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OSCAR PETERSON: Music in the Key of Oscar
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Additional DVD options | Edition | Discs | Price | New from | Used from |
DVD
April 1, 2006 "Please retry" | — | 1 | $34.40 | — |
DVD
September 7, 2010 "Please retry" | — | 1 |
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Product Description
Product Description
This riveting music documentary traces the history of the legendary pianist Peterson, from his early days as Montreal's teenage boogie-woogie sensation through his meteoric rise to international celebrity.
Review
The sort of high-quality, thought-provoking video portrait of an artist rarely seen… More than just a good concert film or collection of interesting vintage footage, this bio-vid reveals Peterson as a complex, articulate man with a passion for perfection and profound anger and pain over the racism he has encountered… His commentary is a first hand account of the American brand of apartheid --Owen McNally, The Hartford Courant
An elaborately produced documentary… Anyone who admires Oscar Peterson will thoroughly enjoy this video… especially when he begins singing along impishly as if his pianistic exuberance were overflowing into song. --Krin Gabbard, Cadence Magazine
An expansive overview, there is ample performance footage by this Herculean pianist… is replete with many intimate, personal observations and anecdotes, showing the viewers his many other faces… a true-to-life sense of this prodigious musician. --The Palm Beach Post
From the Contributor
Oscar Peterson's Words of Passion: Excerpts from "Jazz Odyssey: My Life In Jazz."
" There is no place in the world of true creativity for pettiness and shallow thoughts. Talent sustains itself simply by its need for growth and refinement, coupled with an unbiased curiosity to find out who is best of the best."
"...the immensity of the music we know as jazz. To go out every night and lay oneself open to possible frustration, personal and mental upheaval, is in my mind and act of musical courage. Even beyond that, it is a belief in one's depth as a player of consequence."
Product details
- Aspect Ratio : 1.33:1
- Is Discontinued By Manufacturer : No
- MPAA rating : NR (Not Rated)
- Product Dimensions : 5.25 x 0.5 x 7.5 inches; 0.01 ounces
- Item model number : 0033909235198
- Director : WM Cunningham, Sylvia Sweeney
- Media Format : Multiple Formats, Closed-captioned, NTSC, Dolby, Color, HiFi Sound, Full Screen
- Run time : 1 hour and 46 minutes
- Release date : June 2, 2006
- Actors : Oscar Peterson, Dizzy Gillespie, Norman Granz, Ray Brown, Herb Ellis
- Language : Unqualified (Dolby Digital 2.0 Stereo), English (DD)
- Studio : View Video
- ASIN : B0002OQRD8
- Country of Origin : USA
- Number of discs : 1
- Best Sellers Rank: #55,566 in Movies & TV (See Top 100 in Movies & TV)
- #396 in Swing Jazz (CDs & Vinyl)
- #521 in Performing Arts (Movies & TV)
- #1,206 in Music Videos & Concerts (Movies & TV)
- Customer Reviews:
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fantastic.
I saw him twice in my life, and was so sad at his passing.
I know that he and his trio are playing somewhere up there.
Stu Nichols
Aspen, CO.
The musical setting is at a nightclub in Chicago and is first class, A+++.
However, the detracting part of the program is the frequently interruption to the flow of the music by commentary on his life.
If you want to know about the life of an artist, buy the book!
If you're already an Oscar Peterson fan, pick up "Oscar Peterson in Berlin" ahead of this. That's an uninterrupted, well-recorded concert, with all of the emphasis on the phenomenal musician and the music itself. By contrast, "Music in the Key of Oscar" is more "produced" (arguably "over-produced"). It begins with a shot of someone listening to their car radio (a reference to Oscar's discovery in Canada by Jazz at the Philharmonic / Verve Records impresario Norman Granz). We then get some of those "he's the greatest," "he's unreal" testimonials from the likes of Dizzy Gillespie and Quincy Jones, and then we go to a club for an extended work-out on "Caravan." Here's where the movie falters a bit. The backgrounds are not flattering to the musicians (drummer Jeff Hamilton in front of venetian blinds), the camera seems to have little interest in Oscar's fingers, instead giving us head shots of musicians who appear curiously unengaged, and with excessive emphasis on the close-up (practically anatomizing each of them, including Ray Brown and Herb Ellis).
