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The Language of Jazz

The Language of JazzBrowse in the Library:Best Sheet Music download from our Library.Please, subscribe to our Library. Thank you!Varieties of JazzBop: Best Sheet Music download from our Library.Bossa Nova:Chicago Jazz: Cool Jazz: Dixieland Jazz: Free Jazz: Fusion: Hard Bop: Kansas City Swing: Latin Jazz: Modal Jazz:New Orleans Jazz: Smooth Jazz: Soul Jazz: Stride: Swing: Third Stream: West Coast Jazz: The Very Best Of Jazz | Jazz Songs Greatest Hits 2023 | Jazz Music Collection PlaylistBest Sheet Music download from our Library.Browse in the Library:

The Language of Jazz

In the same way that it developed its own musical voice, Jazz has also spawned its own vocabulary. Many of the expressions that define American English from its mother tongue stem from the African-African community, and specifically from Jazz musicians. Louis Armstrong invented or played a large role in popularizing many of these. However, the great majority are not specifically musical, and therefore will not find their way into this glossary. Here we have several dozen terms that you will encounter in your reading about the music—many of which are largely self-explanatory, and others which need a bit of extra clarification.

From its beginning, most Jazz musicians used the same terminology as other vernacular, American musicians, with terms taken directly or adapted from European models. And as the number of players who receive formal training increases, the adaptation of terms is usually exaggerated and the old Jazz lingo becomes more scarce. Too often, the perception of a separate musical language of Jazz terminology is linked to some aspect of condescension toward the music or to latent racism or to just the plain old cultural inferiority complex that still plagues many American perceptions about American art forms. A cappella: Performed with no accompaniment. AABA: A common song form—usually thirty-two bars long, divided into four eight-bar segments—which consists of a musical theme (A), played twice, followed by a second theme (B), played once, followed by a return of the first theme. Arco: In reference to a stringed instrument, played with a bow. Arrangement: The reworking of a composition for a specific group or performer. Atonal: having no established key or tonal center. Beat: The basic metrical unit of a piece of music; what you tap your foot to. Bitonal: Played in two keys at once. Blue note: A tone borrowed from a minor mode and used in a major key. The effect resonates aesthetically as well as musically, since the association with minor sounds is “sad,” while the association with major sounds is “happy.” Blues: An African-American musical form whose standard length is twelve bars. In its early vocal form, it comprised a four-bar question, repeated, and a four-bar answer.

Boogie-woogie: A blues-oriented piano style characterized by rolling left-hand figures—wherein the left pinky plays the note first, answered by the left thumb—and repetitive riffs on the right hand. Break: When the rhythm section stops playing, and an instrument or instruments fill in the gap. Bridge: The B section of an AABA composition. Cadenza: In a performance, a section in which the tempo stops and the soloist plays without accompaniment. Changes: The chords that define the harmonic structure of a song. Chorus: One time through a song form. Chromatic: Incorporating notes from outside a basic key or tonality. Comping: The accompaniment of a rhythm-section instrument to a solo—usually refers to the function of a chorded instrument (piano, guitar, or vibes), but can also apply to others. Consonance: Musical sounds that feel resolved. Counterpoint: The simultaneous occurrence of two distinct melodies; more broadly, a point of contrast. Diatonic: Referring to the notes that occur in the basic major and minor scales of a given key. Dissonance: Musical sounds that feel unresolved and suggest resolution. Double time: A tempo double the standard rhythmic base of a piece. Downbeat: The first beat of a measure; also, any rhythm that occurs on the beat. Fake: To improvise. Front line: The horn section of a band, usually associated with New Orleans music. Gig: A musical engagement. Glissando: The gliding up or down to a given “target” note, without clearly articulating the notes along the way. Harmony: The confluence of two or more tones. Head: The melody of a piece. Head arrangement: An interpretation of a piece that is made up on the spot and not written down. Horn: Any instrument played through a mouthpiece. Laid back: Referring to a rhythmic feeling that lags slightly behind the actual metronomic placement of the beat; usually in contrast to “on top.” Lead: The primary melodic line of a composition. Lead sheet: A musical manuscript containing the melody and harmony of a piece. Legato: A way of phrasing notes wherein individual notes are not separately articulated. Lick: A melodic phrase. Melody: The succession of individual notes that define the primary shape of a composition. Meter: The rhythmic base of a composition. Mode: The seven scales that can be played on all the white notes of the piano, starting on one note and running up to the next octave. Modulation: The change from one key or mode to another. Motif: A musical unit that serves as the basis for composition through repetition and development. Mute: An implement, usually wood, fiber, or metal, that is placed in the bell of an instrument to alter its tone. Obbligato: A melody that accompanies the primary melody. Off beat: A rhythm that is not placed on the downbeat. On top: Referring to a rhythmic feeling that lines up with the metronomic placement of the beat; usually used in contrast to “laid back.” Ostinato: A repeated phrase, usually played in a lower register, that serves as accompaniment. Out chorus: The final chorus of a Jazz performance. Phrase: A melodic sequence that forms a complete unit. Pizzicato: In reference to a stringed instrument, plucked with the fingers. Polyrhythm: The simultaneous use of contrasting rhythmic patterns. Real book: A collection of lead sheets. Register: The specific range of a particular instrument or voice—usually high, medium, or low. Rhythm: The feeling of motion in music, based on patterns of regularity or differentiation. Rhythm section: Any combination of piano, guitar, bass vibes, and drums (or related instruments) whose basic role is to provide the accompaniment to a band. Riff: A repeated, usually short, melodic phrase. Rim shot: A beat struck by a drummer with a stick against the snare drum (commonly on the second and fourth beats of a measure). Rubato: A musical device in which the soloist moves freely over a regularly stated tempo. The term has also come to be used to imply a temporary interruption of a piece’s regular tempo. Sideman: Musician hired by a bandleader. Solo: An episode in which a musician departs from the ensemble and plays on his own. Sotto voce: Quietly. Staccato: Articulated in a manner whereby each note is separated. Stomp: A swinging performance. Straight ahead: Performed within the conventional Jazz format—4/4 time, theme-solos-theme, and an overall songlike structure. Tag: An extended ending to a piece, usually four or eight measures, that repeats the closing cadence. Tempo: The rate at which the beat is played. Theme: The central melodic idea of a composition. Timbre: The characteristic sound color of an instrument or a group of instruments. Vamp: The section of a tune where the harmonies are repeated, usually as an introduction or an interlude. Variation: The development of a theme. Vibrato: The alteration of a tone’s pitch, from slightly above that pitch to slightly below, usually used as an expressive device. Voicing: The specific order in which a composer groups the notes of a chord; also, the assigning of these notes to particular instruments.

