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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
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Beryl Booker was born on June 7, 1922 in Philadelphia, Pennsylvania and studied piano as a child. She played with Slam Stewart’s trio in 1946, playing off and on with him until 1951 and accompanied Dinah Washington.
In early 1952, Booker led a quintet that featured Don Elliot, Chuck Wayne, Clyde Lombard and Connie Kay. She recorded several sessions with Miles Davis and by 1953 had formed a trio with two female musicians – Bonnie Wetzel and Elaine Leighton. This group toured Europe in 1954 as part of the show “Jazz Club USA”, which featured Billie Holiday.
After another stint with Dinah Washington in 1959, she slipped into obscurity, however, in the 1970s she re-emerged to play and record with small groups.
On September 30, 1978, swing pianist Beryl Booker passed away at age 56.
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Moving to Phoenix, Arizona with his family, by high school Pete was playing at the Jazz Mill behind such visitors as Chet Baker and Benny Carter. After graduation he moved to Los Angeles in 1954 and within days was playing behind Shorty Rogers. Over the next ten years he would play with Gerry Mulligan, Mel Torme, Red Norvo, Buddy DeFranco, Terry Gibbs, Art Pepper, Anita O’Day, Ray Conniff and Marty Paich.
He also began his long recording career as a leader in 1955 with the album, Jolly Jumps In for RCA. Over the next forty-five years, Jolly would record over twenty albums, but rarely more than twice with the same label. The highlight of his career came in 1963, when his bossa nova flavored composition, “Little Bird” recorded for Ava Records, earned him a Grammy nomination. He formed the Pete Jolly Trio in 1964, recording as a solo artist and with trio several albums until his final in 2000.
Pete was well known for his performances on television programs such as Get Smart, The Love Boat, I Spy, Mannix, M*A*S*H and Dallas, as well as hundreds of movie soundtracks. He continued performing with his trio until shortly before being hospitalized in August 2004. Jazz pianist and accordionist Pete Jolly passed away on November 6, 2004 in Pasadena, California from complications of multiple myeloma at age 72.
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In 1990 he began touring Europe and recording with fellow singer Carol Grimes, ultimately collaborating with Claire Martin, Linda Lewis, Liane Carroll and Sarah Jane Morris. By mid-decade he was a regular performing at Ronnie Scott’s Jazz Club and two albums on the club’s Jazzhouse label – Ghosthouse and a Rodgers & Hart tribute Taking It To Hart.
In 1996, Shaw led his own “Very Big Band” on a UK tour and by the late 90s he was performing regularly in USA. In 1999 he released In A New York Minute the first of two albums on the Milestone label, followed by Soho Stories in 2001. He has worked with Cedar Walton, Lew Soloff and Eric Alexander. His next release in 2003, A World Still Turning saw him working with Billy Childs, Peter Washington and Mark Murphy.
Ian continues to work regularly with Claire Martin, co-hosting the 2004 BBC Jazz Awards and appearing on the BBC’s Big Band Special. He won in the Best Jazz Vocalist category at the BBC Jazz Awards in 2004 and 2007. He has cut three more albums – Drawn To All Things, Lifejacket and Somewhere Towards Love. In 2011 Splashpoint Records released The Abbey Road Sessions where Shaw backed by a band. Shaw continues to perform regularly at festivals and jazz clubs in the UK and around the world, has delved into film acting and mounting a one-man show.
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At 17 Grant won a scholarship to the Eastman School of Music in Rochester, New York and while at Eastman focused on performance studies over theory, which he covered in his graduate studies in jazz theory and composition at the University of Miami.
Relocating to New York in the mid-’80s, Grant concentrated on a series of low-profile sideman gigs with the likes of Betty Carter, Chico Freeman and Greg Osby before finally stepping out as a bandleader for the first time. His 1994 Black Art was well received and reviewed and sold respectably, and his sophomore project The New Bop was an even bigger critical success.
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