Oscar Peterson © Edward Gajdel

A true legend of jazz piano descended directly from Art Tatum, Oscar Peterson recently returned from three rare concert performances in the United Kingdom (London’s Royal Albert Hall, the Liverpool Big Top Arena and Birmingham Symphony Hall). Now he is back in the US for gigs at Birdland in NYC(August 22-27), Jazz Alley in Seattle (August 29-September 3) and Yoshi’s in Oakland, CA (September 5-10). Joining Peterson for this tour will be his current working quartet featuring Ulf Wakenius (guitar), David Young (bass), and Alvin Queen (drums).

Oscar Peterson needs little introduction to the community of jazz enthusiasts. For much of the 1950s through 1980s, at least, he was the definition of mainstream jazz for many, and his incredible discography alone assures his place in the history of jazz piano and composition. Now 80 and a decade past a stroke that threatened to end his career, Peterson selectively maintains a touring and recording schedule that belies both his years and physical limitations that thankfully have little if any impact on his ability to swing hard with that trademark touch that gives the piano romantic, playful, or majestic voice.

Highly influenced by Art Tatum, Montreal native (now Toronto resident) Oscar Peterson rose to fame as part of Norman Granz’ Jazz at the Philharmonic in the late 1940s and 1950s, more or less melding swing and bop while defying more specific classification: “Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing. I believe in using the entire piano as a single instrument capable of expressing every possible musical idea. I have no one style. I play as I feel.” With his ferocious physical command of the piano, many have criticized Peterson as a showy technician rather than emotional artist, yet the response he generates from the audience and the esteem of his colleagues counters that view, and anyone who sees Oscar Peterson live will be carried away, not only by his amazing dexterity, but by his long lines and the joy and passion so evident in his music. Notes Oscar, “Some people try to get very philosophical and cerebral about what they’re trying to say with jazz. You don’t need any prologues, you just play. If you have something to say of any worth then people will listen to you.”

Alvin Queen

Over the years, Oscar Peterson has been most associated with the piano trio, from his classic threesome of Ray Brown and Ed Thigpen and his drumless renditions with Barney Kessel or Herb Ellis, and later Joe Pass. More recently he has more often used a quartet format: “I use the quartet with guitar, bass, and drums more than anything now, which is the best of both worlds. You have all of the rhythmic impetus, plus the backing and counterpoint of the guitarist” (1995, Jazz Times). Since his early successes under Norman Granz in the 50s, Peterson has primarily enjoyed the role of leader rather than sideman or accompanist, while frequently featuring such outstanding guest soloists as Ella Fitzgerald, Louis Armstrong, Ben Webster, Lester Young, Stan Getz, Clark Terry, Benny Carter, and Milt Jackson. More recently his recordings have featured such rising stars as Roy Hargrove and Ralph Moore. He has released hundreds of recordings too numerous to mention, particularly for Pablo, Verve, and most recently Telarc.

Peterson has also been committed to jazz education and is quick to spot new talent, most notably promoting the career of pianist Benny Green. Among a long list of awards throughout his career, Peterson received the Order of Canada in 1972, the Glenn Gould International Prize in 1993, 7 Grammy Awards including the Lifetime Achievement Grammy in 1997, the President's Award of the International Association for Jazz Education in 2003, the Hall of Fame Award from the Canadian Association of Broadcasters (2004), and BBC Radio’s Lifetime Achievement Award (2005). In 2005, Peterson became the first living individual (other than a reigning monarch) honored with a Canadian postal stamp.

Peterson devotes at least as much time to composing as performing. In addition to the international acclaim received for the Canadiana Suite (1963), other works include African Suite, Hallelujah Time, Blues for Big Scotia, Blues for Smedley, The Smudge, Bossa Beguine, Love Ballad, and the recent Trail of Dreams suite. His Hymn to Freedom was one of the crusade hymns of the Civil Rights Movement of the National Film Board, the BBC, and other film and television projects. He has also composed the film scores for several films, including The Silent Partner, which won a Canadian Film Award in 1978.

Despite curtailing his touring somewhat since his stroke, Oscar Peterson performs at Canadian and European jazz festivals each year, continues international concert tours such as his 2003 tour of Japan, and maintains an online journal of his impressions of music and life on his website. Renewed public interest in Oscar Peterson followed the release of his autobiography and accompanying CD, A Jazz Odyssey (2002), and he makes a few club and concert hall appearances each year in the U.S.

Ulf Wakenius © Rolf Ohlson

Peterson’s current quartet features three musicians operating at a level worthy of their leader. Swedish guitarist Ulf Wakenius has been with Peterson for nearly a decade and was a long-time collaborator with Peterson’s bassist, the late Niels-Henning Orstad Pedersen, but has also appeared with such luminaries as Milt Jackson, Ray Brown, Joe Henderson, Herbie Hancock, Michael Brecker, Phil Woods, Clark Terry, Johnny Griffin, Toots Thielemans, Jack DeJohnette, Max Roach, Jim Hall, Art Farmer, Benny Golson, James Moody, Roy Hargrove, and Randy Brecker. Last year, he released an acclaimed recording honoring the compositions and performances of Keith Jarrett, Notes From the Heart.

Peterson’s current drummer Alvin Queen grew up listening to jazz at the Apollo in Harlem, playing his first professional gig in Mt. Vernon at age 11 and sitting in with the great John Coltrane at Birdland when he was only 13. He toured with Ruth Brown at 16, joined Horace Silver’s group at 19 and then moved on to touring with Charles Tolliver. He spent another five years with Horace Silver in the 1970s before relocating to Europe. His lists of recording and touring credits are legion. A few years ago he joined the Oscar Peterson Quartet, succeeding a line of drummers from Ed Thigpen to Bobby Durham to Martin Drew.

Dave Young

One of the most difficult transitions for Peterson in recent years has been replacing long-time bassist Niels-Henning Orstad Pedersen, who passed away unexpectedly in May 2005. He turned to one of his past collaborators, fellow Canadian David Young, the 2003 National Jazz Awards “Bassist of the Year” (Canada). In addition to past appearances with Peterson, Young has performed or recorded with Clark Terry, Zoot Sims, Oliver Jones, Joe Williams, Harry Sweets Edison, Kenny Burrell, Hank Jones, Tommy Flanagan., Mulgrew Miller, and many more. He also works as a classical musician and educator, receiving the IAJE “Outstanding Service to Jazz Education” award in 2003.

Anyone interested in jazz, be it in the classical mainstream or the most modern vein, should be sure to make the most of any opportunity to see Oscar Peterson at work. In coming weeks, Peterson will perform in the intimacy of a small jazz club when he appears at Birdland in Manhattan (August 22-27), Jazz Alley in Seattle (August 29-September 3), and at Yoshi’s in Oakland, CA (September 5-10).

For advance reservations at Birdland (www.birdlandjazz.com), Jazz Alley (www.jazzalley.com), and Yoshi’s (www.yoshis.com), visit the club websites. More information about Oscar Peterson and his discography is available at www.oscarpeterson.com