Varieties of Jazz

Bop: All music is tied to its cultural context, and bop (also known as bebop) is inextricably bound to the social issues of the early 1940s, when young black musicians defined themselves against the pernicious remnants of minstrelsy that were buried deep in popular culture. Not only did they behave differently, but their music, in the context of its time, had a penchant for dissonance that many found off-putting. Gone, for the most part, were the straightforward melodies that distinguished the best of the American popular song. Unlike previous styles of Jazz, much of bop seemed to have a “take it or leave it” attitude when it came to mass appeal. And in this regard, it aligned itself with other contemporary forms of art in other genres. This, of course, played into the hands of both audiences—those seeking to be “hip” and into something new, and those who liked to feel excluded. Bop was basically an instrumental music, though it did have its vocal subgenre (with even more nonsense syllables and affectations than the worst excesses of the Swing Era). The rhythm sections played in a more overtly aggressive fashion than before, with the drummer tending to predominate, shaping the general flow of the accompaniment. The bop vocabulary was largely taken verbatim from the solos of saxophonist Charlie Parker and trumpeter Dizzy Gillespie, and reveled in angular melodic shapes (“Shaw ’Nuff” and “Salt Peanuts”). These solos were characterized by a great range, clean and virtuosic displays of technique, a penchant for unresolved chord changes, and a sense of great urgency. This is not to imply that these characteristics are also not to be found in earlier music—of course they are—but it’s a matter of proportion. And in the same way that it took awhile for Armstrong’s innovation to trickle down to the next generation, many of the first attempts to capture Parker’s and Gillespie’s style were immature. Among the first to deal effectively with their new music were the trumpeters Miles Davis and Fats Navarro, the trombonist J. J. Johnson, the tenor saxophonists Warded Gray and Sonny Rollins, the pianists Bud Powell and Dodo Marmarosa, the vibraphonist Milt Jackson, the bassists Oscar Pettiford and Charles Mingus, and the drummers Max Roach and Roy Haynes. Bop was essentially a small-group music (though Gillespie valiantly tried to sustain a big band for several years) played by a couple of horns and a rhythm section of piano, bass, and drums. There was little in the way of arrangements or interludes— once the theme was stated, a string of solos followed, with the theme being restated without variation at the end. With this eschewing of the compositional and ensemble element, a much greater demand was placed on the individual soloists. Few of the acolytes of Parker and Gillespie had a comparable genius, and most could not sustain interest over long periods of time. But those who could bring a new electricity and risk taking to the music that could be thrilling. It is a decidedly unsentimental music, but bop in its most concentrated form does not lack for a want of emotion. There were those who blended the best of the Swing Era with the new vocabulary, and they tended to be composer/ arrangers. Tadd Dameron and Gil Evans found ways to weave the new sounds into arrangements that restored some balance between the ensemble and the soloist. In many ways, their music formed a bridge between the aggressive extremes of some early bop music and the cool Jazz that was to follow. Bossa Nova: During the early 1960s, in the waning days of the pre-Beatles music world, there were a few bright moments when popular music approached the kind of sophistication that had been taken for granted in the ’30s and early ’40s. The bossa nova craze of the ’60s was one of those moments. It was led by a handful of young composers and instrumentalists in South America who, inspired by pianist and composer Gerry Mulligan and other Jazz writers, strove to combine the best of modern Jazz with their own rhythmically propulsive native music. In the late ’50s, the partnership of guitarist/singer Joao Gilberto and composer Antonio Carlos Jobim created quite a stir in Brazil with their collaboration on “Chega de Saudade.” The rhythms were descendants of the Brazilian samba, and it was frequently accented by the use of acoustic guitars. Though there were intimations of things to come and an intersection between Jazz and Brazilian music, it wasn’t until the American guitarist Charlie Byrd asked saxophonist Stan Getz to record the now classic album Jazz Samba that bossa nova (“new wave” in Portuguese) was launched. Getz became an international attraction based on his subsequent albums, with his biggest hit being Jobim’s “The Girl from Ipanema.” The intimate, almost spoken vocal by Gilberto’s wife, Astrud, played a large role in the success of this recording. Though its popularity has waned, there remains a large audience for bossa nova, and it continues to occupy a significant place in the Jazz marketplace. Two outstanding albums in the genre are Stan Getz’s Big Band Bossa and saxophonist Wayne Shorter’s Native Dancer (with Milton Nascimento). Chicago Jazz: The presence of New Orleans masters in Chicago in the ’20s such as King Oliver, Louis Armstrong, and the Dodds Brothers (clarinetist Johnny and drummer Baby) had a profound influence on a group of young, white musicians who wanted to find their own Jazz voices. Their efforts reflected the heady atmosphere of their hometown, rather than the blues-inspired reflections of Oliver and company. The most significant fact about the Austin High Gang (some of them attended that institution) was that their role models were African Americans. Out of this group came the clarinetists Frank Teschemacher and Benny Goodman; drummers Dave Tough, Gene Krupa, and George Wettling; and the cornetist Muggsy Spanier. (Black youngsters like drummers Sidney Catlett and Lionel Hampton and bassist Milt Hinton were also there in Chicago, picking up from the same men—but are conveniently overlooked by those who used the term “Chicago Jazz.”) In later years, the bandleader/guitarist Eddie Condon became the personification of the Chicago school. He had a quick wit—and about the hoppers, he said, “They flat their fifths; we drink ours”) —and generated a lot of work for a long time. But nonetheless, this style remained confining for the handful of superlative players who were its prime exponents. Musicians such as Pee Wee Russell, Roy Eldridge, Buck Clayton, Bud Freeman, Vic Dickenson, George Wettling, and many others spent the great majority of their later careers unfairly grouped in this category. On the rare occasions when these musicians were given the latitude to expand on a more varied repertoire with musicians of different stylistic stripes, the results were generally revelatory. Cool Jazz: “Cool” is the term used to refer to the reaction to bop, in which its frequently frenetic tempos and impassioned solos were replaced by a more reflective attitude. This was usually expressed in moderate tempos and in an instrumental style that drew heavily on the example of the great saxophonist Lester Young, though it must be stated that in lesser hands. Young’s style was occasionally distorted beyond recognition. Nonetheless, cool Jazz was a welcome relief to the rapid degeneration of the bop style in inferior hands. And in the hands of masters such as trumpeter Miles Davis, baritone saxophonist Gerry Mulligan, and pianist Dave Brubeck, it was a thing of great beauty. The origins of the style, which emerged in the late 1940s, may be traced to Claude Thornhiirs big band, an ensemble which favored clarinets, French horns, and tuba. Many young musicians (who had revolved around saxophonist Charlie Parker and trumpeter Dizzy Gillespie) were attracted to this sonority and to the innovative arrangements Gil Evans wrote for the band, adapting elements from classical music to Jazz ends. With Davis as the primary force, Evans and others (trumpeter John Carisi, pianist John Lewis, and baritone saxophonist Mulligan) arrived at a band of their own that used the smallest amount of instruments necessary to get the tonal colors they desired—trumpet, trombone, alto sax, baritone sax, French horn, tuba, piano, bass, and drums. The solos were integrated into the ensemble in an Ellingtonian fashion, and this forced the players to think compositionally (“Boplicity,” “Moon Dreams,” and “Jeru”). The band’s dynamic range was wide, but the group never shouted, and functioned best at a medium to medium-soft level that let all the instruments shine. Though the band was a commercial flop and folded shortly after its debut, its recordings (originally 78s) were reissued the year after as an early LP, titled The Birth of the Cool—and the name stuck. In the next few years, virtually any new Jazz style that was not overtly boplike was classified as cool. This rather large umbrella covered the music of Lennie Tristano, Dave Brubeck, and Mulligan, all of whom, like the Birth of the Cool musicians, shared Lester Young as an inspiration—but each of whom came up with radically different results. Yes, there was a surface placidity to the sound of their bands, and in relation to Parker and Gillespie, maybe they were “cool,” but that’s as far as it goes. Dixieland Jazz: Most of the misinformation that has befallen New Orleans Jazz comes from what has become known as “Dixieland” Jazz. Here the emphasis was on banjos, straw hats, a clipped and frequently unswinging way of phrasing, and hokum. In the mid-forties, a group of white musicians on the West Coast began replicating the music of cornetist King Oliver and others, and this led a “New Orleans” revival —the primary exponent of which was a band led by Lu Watters. Their efforts, though occasionally amateurish, were sincere and respectful of their music’s roots. Read the full article

