© The Globe and Mail

Transcription :

The Globe and Mail

November 30, 1963

By Warren Gerard

Oscar Peterson’s pet project, the Advanced School of Contemporary 
Music, has been closed because of his popularity.

Speaking on the phone between sets at the Showboat, a nightclub at which he is appearing in Philadelphia, the jazz pianist explained it was just too much work to keep the jazz school on Park Rd. open.

The two others members of the Peterson trio, also instructors at the school, bassist Ray Brown and drummer Ed Thigpen, naturally follow their leader in assuming a heavier work load. It entails making more records and being on the road more than ever before.

The last member of the teaching staff, Phil Nimmons, the clarinetist who taught composition and arranging at the school, said ASCM has been temporarily closed for a "multitude of reasons" all which he was reluctant to disclose.

While Peterson and his two traveling companions cut records and tour on this continent and others, Nimmons, it seems, will trudge along in Toronto.

Peterson said the school, which was operating almost five years, took too much out of the group. He said this applied not only in teaching but in preparation for a term. Each student musician was only accepted after the instructors had listened to a tape volunteered as prerequisite to admittance. This took time.

"I’d like to see it reactivated some day," Peterson said. "In a way, I kinda feel guilty."

He explained that wherever the group goes it is approached by young musicians who want to enroll and it bothers him now that the school is closed.

The trio also used to give seminars when it was on the road, but Peterson said they have stopped that, too. "We’d get away from the club at 4 in the morning, start the seminar at noon and finish at 5. It was too much," he said.

Although Peterson had offers to establish the school in the United States, he chose to bring prestige to jazz in Toronto for several reasons.

One, of course, is that his wife and five children live in Scarborough. He also felt that his school was needed here. Toronto, he said, compares favorably with jazz centres in the United States.

In 1959, the school took in eight students on an experimental basis for several weeks. In 1960, the enrollment was 60 and the term lasted 17 weeks. The enrollment was higher in 1961 with the course running 20 weeks.

Students came from Arizona, San Francisco, Connecticut, and about a quarter of the students came from Canada. Among them were bassist Willie Ruff of the (Dwike) Mitchell-Ruff duo. Locally pianist Lennie Boyd attended the school.

A unique feature of the school was that it was run by musicians who had achieved respect for their teaching ability as well as their professional performances. Through a system of close personal supervision and small classes, the students, individually and with other students in trios and quartets, were able to receive the benefit of the knowledge and experience of Peterson and his associates.

Classes were held in an old grey house on Park Rd. in central Toronto. Lessons in harmony, theory, piano, bass, drums, music appreciation, ear training, sight reading and lectures were held in 12 studios in the building from 10 a.m. to 5 p.m. Student drummers were persuaded to practice in the basement. Now the house is for rent.

From its beginning of 17 and 20 weeks a term, the curriculum was finally whittled down to a four-week course which cost students $275.

"Downbeat (Magazine) wanted to sponsor scholarships, but we couldn’t handle what we had," Peterson said. "If we reopen it, I would like to see it run for a term of six months," he said.

The school received commendations from such jazz notables as Norman Granz, Ella Fitzgerald, Russel Garcia, Paul Desmond, Ray Bryant, Billy Strayhorn and Dizzy Gillespie.

At present, it does not appear the school will reopen in the near future. But if the improbable happens, and Peterson and company lose the public favor, perhaps then he will go back into the teaching profession.

List of Articles

Previous | Next