Category: Artist Highlight

  • Stanley Jordan Interview about “Friends”

    UC Jazz Club Favorite Artist, Stanley Jordan sits down for an exclusive personal Interview with Edie Okamoto to talk about his latest CD, aptly entitled “Friends.”

    For many years Jazz Superstar, Stanley Jordan, has been known to stretch, push, and actually break musical boundaries. His fans and jazz critics alike have come to expect him to be different and controversial. While his skills allow him to write and perform at levels that astound and thrill – his new CD provides a glimpse into the depth of his understanding of traditional jazz.

    On his newest album, Friends, Stanley Jordan takes the time-honored path of inviting a hand picked cadre of special guests: guitarists Bucky Pizzarelli, Mike Stern, Russell Malone and Charlie Hunter, violinist Regina Carter, saxophonists Kenny Garrett and Ronnie Laws, trumpeter Nicholas Payton, bassists Christian McBride and Charnett Moffett, and drummer Kenwood Dennard. The results proved truly outstanding on numbers ranging from a Bela Bartok piece to a Katy Perry pop smash, a heady original blues and three jazz classics spanning swing, cool and modern. There’s a listener friendly samba, an airy spirit song and Stanley Jordan plays some serious piano on a couple of songs, revisiting his very first love, the piano, with newfound confidence and wonder. Listen to samples on Amazon.

    Stanley Jordan who tours all around the world about 80% of his time, spent some special times with his friends to produce this instant classic Jazz album: “Friends.” He invited a host of collaborators for this rare gathering of contemporary jazz greats.

    During a rare in-depth interview Stanley Jordan who will be in the Bay Area performing at Yoshi’s on October 11th and 12th, tells our UC Jazz Club readers about the cast.

    “Friends” Special Guests

    Regina Carter
    “Through my classical background, I developed an early appreciation for violin, and that interest continued even after I got involved in jazz. So it’s no surprise that I’ve been a fan of Regina Carter, because she is an amazing violinist who combines my favorite elements from the jazz side and the classical side. I once read an article about her project in Italy where she played an original Guaneri violin, and in that moment I knew that I would thoroughly enjoy playing with her someday. So I was honored when she accepted my invitation to join this project. Her sensitivity on the Bartok piece is just so exquisite–it makes me cry! And her perfect blend with Ronnie Laws on “Samba Delight” is a fresh, new sound that’s full of lightness and joy.”

    Reflecting on working with the violin virtuoso, Stanley Jordan continues, “Regina Carter is an amazing violinist who combines my favorite elements from the jazz side and the classical side. Doing improvisations of ‘classical’ compositions often means spelling out more than just chord symbols. In this case, I wrote out many of the voicings I was using so we could improvise in a cohesive way. The result was a dense page of notes, which was probably a lot to drop on Regina at the last minute, but she rose to the occasion admirably. The sensitivity of her playing is so exquisite–it makes me cry. The first is “Romantic Intermezzo,” based on the theme of the 4th movement of Bela Bartok’s “Concerto for Orchestra.” This deeply stirring piece features Regina Carter on violin and I am featured exclusively on piano.

    Kenwood Dennard
    No question about it–Kenwood Dennard is a drummer’s drummer. I hope his performances here make many more people aware of his incredible gifts. As a progressive rock fan, I loved his work with the band Brand X back in the 70s and I used to watch him perform with Jaco Pastorius in the early 80s. His creativity is unsurpassed. In fact, every time we play together he does something new that I’ve never heard before. We’ve played together for over 20 years now and he just keeps getting better! He knows his music inside and out, having a deep background in harmony and music theory in general, so he understands what I’m doing and he knows just how to play with me in all situations. Listen to how he adjusts his playing perfectly for each song. That’s why he is the only drummer on this album. I knew I would be in good hands. “Bathed in Light” is an original that feels like a “spirit song.” I had Kenny Garrett and Nicholas Payton on horns and Christian McBride on bass in a softer turn than the swinging opener “Capital J.” On the inspiration behind the music and title, Stanley Jordan muses, “The splashy guitar chords bring out the meaning of the title. Sometimes when we’re bogged down in the details of things, we get depressed. But when we put things into proper perspective, the clouds part and we see a rainbow. I was having one of those moments when I wrote this song.” On “Bathed in Light”, when we got into the studio I realized the song needed a keyboardist, but I had not hired one for the date. Mirroring the Zen of all this, Kenwood Dennard played live drums and keyboards simultaneously! He played the drums and the keyboard at the same time live in the studio with no overdubs!