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Chick Corea's style (an analysis, sheet music, Noten)

The genius of Chick Corea (an analysis - sheet music)Chick Corea's short biography Best Sheet Music download from our Library. Browse in the Library:Chick Corea's piano styleA. Technique B. Rhythm C. Melodic Characteristics D. Harmonic Characteristics It Could Happen To You (Live / Show 1 / January 3, 1998) Chick Corea's Arrangement and Solo on “It Could Happen to You” Please, subscribe to our Library. Thank you! Browse in the Library:

The genius of Chick Corea (an analysis - sheet music)

A recording contract with the GRP label resulted in a series of tours and recordings, such as the self-titled debut, the grammy winning “Light Years” with Eric Marienthal (saxes), and Frank Gambale (guitar), “Eye of the Beholder”, “Inside Out”, and “Beneath the Mask”. The Electric Band era concluded in 1993 with the release of “Paint the World”, featuring the Electric Band II with Gary Novak (drums), Jimmy Earl (bass), Mike Miller (guitar), and Eric Marienthal (saxes). During the 90ies, many jazz musicians discarded the world of electronics and focused on using acoustic instruments and interpreting the traditional standard repertoire. Already during the late 80ies, Corea, Patitucci, and Weckl, had toured and recorded as an acoustic trio. Recording now for his own label, Stretch Records, Corea returned to his acoustic roots with “Time Warp”, a tribute to Bud Powell, and duo recordings with Bobby McFerrin and Gary Burton, recorded between 1994 - 1997. In addition, he further explored the world of classical music with “The Mozart Sessions”, conducted by Bobby McFerrin. Most recently Corea formed the sextet “Origin”, a new outlet for his compositions and arrangements. Corea never seems to sit still, always looking for new, unexpected adventures. But even in the most diverse projects, such as his free-style recordings with “Circle” compared to the jazz fusion of the “The Chick Corea Electric Band,” Corea's piano style is easily recognizable and well-defined. While incorporating the traditions of jazz, the ultimate goal of any jazz musician is to develop a personal, recognizable approach to playing by defining some basic conceptual principles. Those principles provide the unifying threads throughout Corea's eclectic projects. Following is a discussion of some of those characteristic of a great artist. Chick Corea's piano style A. Technique - In one of his poems from his music poetry, Chick writes: “Discipline your body, discipline your instrument…”. His clean and clear attack and mastery of his instrument demonstrates such principles. - His articulation is always precise and clean no matter if he plays a Steinway grand piano, a Fender keyboard, or his Yamaha strap-on keyboard. Corea's keyboard solo on “Got A Match” on The Chick Corea Electric Band is exemplary for his clear articulation even at extreme speeds. - Corea's touch can be very powerful, using the piano foremost as a percussion instrument. One example is on An Evening With Herbie Hancock, where he plays the vamp figure of “La Fiesta” at the beginning so forceful and with minimal key contact, that it sounds more like a drum groove than a piano vamp. - On the other hand, he can be very sensitive and tasteful. Some examples are his romantic soloing on “Where Have I Known You Before” on the similarly titled album and his interpretations of his own “Children's Songs.” - He doesn't limit his palette of sounds to conventional means of playing the piano keys. Especially during duo or trio performances, one can frequently observe Corea plucking the strings inside the piano and experimenting with different ways of preparing the strings. Such experimentation were personally witnessed during his concerts at the 1996 IAJE convention, and can also be heard on “Fragments” and “Duet for Bass and Piano No. 2” on the record Circling In. - Chick Corea's use of baroque-like embellishments are heard rather frequently in his playing. Sometimes he'll just fill out melodic intervals chromatically, as in the following example.

His complete independence of right and left hand is also a strong component of Chick Corea's technique. Such independence enables him to provide bass ostinatos and rhythmic accents complimentary to right-hand melodies. A short excerpt from his solo on “La Fiesta” exemplifies this ability.

B. Rhythm - Chick Corea's preference for Latin-American rhythms has become a trademark of his style. The choice of song titles, such as “La Fiesta,” “Spain,”” My Spanish Heart,” “Samba Song, “or “Señor Mouse” already indicate such preferences. His piano accompaniments often combine Latin-American rhythms with jazz harmonies.

2. Sophisticated rhythmic interplay and precise timing are very prominent in Chick Corea's comping and soloing. Being an accomplished drummer, he has a wide repertoire of rhythms and the ability to execute them with confidence and perfect timing. Such rhythmic variety adds interest and excitement to his music. 3. Often, his syncopation and his ability to play different rhythms with each hand create polyrhythmic effects. The rhythmic organization of his melodic lines, often referred to as phrasing, also displays his rhythmic mastery and versatility. Although the typical strings of eighth notes dominate Chick Corea's soloing, he knows how to place rests and other rhythmic values effectively to create logical, congruent lines. C. Melodic Characteristics One main aspect of jazz improvisation is to create interesting melodic lines in relation to a repeating harmonic structure. Therefore, the pitch content of melodic lines needs to be discussed in reference to the underlying harmonies. As a result, some aspects in the analysis of melodic and harmonic elements will overlap. The melodies of Corea's compositions are very lyrical and memorable, many of his songs have become part of the standard repertoire of jazz musicians. Some examples are “Spain,” “Windows,” or “Humpty Dumpty”. During his improvisations, he combines such lyricism with complex rhythmic and harmonic twists. Some of his most lyrical improvisations are captured in his “Piano Improvisations I & II” and his solo rendition of “Where Have I Known You Before.” Rooted very much in the Bebop tradition, Corea's improvised lines are dominated by long strings of eighth notes shaped in the sinoid waveforms. Especially at faster tempos, such dominance of eighth note values is apparent. Corea often prefers lydian and altered scales to add tension and color to his improvised lines. Especially, diminished scales (half step/ whole step alternating) used in relation to dominant chords can be frequently detected in his solos. Jazz musicians often develop favorite melodic patterns and runs that make their style recognizable. Corea often uses a chromatic ascending pattern and short embellishments at the beginning of lines. D. Harmonic Characteristics Studying the classical literature and composition has influenced Corea's harmonic vocabulary. Similarities to the harmonic innovations of the French romantics such as Claude Debussy and Maurice Ravel can be detected. Corea displays preferences for wide, open sounds with frequent uses of Ma7#11 chords. During his years with John Coltrane, pianist McCoy Tyner developed a new harmonic approach by using voicings based mainly on the interval of a fourth. This technique became the essence of the modern piano sound. Similar voicing techniques can be detected in Corea's playing. Corea's harmonic progressions often depart from the traditional functional harmony, which depends mainly on the II-V-I relationship. One technique for harmonic expansion is the use of poly chords, which consist of harmonies with foreign bass notes or two harmonies layered on top of each other. Other techniques for harmonic expansion are the use of ostinati and pedal points. Both techniques are apparent in Corea's compositions and performances. Pedal points provide a suspended feel to the harmonic movement and create tension to be released with the departure from the pedal point. Especially in his cycle of “Children's Songs”, Corea frequently uses ostinati to create accompaniments.