Interviews follow, with the musicians giving testimonies to each other, Oscar especially intent on singling out his first, drummerless trio as "the greatest of all time." Then back to the music--a waltz.
By now, it's clear what the problem with the film is: the audio frequencies are fairly wide, permitting the listener to hear Brown's bass and Hamilton's drums along with Oscar's piano. But the sound is somewhat muffled and "dead," especially disappointing for a recording from circa 1990--and a musical documentary at that!
I only wish there was a video of Oscar at the chateau of Hans Brunner Schwer, where Oscar made some scintillating recordings in the 1960s, with Bobby Durham, the little man of steel, on drums. This documentary might be recommended for the classroom or for the Oscar fan who might be fascinated by some of the early photos of him dating back to the 1940s (and earlier)--the days when Oscar was an enfant terrible and Canadian hepcat. It also takes on the neglected subject of Oscar and race, allowing him to explain his feelings about the patronizing language used to describe him in the early days.
In terms of jazz and race, the film (and Oscar) gives Norman Granz the credit that he so richly deserves (even though I once saw Norman in person--in a rumpled suit, standing next to an inebriated Lester Young--I never had a true idea of his enormous importance to the dissemination of this great American music until many, many years later). It's almost criminal that the music's struggle to gain respect has led to the neglect of indispensable activists such as Granz or, for that matter, Leonard Feather. Oscar says in no uncertain terms that Norman Granz was one of jazz' true heroes, deserving more acclaim than practically anyone.
Other insights and highlights: Miles' and Bill Evans' groups never rehearsed; Ray Brown relates that Oscar rehearsed the trio all the time.
Oscar praising Chief Justice Earl Warren as a civil rights champion (besides, of course, Norman Granz). Dizzy's comments about the struggles of being black. Herb Ellis relating that he chose to stay in the black hotels with Oscar and Ray. Herb then admitting that booze had caused him to go AWOL with Oscar.
Highlights: In the recommended "Oscar in Berlin," it's the first encore taken at blazing speed; in this video it's the mounting tension of a slow blues in G and Oscar's playing the bass line while Ray becomes primary soloist. Norman Granz introducing Nat Cole as the first pianist at JATP in 1944 (I wish he'd mentioned Les Paul at the same time).
The 2nd part of the film focuses primarily on racial-social issues, including jazz and drugs--and, of course, booze.
This movie ultimately is an elegy and a eulogy. It catches a number of legends (if only the public knew as much) at the tail end of their careers and lives, reflecting on the glory that was. The juxtapositions of past and present are, admittedly, occasionally disturbing, reminding us of the passage of time and its disregard of those whose music defies its passage, yet at the same time the journey is wondrous: count yourself one of the lucky ones if you were around to catch any of these giants who once strode the earth, whether early or late.
Now if someone could only fix the audio before any more transfers of this disc are released (also it could profit from minor editing, though eventually the lengthy 2nd half brings the film full circle). My guess is that the distributors lacked the master film footage and were forced to copy a VHS tape onto DVD. Never a good idea, and never worth much than the most minimal charge (unless it's a rare disc--a Caruso recital, for example).
Last but not least, the film's biggest (but forgivable) "lie": Oscar is caught stating that getting old isn't that bad and that if the fingers get a bit stiff or arthritis sets in, he'll "walk away." Not long after the making of this film, Oscar suffered a partially disabling stroke.
He never walked away--at least not from the piano.
Top reviews from other countries
The biographical side of Oscar Peterson's life is covered in detail and includes interviews with him, Norman Granz, Herbie Hancock, Quincy Jones, Dudley Moore, Cleo Laine as well as brief historic audio and video footage of Oscar playing at various stages of his career. The documentary runs to 106mins and is in 4:3 ratio and was undoubtedly originally made for TV.
The extras are sadly insubstantial and only consist of a lot of text based information, which these days you can read on-line. Overall though its the best documentary on Oscar Peterson available.