    Kenny Garrett
    “I opened Friends with the straight ahead original “Capital J” (as in “jazz with a capital J”) featuring Kenny Garrett on tenor saxophone and Nicholas Payton on trumpet. So much of the great jazz I grew up with was built on a strong horn line.” Jordan remembers. “In the spirit of those great classics I wrote this tune. I first heard Kenny Garrett when my band was on the same bill with Miles and Kenny played in his band. Kenny combines a deep musical knowledge with a natural and effortless facility. My favorite part of “Capital J” was just comping behind the horns. My first experiences hearing Kenny Garrett were in live concerts when my band was on the same bill with Miles Davis and Kenny played in Miles’ band. He was always one of the highlights of Miles’ show. Since then I’ve always wanted to play with him. He is one of the more creative sax players around today. The level of his musicianship is astonishing! He combines a deep musical knowledge with a natural and effortless facility. In this way he is always a joy to listen to, yet his concept is so deep that you can listen repeatedly and find new things. His solo on “Capital J” is a thing of beauty. When we were in the studio preparing to record “Capital J” and he started warming up on the chord changes I remember thinking how grateful I was that he was there because he was absolutely perfect for that song.

    Charlie Hunter
    Charlie Hunter is a kindred spirit because he is someone who, like me, has found his own path for approaching the guitar. Our approaches are similar because we both wanted to expand the instrument into a more polyphonic, “orchestral” direction. But although we’re similar conceptually, we are complementary in another sense, because he is more like a bassist who also plays lead and I’m more like a lead player who also plays bass. This makes it easy for us to play together. On Friends we collaborated on “Walkin’ the Dog,” a hip trip to Bluesville which recalls the great B.B. King and also offers some edgier things going on around the fringe. I am so thrilled that got to collaborate with the groove master Charlie Hunter again. Our paths have crossed in many jam band situations and venues. We both play multiple parts at once, but he plays more in the lower range while I play more in the higher range, so we complement each other very well. On “Walkin’ the Dog” Charlie and I play the melody in unison first then the second time he plays the melody while I play a counter melody of parallel dyads harmonized mostly in fifths, giving it a modern sound that provides a cool counterpart to the gritty main melody. A while ago I went to see him in Flagstaff, AZ and he invited me up to sit in. We just fell naturally into a compatible musical space playing his tunes. Since then we’ve talked about doing something together, and here it is –hopefully just the first of many.

    Ronnie Laws
    Ronnie Laws is a remarkable and versatile musician who is at the crossroads of many musical worlds. He pulls it all together from be-bop, deep-pocket funk, Coltrane-inspired pentatonics and sweet ballads. His sound and style give him an original and very recognizable musical voice. When I showed him “Samba Delight” he remarked on how much he liked the tune. It felt really good to hear that, because I composed it with him in mind! We have been on the same bill in various live settings and we have always played together whenever possible. It was a true honor to have his contribution on this project.

    Russell Malone
    Russell Malone is unquestionably one of the top jazz guitarists of our time. He can play straight-ahead as well as anyone out there, which really comes through on “Seven Come Eleven”. And with his breezy melodic sense he is a very soulful and listenable player. He combines a playful imagination with a mathematical sense of structure and line, making him ideal for the atonal improvisation “One for Milton”. He had recently been doing a lot of playing with Ornette Coleman, so he was already primed for the kind of free improv that we created together on that day. His “out of the box“ free style has always been one of my favorite aspects of his playing. This jazz super standard “Seven Come Eleven,” is a song made famous in Benny Goodman’s band as a feature for electric jazz guitar pioneer Charlie Christian. Bucky Pizzarelli played a rousing solo on it, and Russell Malone was great as he provided a cool yet uplifting spirit.”