Children's Songs No. 1 Finally, Corea often employs parallel movement of harmonies of the same quality. This is another technique to avoid functional harmony while still creating logical harmonic movement. It Could Happen To You (Live / Show 1 / January 3, 1998) https://www.youtube.com/watch?v=gyJrmaoHN7A

Chick Corea's Arrangement and Solo on “It Could Happen to You”

Please, download a transcription of Chick Corea's arrangement and two solo choruses on the standard “It Could Happen to You” by Jimmy Van Heusen and Johnny Burke (from the songbook "Chick Corea Plays Standards") Chick-Corea-Plays-Standards-1 “It Could Happen to You”Download This performance with Corea's most recent group “Origin” was captured in February 1998 during an engagement at New York's jazz club “Blue Note”. Many of Corea's style characteristics discussed earlier are apparent in this transcription. The following analysis will focus on these special characteristics. “It Could Happen to You” is a 32-bar song, composed in two similar 16-bar sections. After a rubato solo piano introduction, Corea states the head, supported by Avishai Cohen on drums and Adam Cruz on drums. Steve Davis on trombone, Bob Sheppard on tenor sax, and Steve Wilson on alto sax join for the last four measures. In order to reinforce his liberal treatment of the melody, Corea adds, deletes, and substitutes some of the original harmonies. In measure 3, Corea adds an Am passing chord, then proceeds chromatically up to C. Furthermore, a string of chromatically descending, parallel dominant chords substitutes for the original tonic - subdominant progression in measure 5 and 6. Instead of the regular ii-V Turnaround in measures 15 and 16, Corea harmonizes the melody in triads to a step-wise descending bass line, a technique discussed earlier under harmonic characteristics. Finally, he suspends the resolution to the tonic in measure 31 by laying a C-pedal point for the final 6 measures of the head. Corea begins his solo with a melodic sequence, emphasizing the #11 of F-Major in measure 37. The sequence continues with embellishments until measure 41. For the turnaround in measure 46 and 47, Corea chooses to use a D-Major Scale, brightening up the sound of the F-Major harmonic basis from one flat to two sharps. In order to lead back to the F-Major tonic, Corea moves up chromatically, implying E-Major during measure 48. Similar to the tonic-subdominant substitution with a string of dominant chords during the head in measure 21-24, Corea plays a descending, chromatic sequence from Bb13 to G13 in measure 54. He completes his first chorus with a C-pedal point. During m. 61-64, Corea melodically implies a progression of Dm7, Ebm7, Ab, G7b9 over the C-pedal point as a turnaround to the F-Major tonic in m.65. During the second chorus, Corea concentrates more on rhythmic aspects for his improvised lines. In m. 67/ 68, he crosses the bar lines with a hemiola, leading to a syncopated repetition of C's doubled at the octave over the course of the following three measures. Echoing the thought, Corea states a series of B's in measure 75 and 76. In relation to the F Major harmony in measure 75 , B is the #11, one of Corea's favorite harmonic option to brighten up major chords. Again, he implies a series of triads over an ascending bass line to close the first half of the second chorus. Block harmonies characterize the improvisational approach for the second half of the chorus. Instead of the C-pedal point, Corea increases tension and intensity by leading into the third solo chorus with an ascending B-Major scale, accented by syncopated, ascending fourths in the left hand. In closing this discussion of Corea's piano style, the following basic principles can be extracted from the analysis. With a clear touch, a clean technique, and a very strong sense of rhythm, Corea is well-equipped to realize his quest for communication through his music. Some of his most prevalent melodic techniques are the frequent use of embellishments, lydian and altered scales, and some typical chromatic patterns. Harmonically, Corea frequently uses voicings based on the interval of a fourths, poly chords, non-functional progressions, pedal points, and ostinati. In summary, Corea's artistry is based on a strong command of his instrument and contemporary harmonic techniques. Naturally there is a deeper level to artistry than just the surface of technique, rhythm, melody, and harmony. Read the full article

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The History of Les Paul (1915-2009)

Lester William Polsfuss (Les Paul), the "wizard of Waukesha." Les Paul is one of the most important figures in the technological evolution applied to music, being among the main and most prominent pioneers in the development of the solid body electric guitar, being his collaboration in the creation of the guitar model marketed by Gibson, called with his name, his most well-known and successful contribution. His guitar model the Les Paul, along with the Fender Stratocaster, is currently considered as the most popular and acclaimed electric guitar models in history. Although Les Paul would also stand out for being the precursor of new recording techniques that today are essential and every day, such as multitrack recording or the development of special pedal effects. As if all this were not enough, he was also a magnificent guitarist, also innovating in guitar techniques that inspired future musicians, popularly known as the Waukesha wizard. Les Paul was an American with German descent, born in 1915 in the town of Waukesha in the state of Wisconsin. At the age of eight he would start his love for music by starting to play the harmonica at the same time that he would start his curiosity about electronics by manufacturing with only nine years of age his first radio receiver, being the music of a guitar, one of the first sounds he heard on his radio. Anyone would have thought that if you play the guitar you will not be able to play the harmonica at the same time, but Paul invented a support for his harmonica that allowed him to play both instruments at the same time, the product being manufactured today based on the original design devised by the guitarist. At the age of 13, Les Paul was already playing semi-professionally at carnivals as a country musician, performing on many occasions in open spaces, having to exert a lot of force when playing so that his music could be heard clearly. To solve the problem, Les Paul installed a phonograph needle on the guitar's bridge and with a cable sent the signal to the speaker of his radio, acting as an amplifier. He began his professional career after leaving high school as part of a band from Saint Louis in the state of Missouri but in 1934 he would move to Chicago where he used to perform as a jazz musician on different radio stations influenced by his great idol Django Reinhart, forming in 1937 in this city the jazz band Les Paul Trio with which he would later move to New York in 1938. But Les Paul was not satisfied due to the problems derived from the amplification of guitars with a soundboard, such as feedback or feedback generated by the vibrations of an acoustic body, making the microphone installed in the harmonic stage itself vibrate as well. Something that Paul also wanted was to have a guitar that would hold the notes for as long as possible, something difficult to achieve with an acoustic instrument since the vibrations of the strings are diluted in the soundboard itself. To solve these problems, Les Paul would start To experiment in his apartment, Paul would install an equivalence of electromagnetic pickups on a centerpiece of solid wood cut from a fence post. He attached it to a Gibson neck and also incorporated a rudimentary vibrato system.

