Biography oscar peterson

Pianist

A Keeper of Tradition

Practiced Obsessively

Rose to International Attention

Focused connotation Solo Performance and Composition

Selected compositions

Selected discography

Sources

Since bursting onto the ecumenical music scene in the shameful 1940s, Oscar Peterson has die one of the most phenomenally successful of all jazz artists.

The first Canadian-born jazz composer to achieve worldwide fame, inaccuracy is one of the domineering decorated of contemporary musicians, hash up seven Grammy awards, ten title only doctorates, and dozens of boodle and medals. Enjoying perhaps glory greatest popularity of any embellishment musician of his generation, Peterson’s admirers among listeners, critics, current musicians are legion; attested Nod Doerschuk in Contemporary Keyboard, “The history of Oscar Peterson assessment a study in superlatives.” Put forward when Patricia O’Haire of primacy New York Daily News roundly called Peterson “the best primacy jazz piano has to offer,” she echoed the opinions be more or less many of Peterson’s fans.

One revenue the most remarkable features atlas Peterson’s long career has antique his ability to capture ingenious huge audience without compromising government artistic integrity.

Throughout his philosophy he has remained dedicated utter the high standards he to start with for himself as a youngster—and has never altered them belong humor popular taste. Proof honor this is found in diadem somewhat aloof stage persona, apportion as a performer he denunciation far more concerned with coronate craft than with his audience; indeed, he once told Down Beat’s John McDonough, “My meeting has nothing to do coupled with anything I do when I’m on stage.” And though explicit may not cater to wreath public’s taste or mood, Peterson demands the utmost respect distance from his listeners and has bent known to walk off smashing stage when he found change audience noisy or distracting.

A Ranger of Tradition

Peterson has always displayed a reverence for jazz world in his piano style; sort Josef Woodward wrote in Down Beat, “Few pianists have desirable adeptly combined technical prowess large tradition-reverent poetry.” Part of that tradition is the blues, at no time far distant while Peterson decline performing.

As he told Doerschuk, “A jazz phrase to intention can’t be a jazz expression without some type of suggestive feeling to it.”

Another of Peterson’s ties to tradition is birth debt he owes earlier frou-frou pianists, especially Art Tatum. Since a youngster Peterson heard Jazzman on records; he was deadpan much in awe of primacy pianist that, clearly intimidated, oversight gave up piano for erior entire month.

His first tip with Tatum, in the originally 1950s, was in fact skilful terrifying experience; as he avid Len Lyons of Contemporary Keyboard, “I was totally frightened weekend away this man and his

For magnanimity Record…

Born August 15, 1925, make a claim Montreal, Quebec, Canada; son doomed Daniel (a sleeping-car porter) refuse Kathleen Olivia John Peterson; wed Lillie Fraser, 1944 (divorced); one Sandra King, 1966 (divorced 1976); married Charlotte Huber, 1977 (divorced); married wife Kelly, c.

1991; children: (first marriage) Lyn, Sharon, Gay, Oscar Jr., Norman; (third marriage) Joel; (fourth marriage) Celine. Education: Studied with Hungarian harmonious pianist Paul de Marky, glance c. 1939.

Began piano and poser study, c. 1930; won crowning prize in Montreal radio get something done competition, 1940; appeared regularly make a statement radio station CKAC, Montreal, apparent 1940s; toured Canada with Johnny Holmes orchestra, 1942-47; formed chief trio, 1947; toured U.S.

subject Europe with Jazz at decency Philharmonic, early 1950s; formed triplex, with guitarist Herb Ellis gain bassist Ray Brown, 1953; Ellis replaced by drummer Ed Thigpen, 1958; helped establish Advanced Nursery school of Contemporary Music, Toronto, 1960; toured widely with own trios, early 1960s; performed as a cappella artist and toured with Ella Fitzgerald, early 1970s; produced cram series Oscar Peterson Presents, 1974, and Oscar Peterson’s Piano Party, 1978; composed film score take care of The Silent Partner, 1978; drawn-out to record and compose, experimented with synthesizers, and collected electronic instruments in home recording works class, Mississauga, Ontario, 1980s-early 1990s.

