[Dixielandjazz] Oscar Pererson

[Brian Towers]

Tito,
I firmly agree with you that Oscar is OKOM or at least MKOM.  He always
swings like hell and you can always hear melody and logical, pleasing
progressions - good enough for me!

As a matter of interest, today I attended a ceremony in downtown Toronto at
which Oscar was honoured by the City of Toronto, with the Mayor and the
usual dignitaries.   He had a "square" named after him.  As the M.C. said
"This is the first time Oscar has been a Square"    He looked old and frail
but managed to rise from his wheel chair, mount the stage and acknowledge
the audience.  One of the grand old men of jazz.  I am quite sure he could
play with any kind of jazz band.  He headlines a concert tomorrow night, to
kick off the Toronto Downtown Jazz Festival.

The Humber College Youth Orchestra performed at the ceremony.  Terrific
band, modern music but a beautiful symphonic sound - six trumpets, four
trombones, four saxes  plus a very good rhythm section with a young Cuban
pianist.   Now, if they could just tear their eyes away from the dots and
project themselves and their music.......

Cheers,
Brian Towers
Canada


http://hotfivejazz@tripod,com (band web sites)
----- Original Message ----- 
From: "Tito Martino" <tmartino at terra.com.br>
To: <dixielandjazz at ml.islandnet.com>
Sent: Tuesday, June 22, 2004 2:51 PM
Subject: [Dixielandjazz] Re: Jazz Pianist Oscar Peterson (a/c Norman
Vickers)


> Norman Vickers stated correctly:
> <<<Listmates:  Oscar Peterson doesn't play OKOM.  However, he is a giant
> who
> cannot be ignored.  I want to share these thoughts and the NY Times
> commentary from yesterday with you.  ..............>>>>
>
> Yes Norman,
>
>  you're right, Peterson don't play OKOM regularly; but I would like to
> state firmly that he knows and likes and plays PERFECT OKOM piano,
> whenever he wants or is solicited to.
>
> I even think he only can do what he does (marvelously) because he can
> play OKOM.
>
> That he can play OKOM style piano I can affirm with assurance because he
> played whith my Traditional Jazz Band in May 1972, sporting a rolling
> stride piano style that let me stoned petrified gazing at his hands.  He
> had to shout to me: -Play, man, play! He was sitting with our Band at
> his own demand, as was told to me afterwards by the american consul
> which was present at the music club here in São Paulo where that
> encounter happened.
>
> Peterson just had started "The World is Waiting for the Sunrise" and we
> joined with the trumpet of Austin Roberts, trombone of Onofre Cardoso,
> bass of Daniel Grisanti, banjo of Reynaldo Mayer, washboard of Sacha
> Kliass and my clarinet.    Afterwards we played an impromtu Blues in Bb,
> Peterson started it in perfect OKOM style 4/4 beat, playing very
> traditional phrases interwoven with his particular runs and
> embelishments. .
>
> This fantastic moment in my jazzman career was fortunately recorded in
> an amateur taperecorder. It's one of my most cherised memories archives
> and a proof that Oscar Peterson could be, whenever he wanted, a stride
> pianist in the tradition of Waller, J.P. Johnson, or Lion Smith. No
> dispute about it.
>
> My conclusion: all the GREAT and respected "modern Jazz" players are
> great in their particular "modern" style because they know how to play
> OKOM.
>
> Tito Martino
> São Paulo Brazil
>
>
>
>
>
>
>
>
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