> December 19, 2002 > Arts > Disc Reviews

OSCAR PETERSON
SOLO
*** 1/2
Pablo

Without the assistance of a rhythm section, Oscar Peterson is free to take mid-song liberties with tempos and rhythms. These previously unreleased recordings comprise 14 tracks from 1972 Peterson solo concerts in Lebanon and Amsterdam. Left to his own devices, the great pianist puts all his technique on display. On several tracks he straddles brisk runs with punchy stride playing. His left-hand stride on "Making Whoopee" blends perfectly with the right hand's melody to produce the clarity of two pianists. Less than 30 seconds into "Who Can I Turn To," he has run through the entire keyboard and back. As the liner notes indicate, a pianist can be limited or inspired by his instrument, depending on its condition. Peterson is in good voice on the Lebanon concert, but the superior keyboard on the six Amsterdam tracks bring out his best. He plays so hard that, by the time he kicks off "Sweet Georgia Brown" with a gospel shout and moves into another blinding tempo, the sea of 32nd -- if not 64th -- notes is almost too much to handle. But he counters the speed with thoughtful ballads like "Satin Doll" and "Here's That Rainy Day." With today's Peterson limited by a stroke, this new release serves as a good reminder of well-deserved stature.

-- MIKE SHANLEY

Shawn Rudiman might not find his way onto a locally compiled list of Pittsburgh's most famous exports, but abroad he's quickly becoming one of the city's most famous sons. He's done the two turntables thing on occasion, but he's really a producer. His live performances consist of improvisational or rehearsed pieces played on a bank of synthesizers and drum machines. The release of his newest record coincides nicely with Rudiman's recent return from playing prestigious clubs in Glasgow, London and Germany. The latest offspring of the Technoir Audio label -- run by Rudiman and several of his DJ and producer colleagues -- Rubin's Place contains four tracks of pristine, irresistible techno. "Martini Kiss" starts things off with a warm, danceable bass line. "Rainy Days and Nights" takes the listener down a notch; soothing vocal humming is surrounded by a beat that provides womb-like comfort. The flip side begins with "Solitude," a decidedly darker tune. Like something transmitted from outer space, it manages to convey a vast loneliness through its chord progression, while the healthy dose of electro influences prevent the track from sounding too cold. "Shakedown" returns to the funky mood set by the first track with a smooth, pulsating undertone complemented by clicks and chirps. The song title peppers the mix in a breathy whisper, disproving those who think that synthesized music cannot be sexy. While the record will gain the most attention among the DJs who spin it, Rudiman's sharp arrangements should surprise even those who are eternally skeptical of techno.

-- KELLY DELANEY

Though John Parish's musical career encompasses a number of roles and achievements, he's known more for his work with others than for his solo efforts. In the late 1980s, he formed a band called Automatic Dlamini that, except for featuring a teenage PJ Harvey, garnered little success or notice. In 1995, he was the featured guitarist on Harvey's critically acclaimed album, To Bring You My Love, and the subsequent tour. In 1996, they released Dance Hall at Louse Point, a collaborative effort in which Parish wrote all the music and played all the instruments, while Harvey provided lyrics and vocals. Since then, Parish has performed with and/or produced acts such as 16 Horsepower, the Eels, the The, Sparklehorse and Giant Sand. In 1999, he released his first solo work, an instrumental album entitled Rosie, written as the soundtrack for Belgian director Patrice Toye's film of the same name. Parish won the Special Jury Prize at the 1999 Bonn International Film Music Biennale for this score. How Animals Move continues his exploration of instrumental storytelling. Though no movie of that name exists, Parish wrote the 13 songs as a soundtrack. Ten musicians accompany him, among them Giant Sand's Howe Gelb. Guitars and violins figure prominently in the music, though it features a wide range of instruments, warring against each other for supremacy of mood. What comes through is a dissonant eeriness that dominates the traditional melodic structures underlying the album. The songs are slow and atmospheric, with a hint of threat lurking at the edges. While interesting at first, How Animals Move begins to drag about halfway through. There's little variation to hook the ear and sustain the rest of the album. Harvey contributes vocals to the final track, a fun, blues-style number and the only cut on the disc that resembles traditional pop-song sensibilities.

-- WAYNE WISE