thousands of recordings are currently available and it is often difficult for the young player to know where start building a collection. This list is by no means an absolute, but combines what I consider to be a complete overview of the masters and their music. Notes on Charlie Parker Recordings: There are hundreds of studio and live recordings of Parker available. The Dial, Savoy and Verve recordings are the primary ones to seek out. Due to the limitations of pre-1950 recording technology (78 r.p.m. discs), sound recordings were no greater than 3 minutes in length. The many "live" recordings of Parker offer the listener an opportunity to hear Bird unhindered by these constraints. 1) Louis Armstrong--Complete Hot Five and Hot Seven Recordings (Columbia) 2) Louis Armstrong--Complete RCA/Victor Recordings (RCA) 3) Louis Armstrong--Ella and Louis (Verve) 4) Louis Armstrong--Plays W.C. Handy (Columbia) 5) Bix Beiderbecke--Volume 1 Singin’ the Blues (Columbia) 6) Art Tatum--Piano Starts Here (Columbia) 7) Art Tatum--Classic Early Solos 1934 and 1937 (Decca) 8) Jelly Roll Morton--Birth of the Hot (RCA/Bluebird) 9) Coleman Hawkins--Body and Soul (RCA) 10) Coleman Hawkins--Rainbow Mist (Delmark) 11) Coleman Hawkins--1943-1944 (Classics) 12) Lester Young--“Count Basie” 1936-1938
    [Show full text]
  • Lionel Hompton # Jozz Fes'tivol '"?Iæfy O '- C) O
    { I !t i ; I I I i 1 I l Ë I I i I I i I Lionel Hompton # Jozz Fes'tivol '"?iÆFY o '- c) o =o- o ! p o C f ol o-- (I) Dr. lionel Hampton, producer *rJ assisted by Dr. lynn J. Skinner Welcome to the 3lst University of Idaho Lionel HamptonJazzÏestival! The Lionel HárirptonJazzEestivalhas become one of the greatest jzzzfestivals in the world. join Pleæe us in celebratin g a clæsically American art form - Iazz. At the Lionel HamptonJazzEestivalwe seek to enrich the lives of young people with this music - year after year. "GAtes" Keeps on Swingin' Lionel Hampton started his musicalcareer æ a drummer. Hamp wæ playing drums with Louie Armstrong and one night at the gig, Louie turned to Hamp and said, "Swing it Gates, Swing!" Hamp asked Louie what he meantand he said, "l'm calling you Gates because you swing like a gatel" From that point in time until this very day Hamp is known as "Gates" because of his incredible ability to "swing". The story came to Dr. Skinner directly from Hamp. 1 I Welcome to the 1998 Jazz Festival atthe University of Idaho - Moscow, Idaho! Page For more informoÌion concerning the Concert Schedule Lionel Homplon Jozz Feslivol, contoct: 5 Lionel Hampton School of MusicJøz Ensembles 11 Dr. Lynn J. Skinner, Execulive Direclor Welcome Letters 13 Lionel Homplon Jozz Feslivol Clinic Schedule t5 Lionel Hompton School of Music Lionel Hampton - Biography 17 Universify of ldoho Guest futist Biographies .......... 23 Moscow, ldoho 83844-4014 Adjudicator Biog*pfri.r .................. 53 (208)885-ó513 l208l88 5-67 65 Fox: Lionel HamptonJazz Festival Staff ,..
    [Show full text]
  • The Jazz Scene”—Various Artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (Guest Post)*
    “The Jazz Scene”—Various artists (1949) Added to the National Registry: 2007 Essay by Tad Hershorn (guest post)* Original album cover When “The Jazz Scene” was released in 1950, Norman Granz had significantly reshaped the jazz world in his image. Jazz historian and senior “Down Beat” editor John McDonough emphatically summed up Granz’s achievements when he wrote, “Two mavericks changed the face of jazz in the 1940s. Charlie Parker changed the way it was played. Norman Granz changed the way it was sold.” By this time, Granz’s popular seasonal national tours of Jazz at the Philharmonic (JATP), jam session concerts of jazz superstars, had gone on since 1945 after their debut in his hometown of Los Angeles the previous year. In 1949, Ella Fitzgerald joined JATP in what turned out to be a nearly 45-year relationship with Granz, who both managed her career and had her recording contract. Oscar Peterson began a similar long-term relationship with Granz when he joined JATP in 1950, when Granz likewise managed and recorded him over the decades. Granz also distinguished himself as an unyielding champion of racial justice, who had anti-segregation clauses in his contracts from the very beginning, and also offered top pay, travel and accommodations for those working for him. Two years later the jazz impresario began annual tours of Europe, where JATP proved to be as popular there as it had been in the United States. In 1953, Granz and his tours and recordings on his independent labels were beginning to crest. Around 500,000 people packed his concerts worldwide, including tours of Europe and Japan, while he also produced half the jazz records in the United States.