    Christian McBride
    This was our first chance to play together, making it a dream come true for me because I have admired his playing for many years. He was very sensitive as he adjusted his approach to each song, playing just the right part at all times. “Christian McBride‘s amazing tone, his flawless, crisp execution, his strong melodic concept and his deep sense of swing make him one of the greatest jazz bassists alive today. His sharp mind and generous spirit and attention to every detail really come through on both of the songs he did with us.

    Charnett Moffett
    A take on Claude Debussy’s “Reverie” in a jazz context features my road trio of Charnett Moffett on bass and Kenwood Dennard on drums and me. The group has been performing this for many years, which explains the fluid ease with which we weave through it. We pretty much stuck to the form on this one except for a brief modal improv, which was obviously not written into the original composition, but I feel that it gets across the meaning and spirit of the song.  Charnett Moffett and I go all the way back to the Bay Area free jazz scene of the late 60s and early 70s. I used to see him perform as the youngest member of the Charles Moffett Family when he was 8 and I was 15. These were formative years, and the Moffett Family were my “Jacksons of Jazz”. Charnett Moffett and I have been working together since 1985 and there is no bassist on the planet who knows me better than he does. I knew I could depend on him to be the primary bassist on this project, and he came through with flying colors. He displays astonishing versatility as he approaches each tune in just the right way and he nails it all, from straight-ahead to samba to blues and everything else. His technical skills are unsurpassed and his creative imagination and sheer musical brilliance are an inspiration. There is no one else like him!

    Nicholas Payton
    On Capital J, Nick’s tone is fresh and full of life, and he creates interesting, complex improvisations while still leaving plenty of space.I had wanted to play with Nicholas Payton for a long time, and here I finally got my chance. The experience lived up to all my expectations and more because both his musicianship and his spirit were such a joy to connect with. His playing is so melodic, so facile, and just so musical! His tone is fresh and full of life and he creates interesting, complex improvisations while still leaving plenty of space. In this way he combines many of my favorite aspects of both Miles and Freddie, yet he has his own sound and style. I used to play trumpet a bit and it’s still one of my favorite instruments. Sometimes I feel like taking it up again, but then again, I’d much rather just listen to Nick Payton, because he is saying it all!

    Bucky Pizzarelli
    To me Bucky Pizzarelli is a jazz icon. I play jazz guitar, but Bucky Pizzarelli is one of the creators of the genre. I can hear so much history in his notes, and yet his sound is always fresh. He is a seasoned veteran whose chops are still very much intact today. I also joined up with Bucky Pizzarelli and Russell Malone to swing the classic “Seven Come Eleven.“ When I first told Bucky Pizzrelli that I was thinking about doing “Seven Come Eleven,” he just lit up! I love the old time 3-way-improv we played toward the end. There’s a point in “Seven Come Eleven” when he pours on the fire and starts playing this furious chord-melody passage that just keeps going and going, and it would have surely brought an audience to its feet in a live setting. In contrast, listen to his tender acoustic guitar rendition of “Lil’ Darlin’”. So beautiful! It was a great honor to play with such a legend. I had wanted to record with him for many years and I’m blessed to have finally gotten the chance to do so. He’s also a great guy. He brought a positive, cheerful energy to the sessions and he was an absolute joy to work with.

    Mike Stern
    Mike Stern and I cut our teeth in the same scene in New York in the early 80s. Even back then I felt he was one of the strongest players of our generation. He’s brilliant, creative, sophisticated and so well-schooled, that to play with him is an inspirational experience! Once we jammed together on “Giant Steps” in a hotel at a jazz festival in Canada. He knew the changes inside and out, and he glided through this complex tune with the greatest of ease. His playing was so impressive that ever since then I have wanted to record this song with him. On this project I finally got the chance! And not just his great playing but his eager, youthful spirit comes through. His style is interesting and complex–not to show off but just because he loves to explore the infinite possibilities of music.

