Leonard Feather Blindfold Tests

[Plays "Keepin' Out Of Mischief Now" by Ralph Sutton, from Plays Music of "Fats" Waller, Columbia Records (1951). Personnel: Ralph Sutton, piano; Bob Casey, bass.]

Leonard Feather: It sounds, what did you say?

Oscar Peterson: I said it sounds like Fats to me.

Leonard Feather: Uh huh.

Oscar Peterson: Commercially, it's wonderful, I think. The accompaniment was recorded well. Bass player, it has a very nice sound, a full sound, more or less. Musically, I'd say it was a good record. If it's Fats I wouldn't be surprised, it sounds a lot like him. Do I have to award the stars?

Leonard Feather: Yeah, but maybe you can say a little about what you think of Fats, regardless of whether it's Fats or not … Can I borrow this for a minute?

Unknown Speaker: Oh, yes.

Leonard Feather: About what you think of that style in general, and what it's contributed, you know?

Oscar Peterson: Well, I think that type of piano, I don't think it has or ever will go out!

Leonard Feather: Mm-hmm.

Oscar Peterson: It's something that anyone can listen to. I'd call it more or less of an amiable style.

Leonard Feather: Mm-hmm. That's a good word for it. Yeah, what would you give it? You know what the ratings mean.

Oscar Peterson: Four, three, two, and one. I'd give it three.

Leonard Feather: Okay.

[Plays "Progression" by Lennie Tristano, from Progression/Retrospection, New Jazz Records (1950). Personnel: Lee Konitz, alto saxophone.]

Oscar Peterson: Musically, it's a fine record, Len. Commercially, I don't think it holds much value, because I don't think the public is up to that standard in music, as yet. I believe it's Tristano and Konitz, isn't it? It sounds just like him. And, of course, Lee Konitz is one of my favorites, and Lennie. I think everything was executed more than well, on the record. I'd give it, definitely, three stars.

Leonard Feather: Uh-huh.

[Plays "Buccaneer's Bounce" by George Shearing, from Piano Solos With Rhythm, Vols. 1 & 2, Savoy Records (1950). Personnel: Gene Ramey, bass; Denzil Best, drums.]

Oscar Peterson: Sounded like Milt Buckner, there. I think it's more or less a very droll tune, between the, the group didn't sound too well-coordinated. However, for the opening of it, and part of the piano chorus, I'd give it two stars. I don't think it holds that much musical value, though.

Leonard Feather: Yeah.

[Plays "Too Young" by Lynn Hope, from Too Young/Free and Easy, Aladdin Records (1951). Personnel: Lynn Hope & Orchestra.]

Oscar Peterson: Wow!

Leonard Feather: Yeah.

Oscar Peterson: That's horrible. Whoever it is, I don't know, but there's nothing there. That's all I have to say. No stars, no bells, nothing!

Leonard Feather: Well, okay!

[Plays "Over the Rainbow" by Bud Powell, from Over the Rainbow/A Night In Tunisia, Blue Note Records (1951). Personnel: Bud Powell, piano.]

Oscar Peterson: Well, I'd call that a good example of how Art Tatum has ruined so many piano players unconsciously. I didn't like that record at all, Leonard. The first chorus was too spasmodic, I think whoever it was was trying to imitate Tatum to too much of a degree. The second chorus shows it was definitely that way, because more or less he settled down into his own style, and without the Tatum ideas, he was lost. I'd give it one and a half stars.

[Plays "Perdido" by Stan Freeman, from Come On-a Stan's House, Columbia Records (1951). Personnel: Stan Freeman, harpsichord; Frank Carroll, bass; Terry Snyder, drums; Al Caiola, guitar.]

Oscar Peterson: It is harpsichord, isn't it?

Leonard Feather: Harpsichord, that's right.

Oscar Peterson: Well, I like the record, personally. I don't know who it could be. Whoever it is has a wonderful technique. The tune, I think, is more or less worn out. It's been done so many times. But, on the whole, I liked the record. I'd give it two and a half stars, Leonard.

Leonard Feather: Uh-huh.

Oscar Peterson: Technically, I think it's a good record. I don't think that whoever it is that was playing the instrument actually had a chance to express all of his ideas on the disc, but I think throughout the record, you can find smatterings of talent. A whole lot of talent.

