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You listen and you’ll hear how much Green has lightened his sound through the years. As for Herb Ellis, I don’t like that kind of thing with guitar on every beat – unless you play it like Freddie Green does now. The only thing I ever heard him play that I liked was his first record of “Tenderly.” He leaves no holes for the rhythm section. Nearly everything he plays, he plays with the same degree of force. And he sure has devices, like certain scale patterns, that he plays all the time.ĭoes he swing hard like some people say? I don’t know what they mean when they say ‘swing hard’ anyway.
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It’s much prettier if you get into it and heard the chords weaving in and out like Bill Evans and Red Garland could do – instead of being so heavy. He passes right over what can be done with the chords. He learned that and runs it into the ground worse than Billy Taylor. Everybody knows that if you flat a third, you’re going to get that blues sound.
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He even had to learn how to play the blues. Oscar makes me sick because he copies everybody. Thanks to Larry Kart for helping me find the source.ĭavis’ comments are in direct response to hearing a performance of Clifford Brown’s “Joy Spring” by Oscar Peterson’s most-celebrated trio with Ray Brown on bass and Herb Ellis on guitar. It’s from a 1958 interview with Nat Hentoff in the The Jazz Review, later reprinted in co-editor Martin Williams’s collection Jazz Panorama.
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The whole passage where Davis talks about Peterson is quite specific and ultimately less harsh than this pull quote implies. Out of context, his comment that Peterson had to “learn” to play the blues shows Davis at his worst. He even had to learn how to play the blues.”ĭavis is not always right when he criticizes people and sometimes he is just mean-spirited. Many of the obits mentioned the negative appraisal of Peterson by his most famous critic, Miles Davis, often with the Davis quote, “ Oscar makes me sick because he copies everybody. The great Canadian jazz pianist Oscar Peterson died at 82 on December 24 last year. The similarities are striking: perhaps I subconsciously remembered Williams when working on my own essay.) In 2010 I rediscovered Martin Williams’s appraisal of Oscar Peterson, “Four Pianists: Four Minority Views” reprinted in Jazz Changes.
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Don’t miss Mark Stryker’s article on Louis Hayes, reprinted in full at the bottom.