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Oscar Peterson et Joe Pass á Salle Pleyel ~ Oscar Peterson and Joe Pass | By Eddie Carter

Back in 1987, I had the opportunity to see pianist Ellis Marsalis give a solo concert at the Tri-C Jazz Fest in Cleveland, Ohio. He shared a thought with the audience that I never forgot: “I enjoy performing solo, it’s just you and the audience. You can’t hide behind other musicians, and you have to hold their attention for an hour or two.” I bring this up because this morning’s album from the library is an excellent collaboration between pianist Oscar Peterson (tracks A1 to B2, C3 to D4) and guitarist Joe Pass (tracks B3 to D4). Oscar Peterson et Joe Pass à Salle Pleyel (Pablo Records 2657-015) is a captivating two-record set that captures both jazz legends at the height of their skills, performing solo and together before a lively audience. The copy I own is the 1975 U.S. mono release.

Oscar Peterson opens the evening with I’ve Gotta Right to Sing The Blues by Harold Arlen and Ted Koehler. The pianist brings out the jazz standard’s elegance in a delightful rendition that ends softly before the crowd erupts in applause. The pace picks up for Mirage by Oscar Peterson, with a brisk melody leading into the pianist’s effervescent reading, which builds to a peak of undeniable pleasure before descending back to the closing chorus and a rousing climax. Tenderly, by Walter Gross and Jack Lawrence, is one of the most beautiful and evocative jazz standards ever recorded. Oscar starts with the cascading piano notes dancing across the keyboard into the theme, followed by a tastefully elegant presentation, then returns to the melody’s reprise for a gorgeous finish.

(Back Home Again in) Indiana by James F. Hanley and Ballard MacDonald began as a charming 1917 Tin Pan Alley pop song and ultimately became a jazz standard. Oscar’s rendition is full of energy, allowing him to glide skillfully through each verse vigorously. The familiar theme reappears, earning him enthusiastic, well-deserved applause from the audience. The first side concludes with a forties show tune, It Never Entered My Mind by Richard Rodgers and Lorenz Hart. Peterson slows the tempo to a subdued pace, beginning an elegantly peaceful introduction and melody. In this song, he shows he is a master of ballad interpretation, delivering a very pretty performance that precedes the closing chorus and an attractive finale.

Side Two gets underway with a medley of Ellingtonia, beginning with one of Duke’s theme songs, Take the A’ Train by Billy Strayhorn. Peterson opens this classic with an astounding performance, before slowing down to begin In a Sentimental Mood by Duke Ellington, Manny Kurtz, and Irving Mills. Oscar turns in an intimately delicate rendition, then turns the page to open Duke’s Satin Doll, written with Billy Strayhorn and Johnny Mercer, where he has plenty to say in a short space. Lady of the Lavender Mist, a little-known Duke Ellington ballad, is up next and receives a heartwarming, sultry, and sincere treatment ahead of the medley’s finale, Things Ain’t What They Used To Be by Mercer Ellington and Ted Persons. Peterson’s solo is beautiful, the epitome of grace and warmth, and ends with the crowd’s approval.

Oscar brings his set to a close with a rollicking rendition of Sweet Georgia Brown by Ben Bernie, Ken Casey, and Maceo Pinkard. The pianist makes the piano sing as his fingers fly effortlessly over the keys through the opening and closing chorus and a short, speedy solo that dresses up the old twenties song. He exits to thunderous applause, and Joe Pass takes over to begin his portion of the evening’s performance with Darn That Dream, by Jimmy Van Heusen and Eddie De Lange. The guitarist navigates the melody and an extensive solo as efficiently as if he were speaking to an old friend. Joe carefully crafts each chorus into an exquisitely well-behaved and delicately stylish reading until the standard’s climax and a rapturous ovation from the audience.

Pass ends the first record by giving the crowd a two-song medley of his own. The Summer Knows (theme from“Summer of ‘42”) and What Are You Doing The Rest of Your Life? by Alan and Marilyn Bergman and Michel Legrand. In the opener, Joe opens with a passionately soothing melody and a solo of romantic tenderness. In the closer, he reaches into the heart of the melody, and his solo reveals a polite sensitivity that culminates in a lovely finale. Side Three of the concert begins with the first of two Cole Porter originals, Everything I Love. Joe delivers a very tender melody and solo ahead of a tranquil ending. It’s All Right With Me moves the beat upward for a brisk theme, radiating a rich tone as his fingers fly through the uptempo groove, each note drawing the audience’s attention deeper into the song before the close and their ovation.