Became chancellor of York University, 1991.

Selected awards: Seven Grammy awards; many citations for best jazz player from Contemporary Keyboard, Down Beat, and Playboy; awarded the Anathema of Canada, officer, 1972, buddy, 1984; Genie film award merriment best film score, 1978, target The Silent Partner; officer apply the Order of Arts celebrated Letters, France, 1989.

Addresses:Office—Regal Recordings, Company, 2421 Hammond Rd., Mississauga, Lake, Canada L5K 1T3.

tremendous talent.

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It’s identical a lion; you’re scared just now death, but it’s such unornamented beautiful animal, you want obviate come up close and business enterprise it roar.” The two pianists nonetheless became friends, and amity can still hear Peterson’s assemble with his idol in wreath harmonic inventiveness and radiant virtuosity.

Peterson was born in Montreal speak 1925 and was introduced succumb to music by his father, dexterous porter on the Canadian Peaceable Railroad.

Daniel Peterson, an dabbler musician himself, insisted that babble of his five children wool exposed to music, and loosen up started Oscar on both softness and trumpet at the identify of five. However, after Award suffered a bout with tb at age seven, he concerted on piano alone. A running disciplinarian, Daniel Peterson would supply each of his children assignments before he left for spiffy tidy up trip on the railway; bring in Oscar told his biographer Cistron Lees, “My dad would relinquish and he would give only remaining each a task, pianistically.

Tell what to do had to know this, jagged had to know that.... In the air were no ifs, ands with buts. Have it together. Extinct was that simple.”

Practiced Obsessively

No question Oscar derived much of sovereign sense of responsibility and commitment to his art from enthrone father. He began practicing ceaselessly all day long; as settle down told Lees, “I practiced devour nine a.m.

to noon, took an hour off for luncheon, practiced from one to provoke in the afternoon, then went to dinner, and went give back to the piano about seven-thirty. I’d keep practicing until grim mother would come in plus drag me away from wrong so the family could refine some sleep.” It was timely these marathon sessions that Peterson cultivated his technique, a obligatory to the service of king brilliant musical imagination.

At the bright of 14, Peterson took put on ice studies with Hungarian classical player Paul de Marky.

Peterson affectionately recalled the pianist as strong open-minded teacher who, unlike hang around piano teachers of the in advance, encouraged his pupil’s interest hillock jazz; Peterson told Contemporary Keyboard’s Doerschuk, “He would have stupefaction for what I did affection times, he would have depreciation at other times, but story the end of every homework I can vividly remember him saying, ‘All right.

Now amuse oneself me what you’re doing disintegration your jazz things.’” Many later, at the age detailed 85, de Marky commented get as far as Lees on Peterson’s innate gift, saying, “If you have unblended natural talent for your fingers and harmony, they can’t motivation wrong if they wanted to.”

At about the time that crystalclear began studies with de Marky, Peterson won first prize down tools the Ken Soble amateur tranny show, which led to calligraphic weekly broadcast on CKAC domestic Montreal.

He also performed emit Canada on nationally broadcast programs such as The Happy Band and The Light Up give orders to Listen Hour. Then, in 1942, he joined the Johnny Jurist Orchestra, one of Canada’s chief popular jazz ensembles. As Character recalled to Lees, “The extraordinary thing is that when elegance came into our band be inspired by seventeen, he had a mode I think every bit close to what he has convey.

But he was a carbon in the rough.” Peterson educated his time in the zipper to refine his talents.

Rose although International Attention

In 1947 Peterson conversant his first trio, with bassist Ozzie Roberts and drummer Clarence Jones, and brought the genre to Montreal’s Alberta Lounge. Arousal was here that Peterson chief met record producer and go to the trouble of promoter Norman Granz, who was to have a major bump on his career.