    Friends closes on an ear-turning note with “One for Milton,” a heartfelt yet adventurous tribute to one of Stanley Jordan‘s most beloved music teachers, composer Milton Babbit (1916-2011), who passed away as Stanley Jordan was preparing to record Friends. He tell us: “I studied theory and composition with Milton at Princeton in the late `70s and early `80s. He was a giant in his field and he left a big impression on me – musically and personally. In Eastern spiritual traditions a guru is someone whose very presence confers enlightenment. Milton truly fit this description. Russell, Kenwood and I created this from scratch as an improvisation. I’ve always been a fan of Russell’s more experimental side, and I’m glad that it got a good showing on this recording. We didn’t try to imitate Milton’s style, but in the spirit of his music we did take an atonal approach. There are parts that sound to me a bit like Milton’s teacher, Arnold Schoenberg.”

    Reflecting on the wealth of music inspired by collaborating with the amazing talent on Friends, Stanley Jordan concludes, “This collection truly speaks to my belief in the integrationist spirit in music. When you integrate styles, you combine them into something new while staying true to the original sources. True friendship is also integral, because it involves mutual respect.

    Our true friends are like mirrors revealing the diversity within each of us, and at the same time their acceptance gives us the courage to share our true selves with the World. I am so humbled and grateful to all of these wonderful musicians who graced this project.”

    We thank Stanley Jordan to make room in his busy schedule for this sit down interview to share his latest stop in his world-wide journey. He also told us that he feels more at ease with himself and the world than ever before – in part – perhaps due to the arrival of his very first grand-child by his now also famous musician/performer daughter, Julia Jordan, early this year. With a loving family and great friends life is good.

    We encourage all UC Jazz Club member to come out for his shows on October 11 and 12th, 20011 at Yoshi’s in San Francisco. Stanley Jordan looks forward to spending time with you again and thanks you for your on-going support!

  • Artist Highlight – Angela Bofill

    co-authors Junko Kawaii / Edie Okamoto

    Angela Bofill – Tonight I Give In (Soul Train 1983)

    Angela Bofill known as a R&B, Soul, and Jazz vocalist. Whenever she ventured into Jazz she enchanted audiences with her distinctive and clear voice. Angela no longer performs since she is now partially paralyzed. She was released from intensive care on January 15, 2009. She now is working hard on her speech and physical therapy. Ms. Bofill did not have health insurance and therefore thanks her fans, friends, and family who have helped her through this trying time. Learn how you can help on her website: www.angelabofill.com 

    Angela Bofill was born to a Cuban father and Puerto Rican mother. She performed with Ricardo Morrero & the Group and Dance Theater of Harlem. After completing her studies in California, Bofill was introduced by her friend, jazz flutist Dave Valentin, to Dave Grusin and Larry Rosen of GRP records, and they signed her for her 1978 debut, Angie. The album was a breakout smash on contemporary jazz radio and the tastefully arranged jazz vocal disc showed a gifted young artist with a rich voice beyond her years. 

    Featuring a number of great cuts, including most notably a cover of This Time I’ll Be Sweeter, Angie became one of the year’s biggest jazz albums. 

    1979 she followed her success with “Angel of the Night” like the fantastic “What I Wouldn’t Do” and softer tracks such as “I try.”

    Angela Bofill on the Johnny Carson Show

    She drew the attention of star producer Clive Davis. He convinced Arista Records to purchase her GRP contract. She was teamed with fabuluous writer/producer Narada Michael Walden for Something About You, which was a great success. 

    Angela Bofill stretched the boundaries for her jazz fans with this new album which provided her with some of the best material of her career, including the stepper “Holding Out For Love” and the wonderful ballads “Break It To Me Gently” and Earl Klugh’s “You Should Know By Now.” 

