The distinction given to the virtuoso — an artist recognized for exceptional skill and talent — is generated by their prominence and unique creative fortitude.
Through the ages and across genres, virtuosi have been revered for their ability to transcend technical limitations and transport audiences into new realms of musical experience.
Oscar Peterson’s artistic identity as a conveyor of compelling passion, expressive freedom and technical command of the piano through jazz improvisation became a beacon of inspiration among his contemporaries, across the spectrum of music.
Here, as a professor of vocal jazz studies at University of Illinois, Urbana-Champaign, and as a performing vocal artist, pianist, choral conductor, jazz and gospel artist, I reflect on elements that contributed to Peterson’s identity, distinctive sound and mission as a Black artist.
As a visiting instructor at Carleton University in Ottawa, I am pleased to present these thoughts in collaboration with my colleague, James Deaville, a musicologist who has researched virtuosity.
Trailblazer in virtuosity
Peterson’s legacy stands as a bright beacon among the trailblazers in technical virtuosity and soulful expression.
Peterson, who was born in 1925 and passed away in 2007, was a foundational catalyst for new generational keepers of artistic excellence due to his tremendous range, from rhapsodic spontaneity to vulnerable tenderness.
This contributed to his iconic stature, globally evidenced in sold-out concert halls, filled jazz clubs and many commissioned works. His media personality and his television appearances, including performing his acclaimed composition “Canadiana Suite” in 1964, contributed to the pop culture of his generation.
I was delighted to visit Peterson’s home church in Montréal with my wife on Martin Luther King Jr. Day on Jan. 20.
Childhood milieu, training
Peterson established his musical heritage through the bonds of family and church in his childhood home of the Little Burgundy community in Montréal.
He did so as one of five siblings with his immigrant father and mother respectively from the British Virgin Islands and St. Kitts.
Founded in 1907, the Little Burgundy church home of the Petersons, Union United Church, still stands. It serves as a representation of faith-based progressive activism, social consciousness and a resource for the civility and human rights of its congregation. The church proudly displays its African and Afro-Caribbean heritage, and “continues to serve a diverse congregation with roots from over 50 countries.”
Throughout centuries, Black churches have intrinsically been linked to the core of community engagement, socialization, educational programs, political activism and such initiatives as job training and raising health-care awareness.
At Union’s observation of Martin Luther King Jr. Day, individuals spoke to the congregation and with me privately of their lifetime multi-generational sacrifices, accomplishments and efforts to combat racial injustice and employment inequities. These endeavours they undertook from their origin as a community of immigrants and parishioners of colour.
One meeting of great significance took place with Annie “Mildred” Rockhead, the sister-in-law of Rufus Nathaniel Rockhead (1896-1981), Jamaican-born entrepreneur and founder of the famed Rockhead’s Paradise Jazz Club in Little Burgundy.
Another was with Oliver Theophilus Jones, critically acclaimed African Canadian jazz pianist, composer and educator.
Notably, Jones, like Peterson, received musical tutelage under the accomplished Daisy Peterson Sweeney (1920-2017), Oscar’s sister.
Virtuosic fluency
Sweeney and Peterson’s father were his first musical teachers.
An amalgamation of concepts and cultural exposures established the platform for Peterson’s musical explorations. His training in western music theory and his immersion in Black vernacular traditions — comprising linguistic, oral and improvisational elements from Black cultural, popular and religious spaces, and music genres such as spirituals, gospel, blues and jazz — provided him with an expansive repertoire on which to build.
Pedagogic guidance with such mentors as Hungarian concert pianist Pauly de Marky and the influence of iconic jazz pianist Art Tatum also contributed to Peterson’s unique mix of virtuosic fluency.
Peterson absorbed a wide range of stylistic influences in tempos and dynamics into his prevailing spiritual core of swing and blues.
‘Soulful swing’
Peterson’s tutelage and cultural absorption contributed to an identifiable expressive voice of stylistic grace, impeccable command of his instrument and execution of spiritual freedom.
I refer to this freedom as the identity of Peterson’s interminable musical statement of “soulful swing.” It draws on blues from its historical roots of cries, moans, and smiles through tears, of the hope and joyful praise of gospel and the pride and grace of jazz. These may all be woven into a charismatic tapestry of rhapsodic virtuosity or solemn stillness.
In exploring Oscar Peterson’s encompassing discography, I reference two mesmerizing excerpts from the Solo recording, featuring solo piano renditions performed for live audience in 1972, released 2002.
Peterson’s performance of the classic Edward Heyman jazz ballad, “Body and Soul,” contains innovative depth, improvisatory brilliance and transportive eloquence. Through these elements, and its structural pace-setting, the performance may be aligned to some of great virtuosi of music history, including such masters of the piano as Franz Liszt, Vladimir Horowitz and another Canadian, Glenn Gould.
Each statement of the song is presented in incremental segments. We hear the mastery of harmonic inflection, dramatic flare — and elements of surprise. Peterson escorts the listener through multiple doors of rapture, humour, joy and personal tenderness.
“Hogtown Blues” presents Oscar’s rhythmically precise, memorable melody punctuated by harmonic “call and response” phrases raised out of the African American diaspora from secular work songs to sacred songs of faith, hope and praise.
Throughout each consecutive chorus, Peterson extends this lyrical simplicity into euphoric release by the application of virtuosic complexity in keyboard techniques. Yet, during this journey, the constant dance groove remains at the forefront of Oscar’s signature expressive voice — swing!
Dignity, elegance, empowerment
As Canada celebrates Black History Month and the centennial commemoration of Peterson, I am most inspired by Peterson’s own words about his “Hymn to Freedom,” originally featured on the Night Train album with the Oscar Peterson Trio.
Of the song, inspired by the words and life of Martin Luther King Jr., Peterson said:
“I wrote the song with hope because the lyrics personified exactly what I was thinking): ‘When every man joins hands and forever sings in harmony, that’s when we’ll be free.‘”
Today, Peterson’s stardom continues to resonate as one of the first world-renowned African Canadians. He set a path for many African Canadian artists of today like The Weeknd, Drake and hip-hop legend Maestro Fresh Wes, who paid tribute to Peterson in his 1991 track “Nothin’ at All.”
As one of our most prolific representatives of dignity, elegance and empowerment over adversity, Peterson’s artistic profile and lifetime achievement remain a legacy to cherish.
The authors do not work for, consult, own shares in or receive funding from any company or organisation that would benefit from this article, and have disclosed no relevant affiliations beyond their academic appointment.
This article was originally published on The Conversation. Read the original article.
