PETERSON, Oscar
(b 15 Aug. '25, Montreal, Canada)
Piano; also composer. Began playing at age six; won talent
contest at 14, soon played on radio; a popular Canadian artist
recording for RCA there '45--9 (The Complete Young Oscar
Peterson was a two-CD set on RCA; 1951 on the Canadian Justin
Time's Just a Memory subsidiary has CBC broadcasts). A serious,
hard-working man, intent on doing a good job, he became one of
the most popular jazz musicians in the world, initially infl.
by Teddy Wilson, Erroll Garner, Nat Cole, George Shearing; he
admitted admiration of Art Tatum and continued to grow as a
musician infl. by Tatum, especially harmonically, but it is
wrong to assume the direct influence of Tatum's style: Tatum
and Peterson have common roots in classical music; Peterson's
phenomenal technique was already apparent as a teenager and he
has been described as the Liszt of jazz (Bill Evans cast as the
Chopin). With jazz roots deep in the mainstream, he is also a
masterful accompanist. (Recording with Billie Holiday '52--4,
he said later, he was worried about being too busy, 'something
I've always been charged with -- so at first I sort of held
back, but she didn't want to hear that. She wanted everybody to
just play.' Shirley Horn said, 'Oscar spread flowers beneath
her.') He is not an innovator, except in the sense that he has
brought immense formal skill to jazz, and orthodoxy has it that
technical skill is supposed to be kept hidden: because he has
been among the most commercially successful in jazz since Dave
Brubeck without advancing the frontier of the avant-garde, some
critics and musicians have taken him for granted (though sooner
or later most admit admiration). Some have even said that he
doesn't swing; in fact musicians who work with him discover
that his powerful brand of swing dominates the proceedings.
Oscar always said his sister Daisy was just as talented;
she became a piano teacher. He had US offers and finally came
to Carnegie Hall '49 with Norman Granz's JATP. His first NYC
recordings were duets with Ray Brown or Major Holley on bass
'50 on Verve; he led trio '50s with Brown and Irving Ashby on
guitar (b 29 Dec. '20, Somerville MA; d 22 April '87, Perris
CA) succeeded by Barney Kessel, then Herb Ellis; one of the
finest albums is said to be At The Shakespearean Festival with
Brown and Ellis, now on Verve CD with additional tracks. Drums
replaced guitar '58: Ed Thigpen (b 28 Dec. '30, Chicago; father
Ben played with Andy Kirk) in turn replaced '65 by Louis Hayes
(b 31 May '37, Detroit; with Horace Silver late '50s); Brown
left '66, replaced by Sam Jones. Peterson played solo recitals
c'72, but has made very few solo records; later sidemen incl.
drummers Bobby Durham and Ray Price, Joe Pass on guitar, George
Mraz, Niels-Henning Orsted Pedersen on bass; he went to the
USSR '74 with the latter and Jake Hanna on drums, but cut tour
short in disagreement with Soviet authorities. He also recorded
with Louie Bellson on drums, had reunions with Ellis and Brown;
also played the organ (clavichord '76 in duo with Pass on Porgy
And Bess) and sang occasionally from '53, resumed singing after
some years on LP With Respect To Nat '65 on Limelight. He
recorded with Lester Young, Louis Armstrong, Coleman Hawkins,
Ben Webster, Fred Astaire, Ella Fitzgerald, Benny Carter, Roy
Eldridge, Clark Terry, Stan Getz, Buddy DeFranco, Nelson
Riddle, Milt Jackson and many more plus nearly 60 LPs of his
own, mostly on Granz-associated labels Verve, Clef, Norgan and
Mercury '50s--60s.
He recorded in Villingen Germany for MPS/BASF late '60s-
-early '70s, using label boss Hans Georg Brunner-Schwer's
B”sendorfer grand: six LPs now collected on four-CD set
Exclusively For My Friends is highly recommended, incl. trios
with Brown or Jones on bass, Thigpen, Hayes or Durham on drums,
and solo set My Favorite Instrument. Motions And Emotions
compiles three more MPS LPs on two CDs; another MPS solo set
Tracks is available on a single CD, all now on Verve. He
rejoined Granz on his Pablo label and made over 30 more albums.
His few solo LPs incl. the two on MPS, Terry's Tune '74 (made
in Tokyo), live tracks from USSR '74, At Salle Pleyel '75 on
Pablo; these are so fine that fans always wished he would do
more. Duet LPs incl. Two Of The Few '83 with Jackson; Digital
At Montreux '79 with Orsted Pedersen; with Gillespie in
London, Eldridge and Harry Edison in LA '74. Swinging Brass '59
and Bursting Out '62 were big-band albums, combined on CD
Bursting Out '96; Bursting Out, trio Affinity and Trio + One
'64 (with Terry) made the Billboard pop album chart. Other
highlights incl. Jazz Portrait Of Frank Sinatra, songbook LPs
of Cole Porter, George Gershwin, Duke Ellington, Jerome Kern,
Richard Rodgers, Harry Warren and Vincent Youmans, Harold Arlen
and Jimmy McHugh, all '59; his own Canadian Suite '64 (all
these with Brown and Thigpen) and Royal Wedding Suite '81
(orchestra led by Russ Garcia); piano duets with Count Basie
(and rhythm) Satch And Josh '74, Again '77; Oscar Peterson Jam
'77 at Montreux with Gillespie, Terry, Lockjaw Davis, Durham,
Orsted Pedersen; The Silent Partner '79 (film music) with
Carter, Terry, Jackson, Zoot Sims, John Heard on bass, drummer
Grady Tate; many other combinations plus the many trio LPs. His
recording schedule finally eased; he was seriously over-
recorded by Granz, but no relationship between jazz musician
and manager has ever lasted as long (as well as the personal
friendship). He began recording for Telarc, incl. three CDs
with Brown and Ellis (Live At The Blue Note, Last Call At The
Blue Note and Saturday Night At The Blue Note; all '90); he
named the project as his favourite among his recordings: 'I'd
settled a lot of scores with myself by then.' Encore added
Durham on drums.
Miles Davis once commented, 'Nearly everything
Peterson plays, he plays with the same degree of force. He
leaves no holes for the rhythm section.' But this merely
describes the difference between the two players; Davis did not
have Peterson's powerful technique, and found a different kind
of expression. Amazingly, Peterson had suffered from arthritis
since his youth and in later years could hardly button his
shirt, yet played as well as ever; he also had hip replacement
surgery, then had a stroke early '93 and was half paralysed,
but fought his way back and resumed recording, saying, 'I've
learned something about patience.' The More I See You '95 was a
triumph, with Benny Carter, Clark Terry, Ray Brown, Lorne
Lofsky on guitar and Lewis Nash on drums; then Meets Roy
Hargrove And Ralph Moore '96 was a solid quintet with a jam
session feel. A Tribute To Oscar Peterson was a concert from
autumn '96, reunions with many old friends and the master
playing as well as ever.