Album info

Album-Release:
1969

HRA-Release:
16.07.2014

Album including Album cover

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  • 1Sally's Tomato03:08
  • 2Sunny03:29
  • 3By the Time I Get to Phoenix04:22
  • 4Wandering02:55
  • 5This Guy's in Love With You03:47
  • 6Wave06:04
  • 7Dreamsville02:58
  • 8Yesterday04:03
  • 9Eleanor Rigby03:06
  • 10Ode to Billy Joe02:40
  • Total Runtime36:32

Info for Motions And Emotions

For Motions & Emotions, his 1969 orchestral recording for the MPS label, Oscar Peterson was perfectly paired with the magisterial talents of arranger Claus Ogerman. Born in Ratibor, Germany, on April 29, 1930, Ogerman studied music and piano and by the early 1950s, was writing and playing piano for German radio big bands. Upon moving to New York in 1959, Ogerman almost immediately began arranging for pop artists like The Drifters, Leslie Gore, Little Eva and Connie Francis, scoring hit after hit, and adding his uniquely identifiable and classically influenced orchestral sound to albums by Bill Evans, Stan Getz, Antonio Carlos Jobim, Wes Montgomery and Frank Sinatra.

Ogerman no longer recalls who was inspired to team the two together: “I assume that the impulse came from Oscar or [Peterson’s manager at the time] Norman Granz, who wanted me to work with other artists of his before.” Whatever the genesis of the idea, it makes for a most provocative collaboration. Unlike the pianist’s previous “with strings” records, there is no attempt on Motions & Emotions to cow-tow to the mere cliché of going for pretty or lush. Ogerman doesn’t “cushion” with strings here so much as provide the pianist with effective counterpoint. Peterson, a force of nature on the piano, is not so easily cradled by other sounds. And Ogerman gives the pianist something inspiring to spring forth from with his own ideas, clearly in the jazz realm.

Motions & Emotions represents the true virtuosity of both Oscar Peterson and Claus Ogerman. Despite a recording situation that separated the pianist from his orchestra, this album expresses a true individuality and sensitivity to seemingly opposing natures. As Peterson biographer Richard Palmer correctly notes in his book Oscar Peterson (Spellmount, 1984), “Oscar fronting a large ensemble has always been an exhilarating formula.” The collaboration with Claus Ogerman has added motions and emotions to extend that formula; one that, nearly four decades on, has positively stood the test of time. (Douglas Payne)

Oscar Peterson, piano
Bucky Pizzarelli, guitar
Sam Jones, bass
Bobby Durham, drums

Recorded at the private studio of Hans Georg Brunner-Schwer in March 1969
Recorded and engineered by Hans Georg Brunner-Schwer and Dave Green
Produced by Matthias Kunnecke, Claus Ogerman, Willy Fruth, Hans Georg Brunner-Schwer

Digitally remastered


Oscar Peterson
was one of the greatest piano players of all time. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson's speed, dexterity, and ability to swing at any tempo were amazing. Very effective in small groups, jam sessions, and in accompanying singers, O.P. was at his absolute best when performing unaccompanied solos. His original style did not fall into any specific idiom. Like Erroll Garner and George Shearing, Peterson's distinctive playing formed during the mid- to late '40s and fell somewhere between swing and bop. Peterson was criticized through the years because he used so many notes, didn't evolve much since the 1950s, and 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 played 100 notes when other pianists might have used 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 one's career. Because he was Norman Granz's favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson 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.

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 1945-1949, 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. 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. Peterson's 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 jazz's great combos from 1953-1958. 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 (1965-1966), Bobby Durham (1967-1970), Ray Price (1970), and bassists Sam Jones (1966-1970) and George Mraz (1970).

With Respect to Nat In 1960, 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 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 Peterson's singing voice was nearly identical to Nat King Cole's. 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. He gradually returned to the scene, however, although with a weakened left hand. Even when he wasn't 100 percent, Peterson was a classic improviser, one of the finest musicians that jazz has ever produced. The pianist appeared on an enormous number of records through the years. As a leader, he has recorded for Victor, Granz's Clef and Verve labels (1950-1964), MPS, Mercury, Limelight, Pablo, and Telarc. (Scott Yanow, AllMusic)

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