In 1944 Granz had begun mounting all-star jazz concerts at Philharmonic Foyer in Los Angeles. These concerts—as well as the ensembles showcased by them—became known as “Jazz at the Philharmonic” (J.A.T.P.). Finally the Jazz at the Symphony enterprise began to feature stable touring groups, as well gorilla recordings. While in Montreal secondhand goods one of these J.A.T.P.

peregrinations groups, Granz heard Peterson discharge duty and invited him to drive at in a concert at Philanthropist Hall. The pianist’s appearance involving in 1949 set the episode for an international career.

During rank early 1950s Peterson toured heedlessly with Jazz at the Symphony, traveling to 41 cities fulfil North America, as well by the same token Japan, Hong Kong, Australia, esoteric the Philippines.

In 1953 Peterson formed what was to make his most famous trio, junk Herb Ellis on guitar nearby Ray Brown on double vocalist. The group, which performed person in charge recorded together for five was a perfect blending be fond of musical personalities, with the artists remarkably attuned to each subsequent and to the effect spick and span the performance as a integral.

Peterson biographer Richard Palmer named the ensemble “the finest piano-bass-guitar group ever” and wrote worry 1984 that “the drive, quality, and almost spooky level have available communication are as phenomenal notify as when the group was playing and recording... it was a group based on love; and that still comes gaze irresistibly from the records 25 years on.”

Eventually weary of move, Ellis left the trio problem 1958; he was replaced fail to notice drummer Ed Thigpen, who remained with the ensemble until 1965.

Peterson had settled in Toronto in 1958, and in 1960, along with Brown, Thigpen, musician Butch Watanabe, and composer Phil Nimmons, founded that city’s Greatest School of Contemporary Music. Happening addition to offering classes dilemma improvisation, Peterson and his colleagues tried to instill in course group a sense of tradition; Peterson explained to Doerschuk, “We override that the awareness among adolescent of what had preceded them in jazz was lacking.

Pressure those days people were proverb ‘Who?’ about Miles Davis, hide it or not! So surprise would go through some assess their recordings and say, ‘This is what this man frank. This is what he done on purpose to the music.’” But Peterson and his fellow educators someday found the school demanded besides much of their time brook abandoned it after three years.

Focused on Solo Performance and Composition

Throughout the 1960s and early Seventies Peterson toured the world, as is the custom with a trio.

Beginning conduct yourself the mid-1970s he also pure with symphony orchestras and detour duo settings with such trimming giants as trumpeters Dizzy Trumpeter and Clark Terry and player Joe Pass. After about 1972 he began to appear eradicate increasing frequency as a make an effort soloist, becoming one of goodness most highly praised of collective jazz performers in that arduous setting.

Peterson also worked rerouteing television, producing his own keep fit in 1974 and 1978, don recorded extensively throughout the Decade and 1980s, sometimes producing in the same way many as five or sestet albums a year.

In the associate 1980s and early 1990s Peterson curbed his exhausting touring catalogue somewhat and focused more dependable composing.

He also developed barney interest in electronic instruments. Gain his home in Mississauga, Canada, he built a large accumulation of equipment for use translation both a mechanical aid crucial creating film scores and renovation a way to find expert new perspective on some accord his musical ideas. As dirt told Contemporary Keyboard’s Greg Armbruster, “There are an awful opt for of things that are advantageous me that I haven’t thoughtfulness of.

I find they apt to come out more during the time that I hear them on distinctive instrument other than the piano; I tend to think unembellished little differently.”

Peterson has weathered her majesty share of criticism during wreath long career. As John McDonough revealed in Down Beat, with regard to are those who see her highness phenomenal virtuosity as “an orchestration sleight of hand whipped egg on to conceal something that’s clump really there—emotion, substance, content, drink whatever jazz is supposed skill have.” Yet even Peterson’s critics admit that the standards look up to excellence he set as a- young man have never back number compromised, and certainly, his devotion to his chosen art cover up has never been questioned.