    Angela Bofill is a warm-hearted and lovely woman that inspires great passion from her listeners. One reviewer, Jazysol79, stated: “Angela Bofill’s voice is a true wonder. Exotic and exhilirating, sweet and soothing, picturesque and inviting. She conjures vivid imagery with her interpretations. I discovered “Angie” about five years ago not too long after I started college. I picked up a vinyl copy, and I have been in love with Angela ever since. This beautifully packaged reissue truly does the album justice. “Under the Moon and Over the Sky” is a jazz/fusion delight; it’s Afro-Cuban rhythms are intoxicating. The highs and lows Bofill hits will give you chills. It is that kind of drama that makes this record a compelling listen. Her definitive take on “This Time I’ll Be Sweeter” is a joyous, moving masterpiece. Her pleas of “have faith in me” are almost palpable. But in my opinion, the best track is “The Only Thing I Would Wish For.” The jazzy vocal arrangement and flute work by Dave Valentin paint a real picture of what GRP was all about in its infancy. The liner notes and packaging are also great. So this CD is well worth the price… it is a moving experience.” 

  • Artist Highlight – Stanley Jordan

    Celebrating grammy-award nominated
    Stanley Jordan

    Ranie Smith, Executive Director of the UC Jazz Club, honored Stanley Jordan at one of the first Ranie’s Jazz Salon functions. He held the function at Jim Dennis Photography Studio. Everyone had a wonderful time and I encourage you to get in touch with us to be put on this special invitation list. The gatherings are for UC Jazz Club members and the press only. Lloyd Gregory and Rolando Morales were present at the function to honor Stanley Jordan.

    Stanley Jordan performs “All Blues” of his “State of Nature CD”

    Stanley Jordan, world renowned musician and now holistic philosopher, has released a new CD “State of Nature”. It is a true gift. 

    “State of Nature” promises to become a hit. It combines Jordan’s magical ability to compose music that inspires and refreshes with his amazing musical skill. When listening to the album you are taken on a magical journey that is both uplifting and enlightening. Stanley brings nature to life and urges us to embrace it while at the same time enjoying our humanity as part of nature. The CD starts with “A Place in Space” which is fun to listen to. It evokes a feeling of bouncing harmoniously in space among many other stars and planets. This composition is melodic and modern. It immediately demonstrates Jordan’s ability to play guitar in a way that hardly anyone else can match. The notes are bouncing, echoing, flowing, and they create a feeling of richness and fullness that reminds us that we are part of a very big mysterious world. Jordan asks us with his commentary in the liner notes to become conscious and aware of this vast and mysterious Universe. He suggests that as we become aware of the infinite vastness of space we will naturally grow to love and care for our precious planet, our home called Earth.
     
    He continues on with “All Blues”. This composition brings us right back down to earth with its bluesy and smoky sound. It reminds us that we are part of everyone and everything. We are part of the All. Stanley Jordan invites us along this musical journey and into his musical mind with the accompanying poem in the liner notes:  “Universal and cool, blowing indigo riffs to syncopate the primordial swing. Hip changes reverberate for Miles and stretch modal and blue across the landscape of now.” Like his music, Stanley Jordan is so very, very cool!
     
    With “Forest Garden” Jordan increases the sophistication in this haunting and beautiful sonata by bringing in natural sounds of birds, the sound of a breeze in the leaves and wolves howling in the background. His guitar sounds classic and pure. Meta Weiss on cello perfectly compliments Stanley’s harmonies, and percussionist Hartt Steams is breezy, transporting you to this peaceful outdoor garden setting. Here Stanley succeeds in creating a feeling of refreshing peace. In his poem he describes the feeling: “In a perfect state of original oneness all things and beings in the garden simply are. The arrival of humankind brings a new awareness and a new capacity for compassion.”

    Jordan then brings us the moving and mournful popular love song “Insensatez” by Jobim, who not only mourns his lost love but also his own behavior that brought about the loss. Stanley Jordan’s rendition of the song is beautiful. In his liner notes he reminds us that often our callous behavior is unintended. He muses that perhaps we shut down our empathy precisely because we are so sensitive, too sensitive to allow ourselves to feel the pain we cause others because it might become too overwhelming.