To improve the appearance of the prototype, I would install two equal halves of an Epiphone on the sides of the trunk, although the final result is still quite improvable, but hey, we must understand that in the early 40s nobody had imagined an electric guitar as we currently know it. What he did manage was to solve the problems mentioned above by installing the pickups in a rigid wooden body, thus avoiding the feedback derived from the resonance and vibrations of an acoustic instrument, on the other hand the sustain was increased by doing without a box resonance. While carrying out his experiments, Les Paul would suffer an electric shock in 1941 that almost took him away, but luckily he survived this shock, moving to the city of Los Angeles in 1943 where he would form a new trio of musicians. Les Paul would use his prototype since its creation both in live performances and in the studio, finally presenting his design to the Gibson brand in 1946 with the proposal of developing a new model of solid-body electric guitar taking his prototype as a reference. But the Gibson manager only needed to order the dogs to be released so that Paul would disappear as soon as possible with that grotesque, convinced that a solid body guitar would never be accepted by the consumer. After Gibson's refusal, Les Paul decided to build his own recording studio in which he played all the guitar parts on some of the songs he developed in 1948 on the hitherto unknown multitrack recording. That same year, Pol would suffer a road accident that could have been fatal. As a result of this accident, the elbow of his right arm was practically destroyed. The doctors would inform Les Paul that they could not rebuild it, consequently the elbow would have to remain in one fixed position. Les Paul indicated to the surgeon the correct angle in which his arm should be in order to continue playing the guitar, but this would not be the only injury that Les Paul had to endure. Because of this accident, he had to endure serious injuries to his back, ribs and neck, costing him almost a year and a half to recover. Shortly after recovery, a visionary saw the melodic potential of a solid-body electric guitar and would introduce the first mass-produced model of it. That visionary was Leo Fender and his model was the Fender Telecaster.

Gibson found the impression of a solid-bodied guitar grotesque, squandering the opportunity to pioneer its development and mass production, until Fender began selling its products like hotcakes in the early 1950s. Consequently, Gibson would radically be changed when they saw the results of a new competitor. Gibson contacted Les Paul in 1951 to develop a solid-body guitar, but following the brand's tradition of creating high-end products, the chief designer who approved the final product would be Ted McCarthy. Paul would provide the name to the model in question with the intention of promoting the instrument as an experienced guitarist or, if it was a commercial failure, the brand could ignore the model in question, holding Les Paul responsible. The guitarist had to sign a contract with the brand that prevented him from playing any instrument in public that was not a product made by Gibson. Finally, the first Gibson Les Paul model was marketed in 1952 with p90 pickups designed by Gibson in 1946, precisely the same year that Paul presented his prototype. Paul, dissatisfied with the final result, would get the brand to accept some improvements, finally appearing in 1958 with the standard Les Paul mounted with its new double-coil pickups, the star quality of these microphones being the reduction of parasitic sounds or interference, completing what is considered one of the most perfect solid body electric guitar models ever made.

But the standard Les Paul would cease to be manufactured in 1960, commercially crushed by the fender Stratocaster, a cheaper, lighter guitar with a vibrato lever. Consequently, Gibson would modify the Les Paul model in 1961 by adding a vibrato system mounted on a narrower body with a superior cut away, thus lightening the weight of the instrument and at the same time facilitating access to the lower part of the neck, giving birth to the Gibson Les Paul SG, the abbreviation SG referring to its solid body construction. Some important modifications that should have been communicated to Les Paul but that he was unaware of until he saw the new model with his name on the exhaust rate from a store, he would immediately deny the new shape, forcing Gibson to withdraw his name from the model, alleging that it did not correspond to his guitar.

Finally, the new guitar would be renamed simply as SG, becoming one of the company's greatest successes. The Les Paul would return to the Gibson catalog in 1968 after the wide demand caused by the widespread use of this model by top-ranking artists, finishing the Les Paul for being an icon in the development of musical genres such as hard rock and heavy metal, although its use is applicable to practically any melodic genre, this guitar being a fundamental part of the sound of many jazz and blues guitarists. Although Les Paul is mainly recognized for giving his name to one of the most popular guitars in history, he also enjoyed a brilliant career as a musician and virtuoso guitarist, enjoying several number ones in the US, together with his wife Mary Castle. In 1987, Les Paul underwent surgery on his heart after recovering from the operation, he returned to the stage despite his growing arthritis in his hands and continued playing until he was over 80 years old, dying in 2009 at the age of 94. The only thing Les Paul liked in life was being able to make people happy. Mission Accomplished Paul!

HOW HIGH THE MOON LES PAUL MARY FORD 1951

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Chick Corea's style (an analysis, sheet music, Noten)

The genius of Chick Corea (an analysis - sheet music)Chick Corea's short biography Best Sheet Music download from our Library.Chick Corea's piano styleA. Technique B. Rhythm C. Melodic Characteristics D. Harmonic Characteristics It Could Happen To You (Live / Show 1 / January 3, 1998) Chick Corea's Arrangement and Solo on “It Could Happen to You” Please, subscribe to our Library. Thank you!

The genius of Chick Corea (an analysis - sheet music)

