• Home
  • About
    • Doug Ramsey
    • Rifftides
    • Contact
  • Purchase Doug’s Books
    • Poodie James
    • Take Five: The Public and Private Lives of Paul Desmond
    • Jazz Matters
    • Other Works
  • AJBlogs
  • ArtsJournal
  • rss

Rifftides

Doug Ramsey on Jazz and other matters...

Oscar Peterson RIP

December 24, 2007 by Doug Ramsey

The sad news from Canada on this Christmas Eve is that Oscar Peterson died yesterday at home in Toronto. He was 82. One of the great piano figures of his time, Peterson was an inspiration to virtually every jazz pianist who followed him, his influence equaled only by his slightly younger contemporary Bill Evans.
Peterson.jpg
Oscar Peterson
The Canadian national newspaper The Globe And Mail quotes Peterson’s friend Tracy Biddle on his importance as a symbol to Canadians.

“He broke out of Canada. He’s one of the first people. We talk of Celine Dion and Shania Twain and Alanis Morissette and Bryan Adams. Oscar Peterson did what they did years ago as a black person. So what he’s done is incredible.”
The keyboard titan, who recorded almost 200 albums, played alongside the greats of the jazz world: Louis Armstrong, Count Basie, Charlie Parker, Roy Eldridge, Duke Ellington, Nat King Cole, Stan Getz, Dizzy Gillespie and Ella Fitzgerald.
“It makes you want to sing,” the late Ella Fitzgerald once said of Peterson’s piano work.

To read the entire Globe And Mail obituary, go here.
To remember Oscar at his happiest, watch this 1958 performance by his incomparable trio with bassist Ray Brown and guitarist Herb Ellis.
The New York Times today published a retrospective collection of articles about Peterson from the early 1990s to 2007. The definitive biography of Peterson is Gene Lees’ The Will To Swing.

Related

Filed Under: Main

Comments

  1. Dick McGarvin says

    December 25, 2007 at 12:17 am

    One of my early experiences hearing live jazz was when I was a teen and my family (from Idaho) was visiting relatives in LA. My uncle took me to a place called Zardi’s to hear Shorty Rogers and his Giants. It was my choice. I had Shorty’s records and, being a kid learning how to play the drums, I was eager to see Shelly Manne, who played with Shorty. However, it was Monday night and Shorty was off. The place was practically empty. The hostess said they still had a band that night – the Oscar Peterson Trio – that they were taking a break and would be back in a few minutes. I looked at the bandstand and didn’t see any drums. Now, I’d heard of Oscar Peterson, having read about him in my Down Beat magazines, but I thought, in my naive teen way, “Hmm. No drums. How good could this band be?” We decided to stay and I’d barely started my 7-Up when these three guys got on the bandstand. Before they started to play, Oscar introduced the other two musicians: Ray Brown on bass and Herb Ellis on guitar. As you can imagine, it was unbelievable! The first tune was at a tempo that I didn’t know was possible. My mouth fell open and, probably, stayed that way through every note they played for the rest of the evening. It was one of the greatest, most memorable musical experiences of my life.
    God bless Oscar. May he rest in peace.

  2. Richard Carlson says

    December 25, 2007 at 12:36 am

    I always preferred the comp and the swing to the virtuoso but the man made jazz my friend. He and Ray Brown were there, apparently actually having fun and enjoying work. No one worked harder than Oscar Peterson. Even though fans were tough on him (remember when he wanted to sing?) he maintained his dignity, gentle good humor and ferocious discipline. Something to mourn this Christmas~~~

  3. Grange Rutan says

    December 25, 2007 at 2:44 am

    Oscar was a present that survived the test of time and was always big as life. He came back after his stroke with an elegance and elan which allowed us to worship the wonder of him. I don’t want the walls to hear but I guess it’s okay as Christmas is almost here and he lingers…Joe Pass, Ray Brown and that great open smile on that handsome black face…I loved his expansive magical fingers and how he brought harmony, juxtaposed with a savy strut that made me laugh outloud. How can we be sad, Oscar is up on the Big Gig with all the Kahoonas.