    We are healed by the next piece which is the wonderful “Mozart’s Piano Concierto #21- Andante in F” played flawlessly by Jordan as a celebration of our own potential for greatness. We can bask in the perfection of Mozart’s composition while realizing how complex and wonderful we are. Within each of us slumbers this great potential.

    Stanley Jordan and Mozart’s Piano Concierto #21

    “Song for my Father” is included as a tribute to David Jordan, Stanley’s own father. This Horace Silver classic is a perfect fit on this wonderful journey. Peaceful, energetic and playful, it lets us all wander down memory lane. Stanley Jordan, Song for my Father – live in Paris “Mindgames 1, 2, & 3” are Stanley Jordan’s own brief compositions which bring nice transitions between songs. Stanley urges us to take mental breaks and to exercise our minds regularly. Read the full poem in the liner notes. Stanley is not just an amazing musician but also a wonderful poet and philosopher.
     
    “Ocean Breeze,” composed by Jordan and sitarist Jay Kishor, is a perfect meeting of East and West. It is harmonious and serene. Stanley brings cool Western poise to this song and Jay’s sitar brings Eastern serenity. Together they refresh our spirit.
     
    Jordan’s composition “Healing Waves” is beautiful, and promises to be an instant classic. In true Stanley Jordan style it combines abstract music with rich melodies and harmonies. It is at once demanding and soothing. It evokes many feelings, assisting with the release of emotions and eventually bringing one back to a harmonious, peaceful and centered place. If you like classical music you will definitely love this piece.
     
    “Shadow Dance” displays the richness of the full Stanley Jordan sound. It may be a little reminiscent of Kitaro or of Santana. This piece is melodic, beautiful and rich, yet easy to listen to. I needed to sit back and listen to it over and over again. Jordan bares his soul with this song and allows us to delve deeply into our own. In his liner notes poem he ends: “Time Passes. Somewhere in the distance I hear bells. A ray of golden light has pierced the gray clouds and awakened me.” This song is like a cosmic and mystical journey home.
     
    After another “Mind Games” break we come to “Prayer for the Sea,” another original on this CD. It is modern, and Stanley succeeds in bringing out his abstract musical style in a deeply harmonious way. This song is relaxing like a day at the beach on a sunny Spring afternoon. It is also reminiscent of the first song “A Place in Space” on the album, yet this time is feels close and cozy. Prayer for the Sea reminds us that we need to care for ourselves, our home “Earth” and especially our oceans which cover 70% of the earth. Let’s become aware and conscious of the need to preserve water before it becomes another “oil crisis. “
     
    “State of Nature” ends with the old-school hit “Steppin’ Out” and brings the CD to a joyous ending. After this musical journey I am ready to embrace my humanity and Stanley Jordan’s CD and I are ready for “Steppin’ Out”. I am energized yet relaxed. What a great musical experience!
     
    Stanley Jordan came to prominence with the release of his 1985 debut album Magic Touch, which sold over 500,000 copies. Magic Touch placed him at the forefront of re-launching the legendary Blue Note Records into a contemporary entity of jazz and beyond, as well as establishing Stanley Jordan as among the most distinctive and refreshing new voices of the electric guitar. He has enchanted millions of listeners around the world ever since.

    I recommend that you go out and buy Jordan’s new CD. It is totally worth it and available at all major music retail outlets. If you can catch his show try to see him. Stanley is once again proofs to be amazing!

    From the moment he made his debut in 1985 with the gold-selling Grammy© nominated album MagicTouch, guitar virtuoso Stanley Jordan has proven himself as a forward thinking innovator. With his nimbly executed “touch” or “tap” technique, he ushered a dazzling and spellbinding new sound into the world of progressive instrumental music.

