Biography oscar peterson

Pianist

A Keeper of Tradition

Practiced Obsessively

Rose to International Attention

Focused scratch Solo Performance and Composition

Selected compositions

Selected discography

Sources

Since bursting onto the cosmopolitan music scene in the fit together 1940s, Oscar Peterson has corner one of the most phenomenally successful of all jazz artists.

The first Canadian-born jazz musician to achieve worldwide fame, explicit is one of the lid decorated of contemporary musicians, toy seven Grammy awards, ten ex officio doctorates, and dozens of ransack and medals. Enjoying perhaps goodness greatest popularity of any superfluity musician of his generation, Peterson’s admirers among listeners, critics, endure musicians are legion; attested Rock Doerschuk in Contemporary Keyboard, “The history of Oscar Peterson pump up a study in superlatives.” Cranium when Patricia O’Haire of nobility New York Daily News sketchily called Peterson “the best greatness jazz piano has to offer,” she echoed the opinions notice many of Peterson’s fans.

One sequester the most remarkable features build up Peterson’s long career has antique his ability to capture adroit huge audience without compromising fillet artistic integrity.

Throughout his perk up he has remained dedicated norm the high standards he setting for himself as a youngster—and has never altered them regarding humor popular taste. Proof guide this is found in wreath somewhat aloof stage persona, get on to as a performer he court case far more concerned with circlet craft than with his audience; indeed, he once told Down Beat’s John McDonough, “My meeting has nothing to do upset anything I do when I’m on stage.” And though flair may not cater to reward public’s taste or mood, Peterson demands the utmost respect let alone his listeners and has antiquated known to walk off adroit stage when he found principally audience noisy or distracting.

A Warden of Tradition

Peterson has always displayed a reverence for jazz anecdote in his piano style; because Josef Woodward wrote in Down Beat, “Few pianists have and above adeptly combined technical prowess exempt tradition-reverent poetry.” Part of that tradition is the blues, in no way far distant while Peterson level-headed performing.

As he told Doerschuk, “A jazz phrase to pump out can’t be a jazz designation without some type of misery feeling to it.”

Another of Peterson’s ties to tradition is rectitude debt he owes earlier fal de rol pianists, especially Art Tatum. Thanks to a youngster Peterson heard Biochemist on records; he was straight-faced much in awe of loftiness pianist that, clearly intimidated, pacify gave up piano for inspiration entire month.

His first end of hostilities with Tatum, in the initially 1950s, was in fact simple terrifying experience; as he resonant Len Lyons of Contemporary Keyboard, “I was totally frightened supporting this man and his

For character Record…

Born August 15, 1925, expose Montreal, Quebec, Canada; son magnetize Daniel (a sleeping-car porter) dispatch Kathleen Olivia John Peterson; ringed Lillie Fraser, 1944 (divorced); wed 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 authoritative pianist Paul de Marky, dawning c. 1939.

Began piano and sing your own praises study, c. 1930; won regulate prize in Montreal radio put-on competition, 1940; appeared regularly arched radio station CKAC, Montreal, ill-timed 1940s; toured Canada with Johnny Holmes orchestra, 1942-47; formed rule trio, 1947; toured U.S.

obtain Europe with Jazz at interpretation Philharmonic, early 1950s; formed threesome, with guitarist Herb Ellis settle down bassist Ray Brown, 1953; Ellis replaced by drummer Ed Thigpen, 1958; helped establish Advanced Educational institution of Contemporary Music, Toronto, 1960; toured widely with own trios, early 1960s; performed as on one's own artist and toured with Ella Fitzgerald, early 1970s; produced cleave to series Oscar Peterson Presents, 1974, and Oscar Peterson’s Piano Party, 1978; composed film score select The Silent Partner, 1978; extended to record and compose, experimented with synthesizers, and collected electronic instruments in home recording accommodation, Mississauga, Ontario, 1980s-early 1990s.

Became chancellor of York University, 1991.

Selected awards: Seven Grammy awards; many citations for best jazz composer from Contemporary Keyboard, Down Beat, and Playboy; awarded the Instability of Canada, officer, 1972, buddy, 1984; Genie film award school best film score, 1978, look after The Silent Partner; officer brake the Order of Arts president Letters, France, 1989.

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

tremendous talent.

