The Master of Swing They say the pen is mightier than the sword, however, no art form has the ability to shape entire generations and entrance nations in the way that music can. It makes us dance and let go and revel in the beauty of life. No Canadian musician has embodied this philosophy like the master piano player Oscar Peterson.
The similarities are striking: He even had to learn how to play the blues. The whole passage where Davis talks about Peterson is quite specific and ultimately less harsh than this pull quote implies.
Thanks to Larry Kart for helping me find the source. Oscar makes me sick because he copies everybody. He learned that and runs it into the ground worse than Billy Taylor. Now take the way he plays that song. He passes right over what can be done with the chords. Oscar is jazzy; he jazzes up the tune.
And he sure has devices, like certain scale patterns, that he plays all the time. Does Oscar peterson essay swing hard like some people say? Nearly everything he plays, he plays with the same degree of force. He leaves no holes for the rhythm section.
If you want to see how it feels with a heavy guitar, get up to play sometimes with one of them behind you. He plays pretty good when he plays in an Art Tatum form of ballad approach. And I heard him once play some blues once at a medium tempo that sounded pretty good.
But for playing like that with a guitar, I prefer Nat Cole. If you take the guitar and have him play lines — lines like George Russell, or Gil Evans or John Lewis could make — then a trio can sound wonderful. This Davis quote is a good opportunity to try to unpack some of the aesthetics of jazz in a serious way.
Major elements of his style include a precisely calibrated piano touch that executed both swing and bebop phraseology with crystalline clarity, a rigorous insistence on the blues, a left hand that could play nearly as fast as his right, exceptionally large voicings his hands were enormous and complicated small ensemble arrangements.
His phrasing when improvising is breathless, with very little space. Is he too Canadian or something? The next sentence makes it clearer. So far, so good. But, wow, look at what happens at the end of the first A section circa 31 seconds in: Not only that, but during his three-chorus improvisation Peterson continues to play a steady stream of funky blues licks.
I love hearing Peterson light it up with virtuosity and play the impossible. It is so important to have these gladiators who are determined to put in the requisite hours practicing to transcend the natural physics of their instrument.
This virtuosity enabled Peterson to play boogie-woogie and blues piano very well; in fact, it was performing in the boogie-woogie style that first won him acclaim in his hometown.
When soloing, the improviser has to thread those distant keys together. Since blues licks stay in one key, making it funky is not going to help you thread. This is what Davis is getting at when he says: This superficial blues appropriation exists everywhere, not just in classrooms. The blues material then becomes a kind of kitsch.
By that standard, the legendary Oscar Peterson—with his great time and feel—is not kitsch. I am sure Davis would agree. Since Brown is an authentic jazz player, he naturally does use some scattered blues moments: Harmonic and linear discovery is what drives the content. Why in the world would anyone want to do this to a Clifford Brown composition?
But on a Clifford Brown composition? This effect surely is kitsch, and therefore helps back-announce the rest of the performance as kitschy too. As we can hear on the same track, Peterson had an authentic jazz beat, a pearly, sovereign touch at the keyboard, and the ability to execute brilliant double-time runs as precisely as any jazz player in history.
This part of the interview has also been repeated out-of-context:Oscar Peterson: The Master of Swing.
They say the pen is mightier than the sword, however, no art form has the ability to shape entire generations and entrance nations in the way that music can. May 04, · The Oscar Peterson Trio - I Got it Bad and That Ain't Good How to write a good essay: Paraphrasing the question - Duration: HOW TO WRITE AN ESSAY - .
Oscar Peterson was a man with a humble beginning which emerged and changed the world of jazz forever. At a young age, he was introduced to music by his father.
The older Peterson taught his son how to play the keys and set him on the path to a career in music. Oscar Petersonis a world-renowned jazz pianist. His name and his music are known around the world.
He has been recognized as one of the jazz greats for the past half century. What is not well known is that he has been a passionate photographer since childhood, and still continues today to . Feb 25, · “I play as a feel.” -Oscar Peterson Oscar Peterson, a Canadian jazz pianist has amused the world with his talent over the piano for more than 40 years.
At an age of five, he became skilled at the piano and the trumpet and at the age of seven, he mainly concentrated on the piano. He was born on August 15, in Montreal, Québec with a family of four attheheels.com: Resolved. He considered the trio with Brown and Ellis "the most stimulating" and productive setting for public performances and studio recordings.
In the early s, he began performing with Brown and drummer Charlie Smith as the Oscar Peterson Trio.