  4. Robert Rusch says

    December 25, 2007 at 9:17 am

    Well said, Dick.
    I think he was generally underestimated and taken for granted by the
    average hard core jazz listener.
    (Mr. Rusch is the editor of Cadence magazine and executive producer of Cadence Jazz Records.–DR)

  5. Steve Grover says

    December 26, 2007 at 9:15 am

    I really like Oscar’s trio with Ray Brown and Ed Thigpen. I have an album called ‘Live At The London House’ that is a personal favorite. My favorite Oscar is from the ’60s generally, but it is all pretty scary. His comping as a sideman on the Ella/Louis stuff from the ’50s, and the record he made with Ben Webster found him less prone to pyrotechnics. He sounds great on the album he did with Stephane Grappelli, NHOP and Kenny Clarke, from the early’ 70s I think. I like the tasty Oscar as much as the exciting, technical Oscar. And of course, no matter the circumstances, he just would swing so hard that you felt like you couldn’t take it anymore.
    Oscar also wrote nice tunes, and his ‘Canadiana Suite’ is full of great melodic and harmonic ideas.
    Oscar represents one of the last important links to the Jazz At The Philharmonic era of great swing and bebop collaborations between the masters. He continued to collaborate with them into the ’70s and ’80s, people like Basie and Dizzy, the great singers like Sarah and Ella. He represented the link between swing and bebop through these collaborations.
    I remember talking to Lenny Breau about Oscar one time, and he said that he thought that Oscar changed his chord voicings after he heard Bill Evans, and I think he’s right. But no matter what may have evolved, Oscar sounded original and timeless.

  6. Bill Kirchner says

    December 28, 2007 at 12:55 pm

    I’ve spent the last day or so sampling my Peterson mid-’90s Verve reissues, especially the ’59-’62 ones with Brown and Thigpen. More than any other great jazz musician I can think of, Peterson was a curious combination of elements, ranging from stunning to banal.
    If you have the Verve 5-CD “London House Sessions,” Michael Ullman’s essay is well-worth (re)reading. Ullman thinks that Peterson was at his best as a ballad player; I agree.
    P.S. I don’t understand the importance so many informed listeners attach to “Night Train”–to my ears, a good but largely perfunctory set. My own pick is “The Jazz Soul of Oscar Peterson”–all of his and that trio’s ingredients at their best.

  7. bennie says

    December 29, 2007 at 7:09 am

    My remembrance of Oscar goes back to the 50s when I first heard him on record and in various venues when he visited New York City. I finally met him in person in the late 80s when he visited Los Angeles to play at Ray Brown’s jazz club, the Loa. A day before opening there, he visited the best piano store in Los Angeles owned by David Abell. There he delighted in playing the various fine pianos that David stocked, including his favorite Bosendorfer brand. For 3 hours he played non-stop, testing and evaluating the many various brands and models that David carried. He was very personable, conversational, and unselfishly shared his tremendous talent with those in the store, including me who he had never met before. In our brief conversation, we discovered that we had similar backgrounds in that our parents both were immigrants from the West Indies. His immigrated directly to Canada, and mine immigrated directly to New York City. Also our fathers were music lovers and amateur musicians, and started each of us on music lessons around age five. The next evening, Oscar opened at the Loa to tumultuous applause from the crowd, and rave reviews in the local newspapers. But I shall never forget those few hours that I spent up-close and personal with the great, one and only, Oscar Peterson at David Abell’s fine piano emporium.

Doug Ramsey

Doug is a recipient of the lifetime achievement award of the Jazz Journalists Association. He lives in the Pacific Northwest, where he settled following a career in print and broadcast journalism in cities including New York, New Orleans, San Francisco, Los Angeles, Seattle, Portland, San Antonio, Cleveland and Washington, DC. His writing about jazz has paralleled his life in journalism... [Read More]

Rifftides

A winner of the Blog Of The Year award of the international Jazz Journalists Association. Rifftides is founded on Doug's conviction that musicians and listeners who embrace and understand jazz have interests that run deep, wide and beyond jazz. Music is its principal concern, but the blog reaches past... Read More...

Subscribe to RiffTides by Email

Enter your email address to subscribe to this blog and receive notifications of new posts by email.

Doug’s Books

Doug's most recent book is a novel, Poodie James. Previously, he published Take Five: The Public and Private Lives of Paul Desmond. He is also the author of Jazz Matters: Reflections on the Music and Some of its Makers. He contributed to The Oxford Companion To Jazz and co-edited Journalism Ethics: Why Change? He is at work on another novel in which, as in Poodie James, music is incidental.

