<p>Jessica is a wonderful pianist, tasteful ideas delivered always with expression, blistering technique and authority. She has everything. But she is to me a great pianist who always plays to express other great pianists, one of whom is Oscar Peterson. It is not an awful thing that she goes where guys like Oscar, Evans, Hancock, Tatum, etc. have already been (but with a more modern sound in some cases). Those are nice places! Still, it means she does not bring me the surprise, grittiness, richness of ideas and sound that guys like Oscar have brought me. I can hear Oscar’s playing and know it is Oscar. I can hear Monk’s playing and experience the unique, even warped personality of the player himself. The same is true of Evans, Tatum, and a number of the greats. Many of the young lions and lionesses of Jazz piano seem to echo other people’s personalities, and so I gain little newness from their playing other than wonderful technique, notes and chords (which are special in themselves).</p>
<p>[This</a> performance](<a href=“http://www.youtube.com/watch?v=zAxBAEb2pmE]This”>http://www.youtube.com/watch?v=zAxBAEb2pmE) was my first exposure to Oscar Peterson (and also to Andre Previn). I was a kid and knew nothing about music at the time. I have since heard scores of great Jazz pianists. What is it about Oscar’s playing that sets it apart from the rest? Apart from his technique, there is an extraordinary sensitivity to period and style that is unique to him. To experience this, listen to and see the video above once and enjoy it. Then, listen once again, this time isolating the left hand (the bass sound) so that it is pretty much all you hear. It may help to imagine it coming from a contrabass player thumping along in back of the two pianists.</p>
<p>Do you hear how fat and yet even the left hand is? Now realize that this is all Oscar! Both pianists are hammering out ideas with their right, but when Oscar’s hands are idle, that fat even and at times thumping left hand dies. Now realize further that this cat’s right hand is going to town with ideas that are as complex as any of the greats, when they play the blues, and yet it is independent of the left. The style never dies.</p>
<p>Contrast this to Previn’s playing. Previn is a great all around musician. So we aren’t taking anything away from him by pointing out the difference. But note the disjointed, even hollowness of sound when Previn is carrying the piece alone. Oscar’s sensitivity allows him to totally control all of the keyboard and maintain superior grittiness, fatness, and style throughout the entire performance.</p>
<p>That, my friends, is uniquely Oscar. [Check</a> it out](<a href=“http://www.youtube.com/watch?v=vxB-LbcZITU&feature=related]Check”>http://www.youtube.com/watch?v=vxB-LbcZITU&feature=related). It is untouchable.</p>