Leonard Feather: Yeah.

[Plays "Ain't No Chick Gonna Fool Me" by Sy Oliver, from My Friend Told Me/Ain't No Chick Gonna Fool Me, Decca Records (1951). Personnel: Billy Kyle, piano; Sy Oliver, vocals; Joe Thomas, tenor saxophone.]

Oscar Peterson: Commercially, I think it's a good record. One thing that I always do, in buying my own personal records, is even if there's a record with just four bars that I like, I'll buy it! And I think that first chorus was actually too delicate for the tenor solo that followed the vocal, and the vocal.

Leonard Feather: And the piano chorus.

Oscar Peterson: The piano chorus, yes. But on the whole, I like the record. I think the tenor solo fitted the type of vocal that was done. I'd give it three stars.

Leonard Feather: Mm-hmm. Any idea who it was?

Oscar Peterson: No idea.

[Plays "Way Down Yonder in New Orleans" by Art Hodes' Hot Five, from St. James Infirmary, Blue Note Records (1945). Personnel: Wild Bill Davison, cornet.]

Oscar Peterson: Well, I'm unfamiliar with Dixieland, because it's the type of music I don't necessarily dislike, but it doesn't intrigue me that much. And not being a judge, or classifying myself as a judge of Dixieland, I think I'll just give it two and a half stars. In just so far as listening value, from what I've heard of Dixieland, I'd say it would be good Dixieland. I think, regardless of what type of music there is, or what type of music you listen to, there is such a thing as good and bad, and I would classify that as good Dixieland, although I don't particularly go for Dixieland.

Leonard Feather: And any particular soloists you-

Oscar Peterson: I liked the trumpet solo, very much. I'd give it two and a half stars just on the trumpet solo.

Leonard Feather: Any comment on the piano?

Oscar Peterson: No.

Leonard Feather: No comment, okay.

[Plays "Liza" by Benny Goodman, from Benny Goodman Combos, Columbia Records (1951). Personnel: Mel Powell, piano; Red Norvo, vibes.]

Oscar Peterson: Well, before we go any further, you can give this one four stars.

Leonard Feather: All right.

Oscar Peterson: Because, and if you don't mind, all the remarks I have to make about this record are about the piano solo, even though I know it was the Benny Goodman group. The record on the whole is fine, but the piano solo I think is more than outstanding. In fact, I've never heard Teddy turn out a bad record as yet. It is Teddy Wilson, isn't it? If I remember correctly.

Leonard Feather: Well, I'll tell you...

Oscar Peterson: What do I want to say? The clean technique, the taste, the touch, there isn't anything you can say wrong about the piano, the piano chorus, because Teddy is, more or less to me, a genius. And along with the piano solo, the clarinet solo by Benny moved me. I think it's one of his more subtle things; I've heard him swing a little more. But on the whole, I think the group was wonderful.

Leonard Feather: The vibes?

Oscar Peterson: The vibes? It's Red Norvo, I believe. I don't think he played very well there. But however, the other solos on the record more or less made up for it. Whatever happened there.

Leonard Feather: Okay.

[Plays "The Tatooed Bride" by Duke Ellington, from Masterpieces by Ellington, Columbia Records (1951). Personnel: Duke Ellington, piano; Lawrence Brown, trombone.]

Leonard Feather: Well..

Oscar Peterson: Hmm? Well, it sounds like Duke. The piano solo, from what I heard, didn't exactly resemble the style. I would say, it possibly could be Billy Strayhorn, but on the whole ... In parts, it doesn't sound like the Ellington band, but there's enough difference. I think it's Lawrence Brown on trombone. The record on the whole impressed me this way, but it's a very weak Ellington thing. I mean, in my opinion, I've heard better things by Duke.

Leonard Feather: Even better concert pieces?

Oscar Peterson: Yes, I have. Definitely. I would say this is one of his weaker efforts.

Leonard Feather: What do you think's wrong with it?

Oscar Peterson: On the whole, I think it lacks the usual Ellington continuity. There are parts that just don't sound like Ellington. If it is Duke. The trombone solo was outstanding, I liked the piano solo, I would say it's Billy Strayhorn on piano. It doesn't sound like Duke. I'd give it three stars.

Leonard Feather: Okay.