• This revered Canadian pianist, who left us only recently, had an amazingly prolific jazz career. His virtuosic solos have mesmerized generations of jazz fans and musicians alike. But I want to focus on a facet of Oscar Peterson that is almost always understated: his skill as an accompanist. In my opinion, he is the ultimate in what a singer could ever ask for: he’s always tasteful, always creative, never overpowering, and swings with such impeccable skill you’d swear he invented the sixteenth note. Through all of this he showcases the singer in what I can only describe as great generosity. He’s more concerned with complementing them than upstaging them, and it shows. Here are a few of my favorite recordings where Oscar and his boys back up singers:

    Taking a Chance on Love (Vernon Duke, John Latouche & Ted Fetter) Anita Sings the Most with the Oscar Peterson Quartet: Anita O’Day (vcl), Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Jo Jones (d); Los Angeles, January 31, 1957

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    The intro is one of my most favorite ever. Simple and cute at first, then gives you something to chew on right before that gorgeous bass kicks in. Just listening to every perfect response OP has for each of Anita’s lines in the A sections gives me chills. This is one of those songs that I just can’t help but get mushy over.

    You Are My Sunshine (Jimmie Davis & Charles Mitchell)  Bill Henderson with the Oscar Peterson Trio: Bill Henderson (vcl), Oscar Peterson (p), Ray Brown (b), Ed Thigpen (d); February 1963

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    Sometimes I forget Peterson is playing on this one because Bill Henderson drives the song so directly for the whole performance. It’s really Peterson and his trio though who take the song, start it out, kick it into gear, kick it up even further, and bring it way way down at the end. I love how he is brimming with energy at the beginning of that second kick, but he starts calming the band down soon after for the ending. Classic.

    Love Is Here To Stay (George & Ira Gershwin)  Ella and Louis Again: Ella Fitzgerald (vcl), Louis Armstrong (tp,vcl), Oscar Peterson (p), Herb Ellis (g), Ray Brown (b), Louie Bellson (d); Los Angeles, July 23, 1957

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    I could write a whole post about how I think the Ella and Louis albums are the best examples of classic American music and how every American should own all three of them. Here we have one out of many classics, and who else could better compliment the royalty of jazz than the Oscar Peterson Quartet? It’s another perfect example of how Peterson knows how to stay understated and how to support the singers. I love how Ray Brown moves things into high gear during Satch’s trumpet solo.

    That Old Feeling (Sammy Fain & Lew Brown) Louis Armstrong Meets Oscar Peterson: Louis Armstrong (tp,vcl) Oscar Peterson (p) Herb Ellis (g) Ray Brown (b) Louie Bellson (d); Hollywood, CA, October 14, 1957

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    Keeping it mellow again with Armstrong, Peterson and his quartet back him up as only they could.  I love the interplay between Herb Ellis and Peterson on this one.  Nothing too fancy on the guitar, but the way they dance around each other is perfect for this tune.

    When The Saints Go Marching In (traditional) The Complete Lionel Hampton Quartets and Quintets with Oscar Peterson on Verve : Lionel Hampton (vib) Oscar Peterson (p) Ray Brown (b, voc) Buddy Rich (d); New York City, September 13, 1954

    Audio clip: Adobe Flash Player (version 9 or above) is required to play this audio clip. Download the latest version here. You also need to have JavaScript enabled in your browser.

    I had to end this post on a high note.  Here Oscar backs up one of his own on vocals: yup, that’s Ray Brown singing, with the rest of the band egging him on.  There’s actually way more instrument than voice here, but this fun rollicking session has the same great back-and-forth between the piano and singer that we’ve heard here before.

    I’ve focused only on studio recordings here but there are also some examples of Peterson with vocalists in live settings.  Comment if you have a favorite or if I’ve left out something essential.  Probably the first thing that might shoot to mind is his album where he accompanies himself, but I purposely left out With Respect to Nat because there isn’t a relationship between two musicians there (and incidentally the vocals were recorded separately from the piano).  It’d be a stretch to commend someone for not upstaging themself.

     

    4 responses to “Oscar Peterson, the Accompanist”

    1. Neat! I had no idea he was the pianist for Ella and Louis… I love that version of that tune! Thanks for posting this- it’s awesome!
      -m.

    2. as a fellow “swing DJ”, I want to thank you mike for giving people the opportunity to hear Oscar Peterson in this context.

      I totally agree that most jazz fans appreciate him as either the lightning fast uber-pianist or as the delicate/playful trio leader. Oscar Peterson’s role as an accompanist is certainly overlooked …and missing that part of Oscar Peterson is to miss the genius of tasteful understatement.

      In addition, the music you chose showcases Oscar Peterson’s ability to accompany singers of the same era and similar qualities with a very different flavor in his own playing. With Anita he is playful and “noodley”, Bill is blues and gospel infused, both Armstrong tracks are simpler accompaniments (which goes to show that Peterson doesn’t ‘need’ to keep busy to be happy) and in the last track Peterson alternates between driving the band and some cool call and response between the band, the piano and the vocals.

      Once again: thank you Mike! Really nice job!

      -Greg

    3. Please note that these recordings that Mike magically streams are in stereo, so if you were doing like me and listening surreptitiously at work with only one earphone, you should go home and listen with both ears. Or just blast it loud and proud at the Man. You wouldn’t want to miss out on one of the musicians in these lovely recordings.

    4. Great blog, sir! And great post! Just came across it tonight. Anyway, if you haven’t seen this yet, you absolutely must: http://www.youtube.com/watch?v=_ayQq5AQxF0&feature=related

      It’s interesting to see Peterson accompany the man whose piano was obviously a very strong influence on his own. Cole was the first to perfect the technique with which Peterson wrought much of his magic: “conducting” his trio with right hand riffs to “stabilize” the tune and convey his sense of tempo and dynamics to the other musicians.

      Cole was no slouch as an acompanist himself. Of course, it certainly helped that most of the time, he was comping one of the great jazz vocalists of all time: himself.

      Frank Sinatra once invited the Oscar Peterson Trio to perform at a party at his house. No idea whether the Chairman actually sang with the trio, but either way it is an utter travesty that no one had the foresight to smuggle in a tape recorder…. In the same vein, I’ve always thought it’s a shame that no one at Capitol thought to have Frank and Nat record together in the mid to late ’50s, when they were both with the label and both at the peak of their abilities.

    Leave a reply