Stella By Starlight by Victor Young and Ned Washington starts with Joe’s introduction deceptively at a ballad tempo, when Oscar returns and joins him for a lightly swinging melody. Pass leads off with an impeccable opening statement, then Peterson follows, delivering an enticing performance, wrapping up with energy to spare in the song’s upbeat ending and huge ovation. Just You, Just Me by Jesse Greer and Raymond Klages opens as a playful chase with Oscar and Joe trading lines through the melody. Pass goes first, his fingers flying over the strings while Peterson lays down a driving support. The pianist takes over and soars into the stratosphere in a breathtaking display of virtuosity. Finally, both men converge for a rapid run in the theme’s reprise, earning a thunderous ovation from the crowd.

If by David Gates is a pretty song that became a hit for his group, Bread. It opens Side Four with the duo’s disciplined performance, featuring a beautiful introduction and a tender theme. Pass takes the lead with a graceful interpretation, then Peterson enriches every note of a heartfelt performance, culminating in a hauntingly tranquil and satisfying ending. Honeysuckle Rose by Fats Waller and Andy Razaf was initially a dance number in a 1929 revue. Oscar and Joe get things off to a good start with their collaborative melody. The guitarist opens with crisp, exuberant verses that pack an aggressive impact. Peterson follows with a robust reading, then both Joe and Oscar exchange thoughts in a captivating conversation before the theme’s restatement and finish.

The final two selections of the evening’s performance are two originals by Joe Pass and Oscar Peterson, beginning with Blues For Bise. It kicks off with a lively, high-octane romp through the melody. Pass sets a blistering pace in the opening statement, then Peterson continues with electrifying speed in a brilliant blur of syncopated rhythm. The two musicians then converge to bring the song home together, prompting a thunderous ovation from the audience lasting nearly two minutes. Pleyel Bis signs off the duo’s performance, slowing the pace to a medium groove for Joe and Oscar to explore the introduction and theme together. Joe takes the lead solo at a comfortable pace, then Oscar responds with an inspired interpretation. Both musicians take flight last, in a pleasant reading that precedes the reprise and climax.

Norman Granz produced this live date, but it’s unknown who recorded the album during the musician’s performance. The sound quality on my copy is quite good, with a delightful soundstage transporting the listener to the Salle Pleyel audience. Both Oscar Peterson and Joe Pass would return to the venue three years later to record another live album with Niels Pedersen. Oscar Peterson et Joe Pass à Salle Pleyel showcases two phenomenal artists performing at the very height of their abilities. If you’re on the fence about adding this LP to your library, I invite you to check it out the next time you’re visiting your favorite record shop. It’s an outstanding live album that serves as an excellent gateway to the rich body of work each artist has created, and I highly recommend it for a spot on your shelf!

~ The Paris Concert: Salle Pleyel, 1978 (Pablo Live 2620-112) – Source: Discogs.com
~ Back Home Again in Indiana, Darn That Dream, Honeysuckle Rose, In a Sentimental Mood, It’s All Right With Me, It Never Entered My Mind, Satin Doll, Stella By Starlight, Sweet Georgia Brown, Take The ‘A’ Train, Tenderly, Thing Ain’t What They Used To Be – Source: JazzStandards.com
~ I Gotta Right to Sing The Blues, If, What Are You Doing For The Rest Of Your Life? – Source: Wikipedia.org
>© 2026 by Edward Thomas Carter



CALIFORNIA JAZZ FOUNDATION

 

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Daily Dose Of Jazz…

Grant Green was born on June 6, 1931 in St. Louis, Missouri. He first performed as a guitarist in a professional setting at the age of 12, first playing boogie-woogie before moving to jazz. His influences were Charlie Christian, Charlie Parker, Ike Quebec, Lester Young, Jimmy Raney, Jimmy Smith and Miles Davis.

Grant first recorded in St. Louis with tenor saxophonist Jimmy Forrest on the Delmark label alongside Elvin Jones. But it was Lou Donaldson who discovered the young talent and after touring together, by 1959 Green had moved to New York. An impressive introduction to Alfred Lion led to his bypassing the sideman audition and recording as a bandleader, a relationship that lasted throughout the Sixties.

Grant’s first issued album as a leader was in 1961 with Grant’s First Stand, followed by Green Street, Grantstand and being named Down Beat critics’ poll best new star in 1962. He would often play the sideman for Hank Mobley, Ike Quebec, Stanley Turrentine, Harold Vick and Larry Young among others at the label.

