AMG BIOGRAPHY: Thanks to Norman Granz, Oscar Peterson ranks among the most extensively recorded jazz pianists in history. He's also been more harshly criticized than many who aren't nearly as gifted a stylist. Peterson's technique comes close, though isn't as awesome as Art Tatum's; his phrasing, facility, speed, harmonic knowledge, ideas and style are dazzling. But he's been accused of lacking soul, being unable to play the blues (questionable) and to many records that sound the same (fair criticism). His early work reflected the influence of Teddy Wilson, Earl Hines and Nat "King" Cole, but he's long since developed his own recognizable, compelling approach. The elegant lines, flashy, yet intricate phrases and teeming solos represent the wotk of a genuine piano master, though he does recycle overly-familiar standards and ballads. He works best in a trio setting, where he gets the space to create freely. Peterson studied classical piano at the age of six and won a local talent contest in Montreal at 14. He was a regular on a weekly radio program during his late teens, and played with The Johnny Holmes Orchestra throughout the mid-'40's. Granz invited him to appear at a 1949 Carnegie Hall Jazz At The Philharmonic concert, and shortly after became his manager. When Granz founded Verve in the '50s, Peterson became their house pianist. The same was true for subsidaries Norgran, Clef and Mercury, and again in the '70s, when Granz formed Pablo. The bulk of Peterson's nearly 100 albums as a leader have been made on Granz labels. While on Verve, Peterson recorded with Billie Holiday, Lester Young, Louis Armstrong, Ella Fitzgerald, Coleman Hawkins, Fred Astaire, Benny Carter, Roy Eldridge, Buddy De Franco, Nelson Riddle and Milt Jackson. He traveled with the JATP revue through the early '50s, and formed a trio patterned after The Cole ensemble; guitar, piano and bass. From 1953 until 1958 the Oscar Peterson Trio with guitarist Herb Ellis and bassist Ray Brown was a popular attraction. Ellis left, drummer Ed Thigpen and Phil Nimmons established the Advanced School of Contemporary Music in Toronto in 1960. Peterson kept things going for three years. He recorded for the MPS/BASF label in the late '60s and '70s. He rejoined Granz on Pablo in the '70s, and decided to concentrate on solo recordings, issuing a number of often astonishing, if thematically similiar, releases. Peterson began branching out by mid- decade, working with orchestras and playing with veterans like Gillespie, Terry, Joe Pass, Eddie"Lockjaw" Davis, Countr Basie and Niels-Henning Orsted Pedersen. Peterson has continued his steady touring and recording in the '80s and '90s, making mainly trio but some dates for the independent labels like Telarc. Prestige has reissued many of the Pablo's and several Verve dates are also availible. Gene Lees biograpy Oscar Peterson: The Will To Swing was published in 1988 and is must reading for Peterson fans.
|