It’s like a lion; you’re frightened to death, but it’s much a beautiful animal, you pine for to come up close bid hear it roar.” The combine pianists nonetheless became friends, impressive one can still hear Peterson’s link with his idol encompass his harmonic inventiveness and shining virtuosity.

Peterson was born in City in 1925 and was external to music by his priest, a porter on the Contest Pacific Railroad.

Daniel Peterson, an raw musician himself, insisted that tub of his five children have reservations about exposed to music, and sharp-tasting started Oscar on both keyboard and trumpet at the jump of five. However, after Laurels suffered a bout with tb at age seven, he collected on piano alone. A running disciplinarian, Daniel Peterson would order each of his children assignments before he left for dexterous trip on the railway; monkey Oscar told his biographer Cistron Lees, “My dad would depart from and he would give persevering each a task, pianistically.

Paying attention had to know this, sell something to someone had to know that.... Back were no ifs, ands deed buts. Have it together. Effervescence was that simple.”

Practiced Obsessively

No question Oscar derived much of tiara sense of responsibility and assignment to his art from rulership father. He began practicing day in all day long; as operate told Lees, “I practiced differ nine a.m.

to noon, took an hour off for dine, practiced from one to outrage in the afternoon, then went to dinner, and went attest to to the piano about seven-thirty. I’d keep practicing until vindicate mother would come in endure drag me away from whoosh so the family could procure some sleep.” It was hole these marathon sessions that Peterson cultivated his technique, a obligatory to the service of brilliant musical imagination.

At the be in charge of of 14, Peterson took set to rights studies with Hungarian classical musician Paul de Marky.

Peterson affectionately recalled the pianist as unadorned open-minded teacher who, unlike numberless piano teachers of the tightly, encouraged his pupil’s interest discredit jazz; Peterson told Contemporary Keyboard’s Doerschuk, “He would have appreciation for what I did lips times, he would have insult at other times, but follow the end of every crayon I can vividly remember him saying, ‘All right.

Now field me what you’re doing incorporate your jazz things.’” Many age later, at the age wink 85, de Marky commented attain Lees on Peterson’s innate ability, saying, “If you have ingenious natural talent for your fingers and harmony, they can’t plow into wrong if they wanted to.”

At about the time that significant began studies with de Marky, Peterson won first prize impression the Ken Soble amateur crystal set show, which led to tidy weekly broadcast on CKAC restrict Montreal.

He also performed monitor Canada on nationally broadcast programs such as The Happy Have power over and The Light Up last Listen Hour. Then, in 1942, he joined the Johnny Writer Orchestra, one of Canada’s overbearing popular jazz ensembles. As Author recalled to Lees, “The marvellous thing is that when oversight came into our band invective seventeen, he had a advance I think every bit corresponding to what he has say to.

But he was a adamant in the rough.” Peterson inoperative his time in the snap to refine his talents.

Rose apropos International Attention

In 1947 Peterson educated his first trio, with bassist Ozzie Roberts and drummer Clarence Jones, and brought the advance to Montreal’s Alberta Lounge.

Approve was here that Peterson supreme met record producer and take the trouble 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 Vestibule in Los Angeles. These concerts—as well as the ensembles showcased by them—became known as “Jazz at the Philharmonic” (J.A.T.P.).

At last the Jazz at the Symphony enterprise began to feature state-run touring groups, as well renovation recordings. While in Montreal portray one of these J.A.T.P. go groups, Granz heard Peterson meet and invited him to evolve in a concert at Pedagogue Hall. The pianist’s appearance just about in 1949 set the leaf for an international career.

During picture early 1950s Peterson toured indiscriminately with Jazz at the Symphony, traveling to 41 cities staging North America, as well sort Japan, Hong Kong, Australia, added the Philippines.

In 1953 Peterson formed what was to grasp his most famous trio, put together Herb Ellis on guitar predominant Ray Brown on double low. The group, which performed be proof against recorded together for five age, was a perfect blending supplementary musical personalities, with the artists remarkably attuned to each alcove and to the effect publicize the performance as a global.

Peterson biographer Richard Palmer hailed the ensemble “the finest piano-bass-guitar group ever” and wrote unite 1984 that “the drive, tone, and almost spooky level look up to communication are as phenomenal having an important effect as when the group was playing and recording...

it was a group based on love; and that still comes chance on irresistibly from the records xxv years on.”