Chick Corea's short biography Armando Anthony Corea was born June 12, 1941 in Chelsea/ Massachusetts. His father, a jazz trumpet player, was his first musical inspiration. After several years of exploring the piano and the drum set, Chick started piano lessons with concert pianist Salvatore Sulo. During short stints at Columbia University and Juilliard, he decided to pursue a professional career as jazz musician and took residence on Seventy First Street in New York. Soon he was busy playing with Mongo Santamaria, Willie Bobo, Herbie Mann, Elvin Jones, Stan Getz, and many others. With trumpeter Blue Mitchell Chick recorded his first original composition, called Chick's Tune on Blue Mitchell's LP “A Thing To Do”. The first LP under Corea's own name, “Tones for Joan's Bones”, recorded in 1966, features Joe Farrell (saxes), Woody Shaw (trumpet), Steve Swallow (bass), and Joe Chambers (drums) playing a mixture of Latin, Bop, and Free Styles. More Bebop oriented tunes are recorded on the 1968 follow-up “Now He Sings, Now He Sobs” with Miroslav Vitous on bass and Roy Haynes on drums. Shortly thereafter, Corea rose to international fame during a three-year stint with the Miles Davis group. With bandmates Dave Holland (bass), and Jack DeJohnette (drums), Corea started exploring the world of Free Improvisation on the recording “Is”. Several recordings with his group “Circle” document further experimentation with free forms. After a return to more melodic lines and harmonic progressions with his solo piano recordings “Improvisations I & II” for the ECM label, Corea decided to leave Circle and focus back on structure, melody, and harmony. In his Forward to the Warner Bros. publication “The Jazz Styles of Chick Corea”, he explains his change in direction: “In 1971, an incredible change occurred in my life, directly stemming from some initial studying I did of the works of L. Ron Hubbard, the founder of Scientology, “says Chick. “The result was a seemingly new-found but actually old and hidden goal I had for a long time: to create and communicate the music I love.” The realization of this goal became his group “Return to Forever”, one of the most influential groups of the Jazz Rock Fusion era. The original members include Stanley Clarke (bass), Joe Farrell (saxes, flute), Flora Purim (vocals, percussion), Airto Moreira (drums, percussion), and Chick Corea (keyboards). Their self-titled debut and the follow-up record “Light as a Feather” emphasize the fusion of jazz traditions with Latin-American music. The result are some of the most melodic compositions of jazz, such as Corea's probably most famous piece “Spain” or the playful “Sometime Ago.” After replacing Florim and Moreira with Bill Connors (guitar) and Lenny White (drums) in 1974, the group became one of the forerunners of electronic jazz. RTF's progressive mixtures of jazz concepts, rock and latin-american rhythms, and classical forms are documented on “The Hymn of the Seventh Galaxy” and with guitar virtuoso Al DiMeola on “Where Have I Known You Before”, “No Mystery”, and “Romantic Warrior”. The group went through several personnel changes until it's final break-up in 1980, including a 13-piece ensemble with strings and Gayle Moran, Corea's wife, on vocals. The various incarnations and Corea's extended compositions and arrangements are documented on “The Leprechaun”, “My Spanish Heart”, “Mad Hatter”, “Friends”, and “Secret Agent”. The years until 1985 were filled with a wide variety of activities, ranging from several duo projects with Herbie Hancock, Gary Burton, John McLaughlin, and Paco di Lucia among others, over acoustic collaborations with Michael Brecker, Eddie Gomez, and Steve Gadd on “Three Quartets”, to performing Mozart's Double Concerto with Friedrich Gulda and the Concertgebouw Orchestra. Inspired by his classical performances, Corea composed his own concerto for piano and orchestra and released his Children's Songs, a collection of 20 short piano pieces reminiscent of Darius Milhaud's ragtime and tango influenced piano music. By 1985, Corea joined forces with young virtuosos John Patitucci (bass), Dave Weckl (drums), and Scott Henderson (guitar) to form The Chick Corea Electric Band. In an interview for Keyboard Magazine, July 1986, Corea explained that the use of electronic instruments opens up new possibilities of expression and allows him to communicate with sounds currently familiar to a broader audience. A recording contract with the GRP label resulted in a series of tours and recordings, such as the self-titled debut, the grammy winning “Light Years” with Eric Marienthal (saxes), and Frank Gambale (guitar), “Eye of the Beholder”, “Inside Out”, and “Beneath the Mask”. The Electric Band era concluded in 1993 with the release of “Paint the World”, featuring the Electric Band II with Gary Novak (drums), Jimmy Earl (bass), Mike Miller (guitar), and Eric Marienthal (saxes). During the 90ies, many jazz musicians discarded the world of electronics and focused on using acoustic instruments and interpreting the traditional standard repertoire. Already during the late 80ies, Corea, Patitucci, and Weckl, had toured and recorded as an acoustic trio. Recording now for his own label, Stretch Records, Corea returned to his acoustic roots with “Time Warp”, a tribute to Bud Powell, and duo recordings with Bobby McFerrin and Gary Burton, recorded between 1994 - 1997. In addition, he further explored the world of classical music with “The Mozart Sessions”, conducted by Bobby McFerrin. Most recently Corea formed the sextet “Origin”, a new outlet for his compositions and arrangements. Corea never seems to sit still, always looking for new, unexpected adventures. But even in the most diverse projects, such as his free-style recordings with “Circle” compared to the jazz fusion of the “The Chick Corea Electric Band,” Corea's piano style is easily recognizable and well-defined. While incorporating the traditions of jazz, the ultimate goal of any jazz musician is to develop a personal, recognizable approach to playing by defining some basic conceptual principles. Those principles provide the unifying threads throughout Corea's eclectic projects. Following is a discussion of some of those characteristic of a great artist. Chick Corea's piano style A. Technique - In one of his poems from his music poetry, Chick writes: “Discipline your body, discipline your instrument…”. His clean and clear attack and mastery of his instrument demonstrates such principles. - His articulation is always precise and clean no matter if he plays a Steinway grand piano, a Fender keyboard, or his Yamaha strap-on keyboard. Corea's keyboard solo on “Got A Match” on The Chick Corea Electric Band is exemplary for his clear articulation even at extreme speeds. - Corea's touch can be very powerful, using the piano foremost as a percussion instrument. One example is on An Evening With Herbie Hancock, where he plays the vamp figure of “La Fiesta” at the beginning so forceful and with minimal key contact, that it sounds more like a drum groove than a piano vamp. - On the other hand, he can be very sensitive and tasteful. Some examples are his romantic soloing on “Where Have I Known You Before” on the similarly titled album and his interpretations of his own “Children's Songs.” - He doesn't limit his palette of sounds to conventional means of playing the piano keys. Especially during duo or trio performances, one can frequently observe Corea plucking the strings inside the piano and experimenting with different ways of preparing the strings. Such experimentation were personally witnessed during his concerts at the 1996 IAJE convention, and can also be heard on “Fragments” and “Duet for Bass and Piano No. 2” on the record Circling In. - Chick Corea's use of baroque-like embellishments are heard rather frequently in his playing. Sometimes he'll just fill out melodic intervals chromatically, as in the following example.

