Oscar Peterson

That prompted me to think about Oscar Peterson. Why haven’t I profiled him to date? Why have I so rarely included his work in my playlists? Why, despite his astonishing, high profile career and his unrivalled technique and ability do I have slightly mixed feelings about Oscar? Why is his influence on the contemporary jazz scene so muted?

Why indeed!

Oscar Peterson’s career in jazz was unique in so many respects. Born in 1925, the son of first generation immigrants to Montreal from the West Indies who spotted his musical talent very early and encouraged his early immersion in classical piano studies Oscar practiced ferociously from the age of five providing the basis for his unrivalled piano technique. In 1940, at fourteen years of age, he won the Canadian Broadcasting Corporation’s national music competition. This was the launch pad to his long musical career, starting with the local Montreal trios he led, becoming a pro. musician at 15.

His biggest jazz influence was Art Tatum whose uniquely prodigious technique only Oscar could ever match. Their careers briefly overlapped with Tatum acting as a mentor to Oscar.

Norman Granz, the renowned jazz promoter, and one of the very few promoters of that era without links to the mobs heard a radio broadcast of the youthful Oscar playing with his trio in Montreal, and immediately signed him up.  Granz had recently launched his Jazz at The Philharmonic (JATP) touring vehicle made up of star jazz names from the mainstream and bebop traditions playing large venues as one nighters across the U.S.  Bizarrely Oscar’s first outing in New York was part of a JATP package at Carnegie Hall in 1949.

JATP provided Oscar with a remarkable grounding, the regular accompanist to an astonishing roster of such jazz greats as Coleman Hawkins, Lester Young, Ella Fitzgerald, Charlie Parker, Ben Webster, and Buddy Rich. Each of them with their own styles, idiosyncrasies, and requirements. Granz’s Verve record label also provided Peterson with a platform for his numerous early recordings in the 1950’s. Granz remained Oscar’s manager for much of his life.

Following his apprenticeship with JATP Oscar emerged as a leader in his own right, a status he retained for the rest of his musical life. He remains best known for his trio work initially with Ray Brown on bass one of the greatest bass players in modern jazz and Herb Ellis on guitar, leading to the classic 60’s trio of Peterson, Ray Brown and Ed Thigpen on drums. In the 70’s and 80’s Oscar recorded and toured extensively with a core trio of the equally virtuosic Nils Hennig Orsted Pederson on bass and Martin Drew on drums. His greatest guitar partner during that period was Joe Pass. This was the period when I would routinely Catch Oscar’s trios at Ronnie Scott’s. On one occasion I shared a ring side table with Oscar but couldn’t raise the courage to start a jazz conversation with him. A big regret.

Reflecting on Oscar’s musical life so many aspects stand out as unique;

• His musical style was fully formed by his early 20’s and remained the bedrock through his 60 year career. Bebop, free music, jazz rock, Third Stream- none had any discernible impact on his creative output.
• At a time when most jazz musicians were underpaid, exploited, played small venues and were at the mercy of unscrupulous agents and club owners Oscar insisted on being treated with respect. He was well remunerated, always travelled first class stayed in 5 star hotels and played the venues, large and small of his choice.
• In an era when many jazz musicians were addicted to narcotics and/or alcohol Oscar led a fastidiously sober lifestyle. His nature and public image were much closer to Nat Cole than Charlie Parker. Oscar’s major struggle was with his weight and love of food.
• Watch any YouTube video of a Peterson performance in a concert hall or a TV studio and he gives the very clear appearance of a musician who is enjoying himself and for whom entertaining the public without in any way compromising his musical integrity was an important responsibility. These are not the characteristics that many jazz musicians of his era necessarily shared.
• While Oscar’s name recognition and genius were the main drawing card for his performances, he assiduously chose highly gifted players to play with him and always gave them space to improvise and contribute.
• Finally, Oscar had a unique public profile and persona for a jazz performer, regularly hosting TV specials and appearing as a featured guest in talk shows on both sides of the Atlantic.

I would describe the unique components of Oscar’s musicality as follows,

• His unrivalled speed and fluency
• His extraordinary technique
• No one could or can swing quite like Oscar Peterson
• He had an amazing feeling for the blues.
• He was a master of the full range of the jazz standards repertoire, he remains one of the greatest interpreters of that repertoire.
• He was an unmatched accompanist to vocalists, particularly Ella Fitzgerald.

The Playlist

Oscar Peterson bequeathed a massive back catalogue. Choosing a selection is particularly hard in his case. The core of my playlist is an unusual choice, Canadiana Suite. Unusual because the suite was entirely composed by Oscar, an extended love letter to Canada, played by one of his greatest trios at the peak of their form. I have virtually worn out my vinyl copy of this album. You will find some selections from earlier and later in Oscar Peterson’s recoding career. I hope that it will encourage to discover or renew your acquaintance with this remarkable musician.
To go back to Ian’s request, listening to the playlist will leave you in no doubt of Oscar Peterson’s command of the jazz trio form. It has been a pleasure for me to revisit Oscar’s output after too many years of semi neglect.

And finally, an interesting, reflective short interview with Oscar towards the end of his life;