    Over the course of five major recordings and several smaller independent releases, Stanley has explored earthly and astral musical trailways. Because of the extraordinary originality of his approach to guitar, Stanley has been looked upon first and foremost as a musical original, orbiting in an artistic universe without predecessor or immediate successor.

    With his groundbreaking 2007 album, “State Of Nature” his debut for the Mack Avenue label, Stanley Jordan makes another bold step by using his music to musically illustrate profound and unifying truths about man’s relationship to nature and humankind.


  • Artist Highlight – Oscar Peterson

    Oscar Peterson

    “The music field was the first to break down racial barriers, because in order to play together, you have to love the people you are playing with, and if you have any racial inhibitions, you wouldn’t be able to do that.” ~ Oscar Peterson

    Internationally renowned jazz pianist Oscar Peterson was called the “Maharaja of the keyboard” by Duke Ellington, “O.P.” by his friends, and was a member of jazz royalty. He released over 200 recordings, won seven Grammy Awards, and received other numerous awards and honors over the course of his career. He is considered to have been one of the greatest pianists of all time, who played thousands of live concerts to audiences worldwide in a career lasting more than 65 years. 

    Oscar Peterson was born on August 15, 1925 in Montreal, Canada. His father, Daniel Peterson, a porter with Canadian Pacific Railways, lived in Canada since 1917. He met Oscars’ mother, Kathleen Olivia John, in Montreal, where she was domestic worker. They had five children. 

    Daniel Peterson was an avid musician and insisted that all five of his children studied music. Oscar began playing the trumpet at the age of five. He got tuberculosis and spent 14 months in the hospital. His lungs became quite damaged so he could no longer play the trumpet. So he chose to play the piano. Their father, who learned to play piano on his own while in the Merchant Marine Academy, taught his children all he could until they achieved a certain proficiency. During his high school years, Oscar studied with an accomplished classical pianist, Hungarian Paul de Marky, a student of Istvan Thomán who was himself a pupil of Franz Liszt. Oscar Peterson’s training was predominantly based on classical piano, with inspirations from the Well Tempered Clavier, the Goldberg Variations, and the The Art of Fugue, as these piano pieces are essential for every serious pianist. Meanwhile Oscar Peterson was captivated by traditional jazz and learned several ragtime songs, especially the boogie-woogie. At that time Peterson was called “the Brown Bomber of the Boogie-Woogie.” Paul de Marky encouraged Oscar to believe that he had something special to give to the music world. At age nine Peterson played piano with control that impressed professional musicians. For many years his piano studies included four to six hours of practice daily.

    Art Tatum a very famous pianist during that era was introduced to Oscar by his father who played Art Tatum’s Tiger Rag record for him. Oscar was so intimidated by what he heard that he didn’t touch the piano for a month. At 14 years of age, Oscar’s older sister Daisy Sweeney a notable classical piano teacher scheduled an audition for a CBC (Canadian Broadcasting Corporation) national amateur contest. Oscar won the competition. This opened the doors to performances on a weekly broadcast show, on a Montreal radio station, called Fifteen Minutes’ Piano Rambling and later performances on a national CBC broadcast called The Happy Gang. He regularly played with the Montreal High School Victory Serenaders which included trumpeter Maynard Ferguson. Oscar Peterson had permission to play the baby grand piano during the lunch hours and in his words this was “the best way to have a bunch of girls come down. I became the guy.” 

    Peterson expanded his classical piano training and broadened his range while mastering the core classical pianism from rigorous scales to such staples of every pianist’s repertoire as preludes and fugues by Johann Sebastian Bach. He also worked on emulating Art Tatum’s pianism and aesthetics. Peterson also absorbed Tatum’s musical influences, notably from piano concertos by Sergei Rachmaninoff. Rachmaninoff’s harmonizations, as well as direct quotations from his second piano concerto, are thrown here and there in many recordings by Peterson, including his work with the Ray Brown and Herb Ellis Trio, such as “When Your Lover Has Gone”. Other artists who influenced Oscar during the early years were Teddy Williams, Nat (King) Cole, and James P. Johnson.