Archives

Recent Comments

  • Rob D on We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside
  • W. Royal Stokes on We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside
  • Larry on We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside
  • Lucille Dolab on We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside
  • Donna Birchard on We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside

Doug’s Picks

We’re Back: Pianist Denny Zeitlin’s New Trio Album for Sunnyside

As Rifftides readers have undoubtedly noticed, it has been a long time since we posted. We are creating a new post in hopes  that it will open the way to resumption of frequent reports as part of the artsjournal.com mission to keep you up to date on jazz and other matters. Pianist Denny Zeitlin’s stunning new trio album […]

Recent Listening: The New David Friesen Trio CD

David Friesen Circle 3 Trio: Interaction (Origin) Among the dozens of recent releases that deserve serious attention, a few will get it. Among those those receiving it here is bassist David Friesen’s new album.  From the Portland, Oregon, sinecure in which he thrives when he’s not touring the world, bassist Friesen has been performing at […]

Monday Recommendation: Dominic Miller

Dominic Miller Absinthe (ECM) Guitarist and composer Miller delivers power and subtlety in equal measure. Abetted by producer Manfred Eicher’s canny guidance and ECM’s flawless sound and studio presence, Miller draws on inspiration from painters of France’s impressionist period. His liner essay emphasizes the importance to his musical conception of works by Cezanne, Renoir, Lautrec, […]

Recent Listening: Dave Young And Friends

Dave Young, Lotus Blossom (Modica Music) Young, the bassist praised by Oscar Peterson for his “harmonic simpatico and unerring sense of time” when he was a member of Peterson’s trio, leads seven gifted fellow Canadians. His beautifully recorded bass is the underpinning of a relaxed session in which his swing is a force even during […]

Recent Listening: Jazz Is Of The World

Paolo Fresu, Richard Galliano, Jan Lundgren, Mare Nostrum III (ACT) This third outing by Mare Nostrum continues the international trio’s close collaboration in a series of albums that has enjoyed considerable success. With three exceptions, the compositions in this installment are by the members of Mare Nostrum. It opens with one the French accordionist Galliano […]

Monday Recommendation: Thelonious Monk’s Works In Full

Kimbrough, Robinson, Reid, Drummond: Monk’s Dreams(Sunnyside) The subtitle of this invaluable 6-CD set is The Complete Compositions Of Thelonious Sphere Monk. By complete, Sunnyside means that the box contains six CDs with 70 tunes that Monk wrote beginning in the early years when his music was generally assumed to be an eccentric offshoot of bebop, […]

More Doug's Picks

Blogroll

All About Jazz
JerryJazzMusician
Carol Sloane: SloaneView
Jazz Beyond Jazz: Howard Mandel
The Gig: Nate Chinen
Wonderful World of Louis Armstrong
Don Heckman: The International Review Of Music
Ted Panken: Today is The Question
George Colligan: jazztruth
Brilliant Corners
Jazz Music Blog: Tom Reney
Brubeck Institute
Darcy James Argue
Jazz Profiles: Steve Cerra
Notes On Jazz: Ralph Miriello
Bob Porter: Jazz Etc.
be.jazz
Marc Myers: Jazz Wax
Night Lights
Jason Crane:The Jazz Session
JazzCorner
I Witness
ArtistShare
Jazzportraits
John Robert Brown
Night After Night
Do The Math/The Bad Plus
Prague Jazz
Russian Jazz
Jazz Quotes
Jazz History Online
Lubricity

Personal Jazz Sites
Chris Albertson: Stomp Off
Armin Buettner: Crownpropeller’s Blog
Cyber Jazz Today, John Birchard
Dick Carr’s Big Bands, Ballads & Blues
Donald Clarke’s Music Box
Noal Cohen’s Jazz History
Bill Crow
Easy Does It: Fernando Ortiz de Urbana
Bill Evans Web Pages
Dave Frishberg
Ronan Guilfoyle: Mostly Music
Bill Kirchner
Mike Longo
Jan Lundgren (Friends of)
Willard Jenkins/The Independent Ear
Ken Joslin: Jazz Paintings
Bruno Leicht
Earl MacDonald
Books and CDs: Bill Reed
Marvin Stamm

Tarik Townsend: It’s A Raggy Waltz
Steve Wallace: Jazz, Baseball, Life and Other Ephemera
Jim Wilke’s Jazz Northwest
Jessica Williams

Other Culture Blogs
Terry Teachout
DevraDoWrite
Alex Ross: The Rest Is Noise
On An Overgrown Path

Journalism
PressThink: Jay Rosen
Second Draft, Tim Porter
Poynter Online

Related

Return to top of page

an ArtsJournal blog

This blog published under a Creative Commons license

Copyright © 2023 · Magazine Pro Theme on Genesis Framework · WordPress · Log in