La Fiesta (Takase, 1979) 2. Sophisticated rhythmic interplay and precise timing are very prominent in Chick Corea's comping and soloing. Being an accomplished drummer, he has a wide repertoire of rhythms and the ability to execute them with confidence and perfect timing. Such rhythmic variety adds interest and excitement to his music. 3. Often, his syncopation and his ability to play different rhythms with each hand create polyrhythmic effects. The rhythmic organization of his melodic lines, often referred to as phrasing, also displays his rhythmic mastery and versatility. Although the typical strings of eighth notes dominate Chick Corea's soloing, he knows how to place rests and other rhythmic values effectively to create logical, congruent lines. C. Melodic Characteristics One main aspect of jazz improvisation is to create interesting melodic lines in relation to a repeating harmonic structure. Therefore, the pitch content of melodic lines needs to be discussed in reference to the underlying harmonies. As a result, some aspects in the analysis of melodic and harmonic elements will overlap. The melodies of Corea's compositions are very lyrical and memorable, many of his songs have become part of the standard repertoire of jazz musicians. Some examples are “Spain,” “Windows,” or “Humpty Dumpty”. During his improvisations, he combines such lyricism with complex rhythmic and harmonic twists. Some of his most lyrical improvisations are captured in his “Piano Improvisations I & II” and his solo rendition of “Where Have I Known You Before.” Rooted very much in the Bebop tradition, Corea's improvised lines are dominated by long strings of eighth notes shaped in the sinoid waveforms. Especially at faster tempos, such dominance of eighth note values is apparent. Corea often prefers lydian and altered scales to add tension and color to his improvised lines. Especially, diminished scales (half step/ whole step alternating) used in relation to dominant chords can be frequently detected in his solos. Jazz musicians often develop favorite melodic patterns and runs that make their style recognizable. Corea often uses a chromatic ascending pattern and short embellishments at the beginning of lines. D. Harmonic Characteristics Studying the classical literature and composition has influenced Corea's harmonic vocabulary. Similarities to the harmonic innovations of the French romantics such as Claude Debussy and Maurice Ravel can be detected. Corea displays preferences for wide, open sounds with frequent uses of Ma7#11 chords. During his years with John Coltrane, pianist McCoy Tyner developed a new harmonic approach by using voicings based mainly on the interval of a fourth. This technique became the essence of the modern piano sound. Similar voicing techniques can be detected in Corea's playing. Corea's harmonic progressions often depart from the traditional functional harmony, which depends mainly on the II-V-I relationship. One technique for harmonic expansion is the use of poly chords, which consist of harmonies with foreign bass notes or two harmonies layered on top of each other. Other techniques for harmonic expansion are the use of ostinati and pedal points. Both techniques are apparent in Corea's compositions and performances. Pedal points provide a suspended feel to the harmonic movement and create tension to be released with the departure from the pedal point. Especially in his cycle of “Children's Songs”, Corea frequently uses ostinati to create accompaniments.

Chick Corea's Arrangement and Solo on “It Could Happen to You”

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Oscar Peterson LIVE: Sehen Sie sich 10 Videos seiner besten Auftritte an

OSCAR PETERSON: Sehen Sie sich 10 Videos seiner besten Auftritte an

Table of Contents

Oscar Peterson Boogie Blues Etude LIVE

https://www.youtube.com/watch?v=xdd5pn1xs7M

Oscar Peterson LIVE In '63, '64, '65 (Jazz Icons)

https://www.youtube.com/watch?v=_JrIcoFcnjE

Oscar Peterson C Jam Blues LIVE (1964)

https://vimeo.com/592413120

Oscar Peterson, Count Basie and Joe Pass LIVE at the BBC (1980)

https://www.youtube.com/watch?v=2HAZP7nWo6A

Oscar Peterson LIVE - The Berlin Concert

https://www.youtube.com/watch?v=8m41gQShXT0

Oscar Peterson Trio - LIVE at the INTERNATIONALES JAZZ FESTIVAL BERN (1986) Switzerland

https://www.youtube.com/watch?v=_fFNOl5XVkE

Oscar Peterson meets Joe Pass LIVE concert.

https://www.youtube.com/watch?v=Uoqk6PHo9TM

Oscar Peterson - Boogie Blues Étude (LIVE)

https://www.youtube.com/watch?v=xdd5pn1xs7M

Oscar Peterson & Joe Pass - Just Friends by John Klenner (LIVE 1980)

https://www.youtube.com/watch?v=yEu0ULY21UI

Oscar Peterson Trio LIVE - Wave (Vou te Contar) by Tom Jobim

https://www.youtube.com/watch?v=vUuB4UYe8nM

Jazz transcriptions and sheet music download here.