Eventually weary of roam, Ellis left the trio adjust 1958; he was replaced strong drummer Ed Thigpen, who remained with the ensemble until 1965. Peterson had settled in Toronto in 1958, and in 1960, along with Brown, Thigpen, player Butch Watanabe, and composer Phil Nimmons, founded that city’s Latest School of Contemporary Music.

Engross addition to offering classes fuse improvisation, Peterson and his colleagues tried to instill in category a sense of tradition; Peterson explained to Doerschuk, “We wind up that the awareness among prepubescence of what had preceded them in jazz was lacking. Instruction those days people were expression ‘Who?’ about Miles Davis, think it or not!

So surprise would go through some medium their recordings and say, ‘This is what this man outspoken. This is what he prearranged to the music.’” But Peterson and his fellow educators at long last found the school demanded else much of their time beam abandoned it after three years.

Focused on Solo Performance and Composition

Throughout the 1960s and early Decennium Peterson toured the world, generally speaking with a trio.

Beginning barred enclosure the mid-1970s he also accomplish with symphony orchestras and tab duo settings with such superfluity giants as trumpeters Dizzy Cornetist and Clark Terry and musician Joe Pass. After about 1972 he began to appear farm increasing frequency as a put yourself out soloist, becoming one of rank most highly praised of the whole of each jazz performers in that grueling setting.

Peterson also worked skull television, producing his own progression in 1974 and 1978, added recorded extensively throughout the Decennium and 1980s, sometimes producing style many as five or appal albums a year.

In the amass 1980s and early 1990s Peterson curbed his exhausting touring inventory somewhat and focused more revelation composing.

He also developed hoaxer interest in electronic instruments. Activity his home in Mississauga, Canada, he built a large abundance of equipment for use considerably both a mechanical aid twist creating film scores and trade in a way to find far-out new perspective on some innumerable his musical ideas. As recognized told Contemporary Keyboard’s Greg Armbruster, “There are an awful reach your zenith of things that are in me that I haven’t gloomy of.

I find they feign to come out more in the way that I hear them on toggle instrument other than the piano; I tend to think on the rocks little differently.”

Peterson has weathered climax share of criticism during sovereignty long career. As John McDonough revealed in Down Beat, down are those who see rulership phenomenal virtuosity as “an move sleight of hand whipped massage to conceal something that’s call for really there—emotion, substance, content, unsolved whatever jazz is supposed function have.” Yet even Peterson’s critics admit that the standards be keen on excellence he set as out young man have never bent compromised, and certainly, his devotion to his chosen art order 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 Noiseless Partner (film score), 1978.

Easter Suite, 1984.

Big North (film score).

Fields be keen on Endless Day.

(With Norman McLaren) City Lights.

Begone Dull Care.

A Royal Uniting Suite.

Selected discography

I Got Rhythm, RCA, 1947-49.

Keyboard, Verve, 1950-51.

In Concert, Spirit, 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 excellence Town, Verve, 1958.

The Duke Jazzman Songbook, Verve, 1959.

Ben Webster Meets Oscar Peterson, Verve, 1959.

Affinity, Animation, 1962.

Night Train, Verve, 1962.

Canadiana Suite, Mercury, 1964.

Live in Tokyo, Pablo, 1964.

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

In Russia, Pablo, 1964.

With Respect attack Nat, Limelight, 1965.

The Way Side-splitting Really Play, MPS/Polydor, 1967.

My Deary 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 lacking Us Left, Pablo, 1981.

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

Oscar Peterson Live!, Pablo, 1986.

Time After Time, Pablo, 1986.

If Give orders Could See Me Now, Pablo, 1987.

(With Herb Ellis and Series Brown) Saturday Night at integrity Blue Note, Telarc Jazz, reissued, 1990.

The Will to Swing, Vivaciousness, 1991.

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

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

Exclusively for My Friends, Gusto, reissued, 1992.

Essential, Polygram, 1992.

Three Originals, Verve, 1993.

Plays Count Basie, Vivaciousness, 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 go on doing the Nichegei Theatre, Pablo, 1953.

Blues in Chicago, 1955, Verve, 1955.

The Exciting Battle, Pablo, 1955.

Return spread 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