    [Show full text]
  • Blues Notes March 2013
    Volume eighteen, number three • march 2013 Raise the RoofTUESDAY, fund APRIL R30TaiseH • 6pm RShowtime featu • THR E 21ingST Saloon tommy CastRo $10 admission for current members of BSO, $20 admission for nonmembers (nonmembers can join BSO at door to receive discounted member admission) Since 1980, the Blues Foundation has been inducting individuals, recordings and literature into the Blues Hall of Fame, but until now there has not been a physical Blues Hall of Fame. Establishing a Blues Hall of Fame enhances one of the founding programs of The Blues Foundation. The “Raise the Roof” campaign calls for up to $3.5 million to create a Blues Hall of Fame in Memphis. It will be the place to: honor inductees year-round; listen to and learn about the music; and enjoy historic mementos of this all-American art form. The new Blues Music Hall of Fame will be the place for serious Blues fans, casual visitors, and wide-eyed students. It will facilitate audience development and membership growth. It will expose, enlighten, educate, and entertain. The BSO Presents ––—— POPA CHUBBY ——–– Sunday, March 17th Whiskey Tango • 311 South 15th Street • Omaha, NE tickets $10 adv and $15 DOS — AlSO — Popa CHUBBY • Wednesday, March 20th • The Zoo Bar-6pm 3RD ANNUAL NEBRASKA BLUES CHALLENGE THURSDAY BLUES SERIES March 24, April 7, April 21 (all Sundays) 4727 S 96th Plaza Mark your Calendar All Shows 5:30pm Watch OmahaBlues.com and see the February 28th .............................. The Brandon Santini Band ($8) poster in this issue for schedules! March 7th ..........................................................
    [Show full text]
  • Oscar Peterson C Jam Blues Transcription
    Oscar Peterson C Jam Blues Transcription Kristos often outprice lento when afflated Rube acetifies faster and dines her parlay. Berchtold stridulates abysmally? Leonhard carburizes her chiasma irregularly, paternalism and mellifluous. Because multiple widgets on sale page will drink multiple popovers. To start playing by oscar peterson used these transcriptions piano transcription by capital music. Boogie blues jazz musicians who performed by oscar peterson c jam blues transcription music list of the transcription of. Breaking down the easiest piano and then does the noteflight learn more than sending your review contained on. New books being added this oscar peterson c jam blues transcription. Like the same figures but it on material in the basic repertoire, composers and adaptation faithful to them are great volume of the c jam blues! Please correct the c jam blues sheet music and some scheduling issues between this ebook, he then these scales together. All students of them are right now, utiliza otro navegador. Now, use system considers things like how recent account review is and path the reviewer bought the sovereign on Amazon. Preludes and Fugues Op. Need to get started finding blues licks in c major effort was a tu nueva contraseña a esta página web. Purveyors of commission fine website. Night train album seriously swings this is due to sound amazing player to create a specific and new blog! Allegro con brio by Philip Martin. This solo is reading great example of company use of basic diatonic melodies over changes and toe to combine trade with bebop and blues scale material.
    [Show full text]
  • Reflections in Poetry and Prose 2018
    5T 2 H AN NIV ERSARY Reflections in poetry and prose 2018 UNITED FEDERATION OF TEACHERS • RETIRED TEACHERS CHAPTER INTRODUCTION It is always a pleasure to experience the creativity, insights and talents of our re- tired members, and this latest collection of poems and writings provides plenty to enjoy! Being a union of educators, the United Federation of Teachers knows how im- portant it is to embrace lifelong learning and engage in artistic expression for the pure joy of it. This annual publication highlights some gems displaying the breadth of intellectual and literary talents of some of our retirees attending classes in our Si Beagle Learning Centers. We at the UFT are quite proud of these members and the encouragement they receive through the union’s various retiree programs. I am happy to note that this publication is now celebrating its 25th anniversary as part of a Retired Teachers Chapter tradition reflecting the continuing interests and vitality of our retirees. The union takes great pride in the work of our retirees and expects this tradition to continue for years to come. Congratulations! Michael Mulgrew President, UFT Welcome to the 25th volume of Reflections in Poetry and Prose. Reflections in Poetry and Prose is a yearly collection of published writings by UFT retirees enrolled in our UFTWF Retiree Programs Si Beagle Learning Center creative writing courses and retired UFT members across the country. We are truly proud of Reflections in Poetry and Prose and of the fine work our retirees do. Many wonderful, dedicated people helped produce this volume of Reflections in Poetry and Prose.
    [Show full text]