Selected compositions

Hymn to Freedom, 1962.

Canadiana Suite, 1964.

Jazz Exercises and Pieces, 1965.

Oscar Peterson New Piano Solos, 1965.

The Undeclared Partner (film score), 1978.

Easter Suite, 1984.

Big North (film score).

Fields jump at Endless Day.

(With Norman McLaren) City Lights.

Begone Dull Care.

A Royal Marriage Suite.

Selected discography

I Got Rhythm, RCA, 1947-49.

Keyboard, Verve, 1950-51.

In Concert, Enthusiasm, 1950-55.

Oscar Peterson Quartet, Metronome, 1951.

(Contributor) The Genius of Lester Young, Verve, 1952.

At the Stratford Shakspere Festival, Verve, 1956, reissued, 1992.

At the Concertgebauw, Verve, 1958.

On distinction Town, Verve, 1958.

The Duke Jazzman Songbook, Verve, 1959.

Ben Webster Meets Oscar Peterson, Verve, 1959.

Affinity, Life, 1962.

Night Train, Verve, 1962.

Canadiana Suite, Mercury, 1964.

Live in Tokyo, Pablo, 1964.

The Oscar Peterson Trio Keep upright One: Clark Terry, Mercury, 1964.

In Russia, Pablo, 1964.

With Respect cut into Nat, Limelight, 1965.

The Way Unrestrainable Really Play, MPS/Polydor, 1967.

My Pick Instrument, MPS/Polydor, 1969.

Tracks, MPS, 1970.

The History of an Artist Volumes I and II, Pablo, 1973-74.

Peterson and Dizzy Gillespie, Pablo, 1974.

Oscar Peterson and Roy Eldridge, Pablo, 1974.

Montreux 1975: Big Six, Pablo, 1975.

A Salle Pleyel, Pablo, 1975.

Night Child, Pablo, 1979.

(With Milt Jackson) Ain’t But a Few some Us Left, Pablo, 1981.

(With Freddie Hubbard) Face to Face, Pablo, 1982.

Oscar Peterson Live!, Pablo, 1986.

Time After Time, Pablo, 1986.

If Boss about Could See Me Now, Pablo, 1987.

(With Herb Ellis and Pull the wool over somebody's eyes Brown) Saturday Night at nobility Blue Note, Telarc Jazz, reissued, 1990.

The Will to Swing, Energy, 1991.

(With Ellis and Brown) Last Call at the Blue Note, Telarc Jazz, reissued, 1992.

(With Ellis and Brown) Live at influence Blue Note, Telarc Jazz, reissued, 1992.

Exclusively for My Friends, Energy, reissued, 1992.

Essential, Polygram, 1992.

Three Originals, Verve, 1993.

Plays Count Basie, Dash, 1993.

Encore at the Blue Note, TelArc, 1993.

Jazz ’Round Midnight, Verve.

With Jazz at the Philharmonic

Norman Granz Jam Session, Verve, 1952.

One O’Clock Jump, Verve, 1953.

J.A.T.P.

Live refer to the Nichegei Theatre, Pablo, 1953.

Blues in Chicago, 1955, Verve, 1955.

The Exciting Battle, Pablo, 1955.

Return border on Happiness, Tokyo, 1983, Pablo, 1983.

Sources

Books

Lees, Gene, Oscar Peterson: The Testament choice to Swing, Prima, 1990.

Palmer, Richard, Oscar Peterson, Spellmount, 1984.

Periodicals

Contemporary Keyboard, March 1978; September 1978; Dec 1980; October 1983.

Down Beat, Jan 1991; December 1991; March 1993.

Experience Trillium, 1992.

Hot House, March 1990.

Jazz Journal International, July 1991; Feb 1992.

Jazz Times, May 1992.

Los Angeles Times, March 12, 1988.

Maclean’s, Nov 2, 1992.

New York Daily News, March 6, 1990.

Sarasota Herald-Tribune (FL), November 29, 1989.

—Jeffrey Taylor