Though he had an impressive catalogue of recordings many were not released during his lifetime though Grant always carried off his more commercial dates with artistic success during this period. Towards the late 60s he left Blue Note for Verve Records and other labels into the Seventies but was relatively inactive due to personal problems and heroin addiction.

The guitarist spent much of 1978 in the hospital, but against doctors’ advice, went back on the road to earn some money and collapsed in his car of a heart attack in New York City on January 31, 1979 at age 47.

 

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Daily Dose Of Jazz…

Anthony Wilson was born in Los Angeles, California on May 9, 1968 to bandleader Gerald Wilson. A guitarist and composer, he was influenced by Duke Ellington, Gil Evans, Wes Montgomery and T-Bone Walker. He received his degree in music composition from Bennington College.

Wilson released his debut self-titled album in 1997 that was nominated for a Grammy and his sophomore project the following year, Goat Hill Junket, garnered notice. He has recorded with his 9-piece band, two trio albums with organ, worked with Joe Bagg, Eva Scow, Larry Goldings, Jim Keltner and Jeff Hamilton.

Since 2001 Anthony has been a member of Diana Krall’s group performing notably the Grammy-winning Live in Paris.  He has recorded ten albums as a leader and collaborated with Brazilian guitarist Chico Pinheiro on “Nova,” released in Brazil and the U.S. on their respective labels.

Guitarist Anthony Wilson can also be heard on a number of his father’s recordings and often plays live with the Gerald Wilson Orchestra whenever his schedule permits.

 

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Bandleader Andy Brown has been one of the busiest guitarists in Chicago over the last two decades, leading his own bands and backing visiting jazz stars all over the city, as well traveling nationally and internationally with a variety of groups. He specializes in what he calls “old-school jazz guitar.”

The Andy Brown Quartet brings together four of the finest jazz musicians on the Chicago scene. Featuring Andy on guitar, Jeremy Kahn on piano, Joe Policastro on bass and Phil Gratteau on drums, this quartet combines the member’s shared musical inspirations and presents a lyrical and hard-swinging working band that has delighted audiences and critics alike. As a group they have performed weekly at Andy’s Jazz Club since 2012. Their Delmark records release Direct Call received 4 stars in Downbeat Magazine and was selected as one of the magazine’s Albums of the Year. Their latest recording is the 2023 release Good Atmosphere.

In a performance review the Chicago Tribune’s jazz critic wrote: “Inspiring music-making isn’t necessarily loud, aggressive, self-aggrandizing or heavily promoted. Consider what happens every Sunday night at Andy’s Jazz Club, where the superb but serenely understated Chicago guitarist Andy Brown leads a quartet. Like him, his bandmates speak softly but poetically. Brown’s pastel tones, softly stated melody lines and delicately rolled chords conveyed remarkable intimacy.”

Tickets: $20.00
Showtimes: 6pm-7:15pm & 8:15pm-9:30pm

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MIKE STERN

To a generation of contemporary jazz guitar aficionados, Mike Stern is regarded as one of the true guitar greats of his generation. A player of remarkable facility whose searing lines are informed mainly by bebop and the blues while also carrying a rock-tinged intensity, Stern made his mark with Miles Davis in the early ‘80s before launching his solo career in 1985. Since then he has released 17 recordings as a leader, six of which were nominated for GRAMMY Awards. His latest recording, Echoes and Other Songs (Mack Avenue/Artistry), features an All-star cast including, Dennis Chambers, Antonio Sanchez, Christian McBride, Richard Bona, Chris Potter, Bob Franceschini, and Leni Stern.

Born in Boston on January 10, 1953, Stern grew up in Washington, DC, then returned to Boston to study at the Berklee College of Music where he met and befriended fellow Berklee students like guitarists John Scofield and Bill Frisell, bassist Jeff Berlin, drummers Steve Smith and Vinnie Colaiuta. He got his first big break in 1976 going out on tour with Blood, Sweat & Tears, appearing on the group’s studio More Than Ever and live album In Concert that year and also on 1977’s Brand New Day.

Stern was presented with Guitar Player magazine’s Certified Legend Award on January 21, 2012.

Mike Stern Band: Dennis Chambers~drums, Gary Grainger~guitar, Bob Franceschini~saxophone, and Leni Stern~guitar, vocal.

Tickets: $35.00 ~ $60.00 +$7.00 fee

Showtimes: 7:00pm & 9:30pm

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