Customer Reviews

A Jazz Odyssey: The Life of Oscar Peterson

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Aside from having one of the most beautiful cover jackets I've seen on a book in a long time, this is an engaging, lovely book to read. I have to take issue with the reviewer from Publishers Weekly above - once you know that Oscar has suffered a stroke, I don't think it's fair to expect a perfectly written or perfectly structured book. What we get, instead, is a collection of reminiscences - nearly all of which shine with Oscar's warmth and intelligence and extraordinary feel for his subject: the life of a jazz man. Here's a good example, where he discovers a new piano, as a child:

'Early on I imagined that all the pianos I would play would be uprights. Not so! One day I was sent to the auditorium of my High School on an errand, and there stood a beautiful baby grand piano. I couldn't resist it: the errand vanished from my mind as I sat down to play this exquisite discovery. It was fantastic! The sound from its horizontal strings was a revelation after the vertical, harp-like strings I was used to: it seemed to reach inside me and grab at the pit of my stomach. The bell-like treble end particularly intrigued me, as I tried out numerous harmonic clusters in my left hand against moving phrases in the upper register, and I came away determined that one day one of these musical marvels would be mine. My own grand piano.' (page 297)

I can truly recommend this book if you're a fan of jazz piano. According to the book, there is a CD available of some of Oscar's best work to tie in with this, but I have not seen it anywhere yet.

Almost 25 years ago when Oscar Peterson last performed here in Winnipeg, my wife and I enjoyed prime seats at our concert hall for what would be the most remarkable musical performance by ANYONE, that either of us has ever had the pleasure to witness.

It was Oscar Peterson at the peak of his powers, `alone together' with Joe Pass (the guitar genius, who was born Joseph Anthony Passalaqua in New Jersey, and who died in L.A. 13 years ago). I remember we could see a heavy gold bracelet, glinting in the spotlight, dancing on Oscar's right wrist as he made music at the speed of light!

In the years since, whenever we'd see that glint of gold on Oscar's wrist -- during rare television appearances - we'd say to ourselves, What's the story on that bracelet?

Tonight I picked up a copy of this "Jazz Odyssey" autobiography, and went straight for the index, looking up "Sinatra, Frank" (my favorite male singer - Oscar's too) and . . . sure enough, there was the answer to my question! (on page 206).

"At the end of the final (recording) session with Fred Astaire, Fred presented each member of the group with a beautiful gold identification bracelet -- which he had autographed.

"I have worn mine ever since; years later, when I met Fred Astaire at a party Frank Sinatra was giving for me, he told me he'd seen me on television a few nights before and had been `thrilled' to see I was wearing his bracelet!

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Oscar's "report" on those marvelous recordings with Astaire - his acute observations of little things he noticed and vividly recalls fifty years later -- is what makes this musical autobiography truly unique. How many musicians have we heard interviewed, who think and express themselves at the following level?

"As I waited for Fred (to arrive) I started toying with a few phrases I thought unusual in the songs likely to be used - Top Hat, for example (and) As I sat there engrossed, I became aware of a presence nearby, and looked up into the smiling face of Astaire himself. He wore a tweed sports jacket a soft pair of brown slacks (engagingly held up by a man's tie) and a hat set at an almost rakish angle.

"He was at once immensely likeable, and awe-inspiring: sensing my diffidence, he said kindly, `Sounds awfully good to me, Oscar!'"

"After the initial rehearsal went very well - although Fred voiced some doubts about his competence as a vocalist - he was very clear on the feel and treatment he wanted on most of the songs; on others he was less sure, and wondered aloud, `I've never understood why he wrote that kind of lyric for this particular tune," or "I've never felt comfortable with this passage.

"It would be idle to pretend that the sessions passed without a hitch. For all his rhythmic feel, Fred was not naturally attuned to jazz phrasing, and it was at times perilously easy to throw him, via the wrong intro or a misplaced fill.

"We learned to gauge our ad lib lines around and behind him very carefully, giving him enough time to hear his place of re-entry coming up. We also stuck firmly to the normal harmonic clusters, as any kind of `modern' dissonance could faze him, or make him worried about his own intonation.

"I found it fascinating to discover how different were Fred's senses of time as a vocalist and as dancer: Dancing, his time was so strict that he could make an accompaniment sound early or late; his vocal time however, was VERY loose, uninhibited, and unmeasured.

"I found the best way to accompany Fred was to give him a long harmonic chord cushion and let him take his natural liberties with metronomic time.

"It was also riveting to watch Fred on some of the slow ballads. His normal posture was to hold one hand cupped over his ear as he sang, but on some tunes he would lower the hand and instinctively fall into a semi-swirl, so familiar from his gliding ballroom performances.

"And we were all touched by his nervous, boyish anxiety: he'd rush to the piano after every take asking, `How was that?' or `Did I stay in tune?'

"One or two surprises remained. We found out that he LOVED playing drums (he had a full set in his living room) and we cajoled him into sitting-in during a rehearsal! It was a riot! To hear his time, in conjunction with Ray Brown's vast sound was quite an event - and the look of rapt attention on his face was a joy to behold!

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In a sort of `afterward' titled "THE WILL TO PERFECTION," Oscar writes,

"Creating an uninhibited, off-the-cuff musical composition in front of a large audience is a dare-devil enterprise, one that draws on everything about you, not just your musical talent. It requires you to collect all your senses, emotions, physical strength, and mental power and focus them totally onto the performance - utter dedication every time you play."

The pay-off, Oscar says, is "scary (but) also uniquely exciting. Once it's bitten you, you never get rid of it. Nor do you want to: for you come to believe that if you get it ALL right, you will be capable of virtually anything. That is what drives me, and I know it will always do so."

Oscar's "autobiography" is delightful reading! It's written in a very conversational style. It covers various aspects of his youth, family, teachers and training, career, musical influences, and his fellow musicians. I have also read "The Will To Swing" by Gene Lees. Oscar's book is a great compliment to that book. It's nicer, in a way, since it's written by Oscar. The reader feels that we're meeting Oscar Peterson in person. In order to know Oscar beyond this, listen to the music. That was his life, after all!

A wonderful book! about a life well lived and enjoyed, and thankfully Mr. P is still on the planet. I must take issue with the Publishers Weekly review; it does not follow a predictable format, and why would it? Anyone who has heard this musical giant in live performance or on recordings realizes that the superlative, wonderful music that pours from his soul and through his fingers is truly a Jazz Odyssey. OP may have some idea of where he wants it to go, but in the end his musical journey of surprise and discovery is ours too. This is a book to read and re-read - just like his recordings, you will discover something new that you missed the last time around. Kudos!

OP shares with us the fact that he was an avid amateur photographer, and this book is written like a series of photographs. He avoids the tabloid style which has become so commonplace in writing, and shares JATP sketches along with the very important background information on what made his musical grounding so firm.For those who want the low down and dirty about his marriages, etc., this book is not for you. He speaks about the loneliness on the road, and touches on the drug abuse which cut down several of his fellow artists in their prime. My only regret now is that I never saw him play live.