© Reproduced courtesy The Toronto Star Syndicate

Transcription :

Toronto Star, Sept. 6, 1991.

By Geoff Chapman

[PHOTO:] Oscar Peterson: York University’s new chancellor plays rare club date at the Bermuda Onion this week.

He may well be the most imposing instrumentalist in Jazz.

His group that played together five years in the 1950s has often been called on of the greatest jazz trios of all time.

As a pianist, he’s in a league by himself.

He’s Oscar Peterson, born in Montreal, resident in Mississauga, and after a career generously showered with awards and accolades, the recipient of what must be an unprecedented act of veneration - on July 1 he will become the eighth chancellor of York University, the third-largest university in Canada, with 40,000 students and 1,200 teachers.

Does this mean the foot-tapping strains of "C-Jam Blues" will lighten up faculty conclaves, that "Con Alma" will blare over the campus speakers, or that his glorious "Canadiana Suite" will be the core item in the jazz studies program?

The elegantly spoken Mr. P. chuckles his denial.

"I don’t think that will happen. I’m very honored and pleased. This is very exciting for me, and took me totally by surprise. I’ve accepted this role with some trepidation, but my intention is to be an active chancellor."

"I know from experience that York is a very active, very spirited university. The students have some fire in them, and I want to reinforce that."

And he adds: "I want to donate something, to put something back." This is particularly relevant, since he received an honorary doctor of letters from York in 1982 before becoming adjunct professor of jazz studies there in 1986 - an appointment later celebrated with a brilliant concert at Thomson Hall.

Peterson elaborates on his mission. "I hope my appointment has a special meaning for creative people, that it gives them incentive. My appointment should show that there are no barriers for them."

As for his musical concerns, he thinks that programs may be expanded, and hopes to see closer relationships between the jazz and classical elements.

"A lot of jazz players would benefit from this interaction. There shouldn’t be a wall of separation."

Have no fear that O.P., now 65, will be too busy with his writing and academic responsibilities to perform for Toronto fans. In fact, he’s playing an extremely rare club date in the city next week - at the Bermuda Onion Tuesday to Sunday - with two members of that original stellar trio of 1953-58, guitarist Herb Ellis and bassist Ray Brown, as well as drummer Jeff Hamilton.

(Toronto Star files claim his last club date here was in 1971 at the late Colonial and Town Taverns, but Peterson guesses it might have been at the equally late Friars Club.)

Club engagements are rare - he spends much time touring. This weekend he’s in Chicago. After the Onion gig he’s off to Europe.

His first recordings were for the Canadian RCA Victor label in the ‘40s, when he had his own radio show, toured with the popular Johnny Holmes band and was the crowd-drawing star of the piano chair at Montreal’s Alberta Lounge.

But his career took off in 1949 after he was called to the stage of Carnegie Hall to take part in one of those Jazz At The Philharmonic jam sessions.

Although no self-respecting jazz fan

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would admit he had none of the voluminous Peterson recordings in his collection, the last while has been relatively quiet on the album front.

"I decided to take a sabbatical," he says. " Besides, when (his long-time manager) Norman Granz sold the Pablo label, I decided not to go with them."

However, that’s all changed. His Grammy-winning quartet session for Telarc, Live At The Blue Note with Ellis, Brown and drummer Bobby Durham is excellent. (A further album from the two-week New York gig is planned.)

And there’s a just-released two CD issue on Verve titled The Will To Swing, 28 tracks recorded, in chronological order, between 1949-71, with liner notes written by former Star reporter Gene Lees, who just happens to have written a biography of Peterson called Oscar Peterson: The Will To Swing.

Speaking of biography, Peterson will have his own published soon, with the help of jazz writer Richard Palmer. "It’s almost finished. It’s going to give a different light."

What did he think of the Lees book? Typically modest, he replies: "I started it, but I felt funny reading about myself!"

He took time to muse about the past, the time spent with all the great names of jazz. Who does he admire most? "Clark Terry, he’s one of my favorites. Zoot Sims. Lester Young. Coleman Hawkins. Ella (Fitzgerald) of course, she’s number one. And Sarah (Vaughan)."

And then he recalled pioneering trumpeter Clifford Brown. " I was on my way to a Chicago engagement (in 1954). When I got there, I was told ‘You’re opening. Clifford Brown is dead (in a car crash)."

Of the groups he’s played with, he fondly recalls his trio with Durham and bass Sam Jones - "it was different" - and the trio with British drummer Martin Drew and Danish bassist Niels-Henning Orsted Pederson - "he was a real challenge".

Naturally, he’s not going to halt his endeavors. There will be touring, recording, and lots more writing. Soon we can expect the debut of "Prelude," first of a series of works with classical structure but played in a jazz form. And a change in repertoire from the usual standards to material with "more Peterson in it," an exciting prospect.

Remember, his "Hymn To Freedom" became a rallying cry for the American Civil rights movement, and he’s recently completed commissions for the BBC - a jazz version of the Easter Pageant - and a salute to J.S. Bach for the 300th birthday celebrations.

Canada’s musical ambassador is his own man, influenced by Art Tatum and Nat "King" Cole to be sure, but a great soloist and an undoubted man of stature in jazz. Just hear those dazzling runs, flashy solos, dramatic cadenzas, the ferocious attack, blockbuster chords, peerless technique - he’s an explorer who always finds new ways to discover beauty and wonder in tunes.

On the current jazz renaissance, he sounds a note of caution to young players now being signed to huge contracts. "I feel a little sad for some of these people. They’re not complete players, and they will find out it isn’t quite that easy."

"Time is the measuring stick. Anything that has value remains. They’re going to find it hard to retrace their steps when they realize this. They have to make the music."

"Everything today is over-produced. They ask me how many takes it took to do that tune, and I tell them ‘Do it once and do it right,’ I refuse to compromise. I can’t be a tool of producers."

Wise words indeed from the master, who left Montreal in 1958 and has starred regularly at that city’s festivals. But he enjoys living here, has had a cottage near Algonquin Park since 1964 and has just bought a boat.

Will any of his family (of six) follow in his handsteps? "Two of them play a bit, but I didn’t believe in forcing it on them," he says.

Pity - Canada needs more Oscars of the Peterson variety.

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