    In 1944 Oscar married his year long girlfriend by the name of Lillie Fraser. In late 1947 Oscar led a trio at the Alberta Lounge in Montreal. Once a week a local radio station broadcast his show live from The Alberta. Norman Granz, the producer of Jazz at the Philharmonic, heard the broadcast on the Radio and was so impressed that he told the cab driver to take him to the studio. Oscar’s life would change dramatically. Norman Granz took Oscar to New York to play as a surprise guest at the Carnegie Hall performance of his Jazz at the Philharmonic. Oscar came up from the audience that night and played a duet with bassist Ray Brown which thrilled the audience and critics alike. Thus began Oscar’s lifelong relationship with Mr. Granz.

    Soon after his appearance at Carnegie Hall Oscar was invited to join the Jazz at the Philharmonic. They toured North America. After a few years Oscar Peterson set up his own trio. Granz and Peterson developed a deep and lasting friendship. Is was much more than a managerial relationship; Peterson praised Granz for standing up for him and other black jazz musicians in the segregationist south of the 1950s and 1960s. For example, in the Canadian Broadcasting Company’s two-part documentary video Music in the Key of Oscar, Peterson tells how Granz stood up to a gun-toting southern policeman who wanted to stop the trio from using “white-only” taxis. Oscar Peterson and his trio worked incredibly hard and were considered one of the best jazz trios in the world. While playing at a club in Washington DC, Oscar Peterson met his idol Art Tatum. They became close friends and played for each other on many occasions. Oscar was joined by several people in his trio, each group having a distinct feel and flavor. Oscar especially enjoyed playing with Ed Thigpen on drums. He describes this time as “…six years of unbelievable music.” Eventually Oscar would regularly play with the greatest jazz artist of his era of Ella Fitzgerald, Dizzy Gillespie, Count Basie, Nat King Cole, Louis Armstrong, Duke Ellington, Roy Eldridge, Charlie Parker, Barney Kessel, Herb Ellis, Joe Pass, Ray Brown, Niels-Henning Ørsted Pedersen, Clark Terry, Coleman Hawkins, Ben Webster, Milt Jackson, Stéphane Grappelli, Anita O’Day, Fred Astaire, Irving Ashby, Herbie Hancock, Bennie Green, Keith Emerson, Stan Getz, Louis Hyes, Bobby Durham, Ray Price, Sam Jones, George Mraz, Martin Drew, David Young, Alvin Queen and Ulf Wakenius. 

    He was made an Officer of the Order of Canada in 1972, and promoted to Companion, its highest rank, in 1984. He is also a member of the Order of Ontario, a Chevalier of the Ordre du Québec, and an officer of the French Ordre des Arts et des Lettres.

    His work has earned Oscar Peterson seven Grammy awards over the years and he was elected to the Canadian Music Hall of Fame in 1978. He also belongs to the Juno Awards Hall of Fame and the Canadian Jazz and Blues Hall of Fame. He has received the Roy Thomson Award (1987), a Toronto Arts Award for lifetime achievement (1991), the Governor General’s Performing Arts Award (1992), the Glenn Gould Prize (1993), the award of the International Society for Performing Artists (1995), the Loyola Medal of Concordia University (1997), the Praemium Imperiale World Art Award (1999), the UNESCO Music Prize (2000), and the Toronto Musicians’ Association Musician of the Year award (2001).

    In 1993, Oscar suffered a serious stroke that weakened his left side and sidelined him for two years. However he has overcome this setback and started touring, recording and composing again. In 1997 he received a Grammy for Lifetime Achievement and an International Jazz Hall of Fame Award, proof that Oscar Peterson is still regarded as one of the greatest jazz musicians ever to play. 

    Oscar Peterson passed away on December 23, 2007 with his dog “Smedley” named after his dear friend Norman Granz by his side. He had seven children by four wives. Soon after Peterson’s death, the University of Toronto Mississauga opened a major student residence in March 2008 as “Oscar Peterson Hall.”