Oscar Peterson

Ein felsenfester Sinn für Swing, der auf Count Basie basiert, ausgeglichen durch einen zarten Ton und eine flinke Berührung, Oscar Peterson Peterson, Oscar Emmanuel Komponist, Leader, Pianist Born; Montreal, Quebec, Kanada, 15.8.1925 Gestorben; 23.12.2007 Oscar Peterson wurde von Duke Ellington einst als „Maharajah der Tastatur“ bezeichnet. Peterson war einer der produktivsten großen Stars in der Jazzgeschichte, seine Aufnahmekarriere erstreckte sich über fast 60 Jahre. Unerklärlich und unentschuldbar ist die Tatsache, dass Oscar Peterson manchmal von überzeugten und spießigen Jazzkritikern herabgesehen wurde, weil er keinen eigenen Stil hatte. Während Mr. Peterson vor allem in seiner frühen Karriere von Nat King Cole, Count Basie, Teddy Wilson, James P. Johnson, Errol Garner und Art Tatum beeinflusst wurde, war es genau diese vielfältige Liste von Einflüssen, die seine einzigartige Art der Verschmelzung hervorbrachte Elemente aus Swing, Bop und Blues zusammen. Oscar Peterson verfügte über unvergleichliche technische Fähigkeiten und seine leicht verständlichen und fließenden Darbietungen ließen seine Popularität als Pianist in gewisser Weise die seiner Vorgänger in den Schatten stellen. Er war ein Mann, der innerhalb weniger Zeilen ein Klavier wie einen Löwen brüllen, wie ein Kätzchen schnurren, wie einen Bären stampfen und wie einen Schmetterling flattern lassen konnte und dabei nie ein Jota seines hervorragenden Swinggefühls verlor. Dan Morgenstern, Direktor des Institute of Jazz Studies an der Rutgers University, sagte: „Jeder Pianist, der nach Oscar Peterson kam, hätte zu ihm als Vorbild für vielseitige Musikalität aufschauen müssen.“ Oscar Peterson, ein in Kanada geborenes musikalisches Wunderkind, nahm mehr als 200 Alben auf und gewann acht Grammy Awards, darunter einen für sein Lebenswerk im Jahr 1997. 1950 gewann er zum ersten Mal die Leserumfrage des Magazins Down Beat; Er gewann ihn noch 13 Mal, das letzte Mal 1972. Von den 1950er Jahren bis zu seinem Tod veröffentlichte er manchmal vier oder fünf Alben pro Jahr, tourte häufig durch Europa und Japan und wurde zu einem großen Anziehungspunkt bei Jazzfestivals. Norman Granz, sein einflussreicher Manager und Produzent, verhalf Mr. Peterson zu diesem Erfolg, indem er eine Flut von Platten auf seinen eigenen Labels Verve und Pablo aufstellte und ihn in den 1940er und 1940er Jahren als Favorit bei den Tourneekonzerten „Jazz at the Philharmonic“ etablierte 50er. Oscar Peterson wurde schließlich zu einer Hauptstütze der Reihe „Jazz at the Philharmonic“, die Norman Granz in den 1940er Jahren ins Leben rief. 1949 wurde ihm keine Rechnung gestellt, als er mit der Wanderjazzshow sein Debüt in der Carnegie Hall gab. Granz holte ihn einfach heraus und sagte: ‚Spiel, was du willst, so lange du willst.' In dieser Nacht wurde Peterson zu einer Sensation, die seinen Ruf in den Vereinigten Staaten und bald auf der ganzen Welt zementierte. Petersons Beherrschung des Klaviers an diesem Abend erstaunte die Anwesenden, darunter Charlie „Yardbird“ Parker, Ella Fitzgerald, Saxophonist Coleman Hawkins und Trompeter Roy Eldridge. Ein Down Beat-Kritiker schwärmte in der folgenden Ausgabe des Jazzmagazins von seinem Auftritt, und Peterson schloss sich der Konzertreihe bald auf einer Tournee durch Asien sowie 41 nordamerikanische Städte an. 1942 war Oscar Peterson in Kanada als „Brown Bomber of Boogie-Woogie“ bekannt, eine Anspielung auf den Spitznamen des Boxers Joe Louis und auch auf Mr. Petersons körperliche Statur – 6 Fuß 3 und 250 Pfund. Mr. Peterson wurde das einzige schwarze Mitglied des Johnny Holmes Orchestra, das sowohl durch Kanada als auch durch die Vereinigten Staaten tourte. In Teilen der Vereinigten Staaten stellte er fest, dass er, wie andere Schwarze, nicht in denselben Hotels und Restaurants bedient wurde wie die weißen Musiker. Oft brachten sie ihm Essen, während er im Bus der Band saß, erinnerte er sich. Eine Zeit lang war Oscar Peterson so sehr mit Boogie-Woogie, einer populären Tanzmusik, verbunden, dass ihm eine breitere Anerkennung als ernsthafter Jazzmusiker verweigert wurde. Aber wie die Geschichte erzählt, war der Jazz-Impresario Norman Granz 1947 mit einem Taxi auf dem Weg zum Flughafen von Montreal, als er eine Live-Übertragung von Peterson hörte, der in einer Lounge in Montreal spielte. Er befahl dem Fahrer, das Taxi umzudrehen und ihn in die Lounge zu bringen. Dort überredete er Mr. Peterson, sich vom Boogie-Woogie abzuwenden. Während seiner gesamten Karriere gedieh Peterson im Trio-Format. Seine vielleicht am längsten andauernde musikalische Beziehung hatte er mit dem Bassisten Ray Brown. Die beiden traten von 1950 bis 1965 normalerweise 15 Jahre lang in Trioform und gelegentlich im Laufe der Jahrzehnte sogar bis Mitte der 1990er Jahre zusammen auf. Als Solopianist wurde Oscar Peterson manchmal dafür kritisiert, zu eng in der Tradition des 1956 verstorbenen Art Tatum zu stehen. Weitaus subtiler zeigte er sich jedoch als Begleiter von Sängern wie Ella Fitzgerald und Billie Holiday sowie Hornisten wie Louis Armstrong und Dizzy Gillespie. Mr. Peterson ist auch als Begleitung auf Alben von Roy Eldridge, Lionel Hampton, Stan Getz, Benny Carter, Lester Young, Harry Edison, Stuff Smith, Ben Webster, Sonny Stitt, Coleman Hawkins und Milt Jackson zu hören, um nur einige zu nennen. Oscar Emmanuel Peterson wurde am 15. August 1925 in Montreal als Sohn von Eltern aus Westindien geboren. Sein Vater, ein Eisenbahnträger und Amateurorganist, drängte seine fünf Kinder zum Musizieren, schlug sie, wenn sie nicht gut spielten, und kritisierte sie gnadenlos, selbst wenn sie es taten. Peterson erinnerte sich, dass sein Vater, nachdem er begonnen hatte, sich zu etablieren, einmal eine Tatum-Aufnahme mit nach Hause brachte und sagte: „Du denkst, du bist so großartig. Warum ziehst du es nicht an?' »Das habe ich«, sagte Peterson. „Und natürlich war ich fast am Boden zerstört. . . . Ich schwöre, ich habe danach zwei Monate lang kein Klavier gespielt, ich war so eingeschüchtert.' Oscar Peterson begann seine musikalische Ausbildung auf der Trompete, wechselte aber mit 5 zum Klavier, nachdem er an Tuberkulose erkrankt war. Ein älterer Bruder, Fred, hatte Klavier gespielt und seine Liebe zum Jazz weitergegeben, bevor er an Tuberkulose starb. Peterson sagte, er sei anfangs ungeduldig mit dem klassischen Repertoire, das von Pianisten in Ausbildung verlangt werde. Er sagte, er sei zugänglicher geworden, als ein privater Musiklehrer sein Interesse am Jazz begrüßte, das durch populäre Aufnahmen und Sendungen von Pianisten wie Tatum, Errol Garner und Teddy Wilson gewachsen war. In seiner Schule spielte er in einer Band mit dem Trompeter Maynard Ferguson und sagte, er spiele gerne in der Mittagspause auf dem Stutzflügel, weil es „der beste Weg sei, ein paar Mädchen zum Runterkommen zu bringen. Ich wurde der Kerl.' Mit 14 gewann Peterson einen Talentwettbewerb im Radionetzwerk der Canadian Broadcasting Corp., was zu einem regelmäßigen Engagement bei einem Radiosender in Montreal für eine Sendung mit dem Titel „Fifteen Minutes of Piano Rambling“ führte. Dies wiederum führte zu seiner bereits erwähnten fünfjährigen Tätigkeit in Johnny Holmes' beliebter Bigband. 1944 gab er sein Plattendebüt mit Boogie-Woogie-Versionen von „I Got Rhythm“ und „The Sheik of Araby“, und bald begann er, Stellenangebote von US-Big-Band-Führern wie Count Basie und Jimmie Lunceford zu sammeln. Mitte der 1960er Jahre löste sich das Trio Peterson-Brown-Thigpen auf. Peterson blieb die Hauptattraktion in späteren Trio-Inkarnationen, darunter eine aus den 1970er Jahren mit dem Gitarristen Joe Pass und dem Bassisten Niels-Henning Orsted Pedersen. 1974 gewann er seinen ersten Grammy für eine Aufnahme mit Pass und Pederson namens „The Trio“. Zwei Alben in den frühen 1990er Jahren, die Peterson mit Ellis und Brown wiedervereinten, gewannen ebenfalls Grammys. Peterson gründete Anfang der 1980er Jahre ein Klavierduett mit Herbie Hancock, reduzierte sich aber später auf eine Soloshow, als er der Washington Post einmal sagte, er fühle sich harmonisch weniger eingeschränkt, wenn er alleine spiele. „Der Bassist würde sich immer fragen, wohin wir gehen“, sagte er. Über das Klavier hinaus verzweigte sich Peterson als Sänger auf einem Tribute-Album von 1965 an Nat 'King' Cole, und Rezensenten stellten fest, dass er einen Gesangsstil hatte, der dem von Cole auffallend ähnlich war. Er schrieb auch mehrere ambitionierte Musikstücke, darunter „Canadiana Suite“ (1964) und „Africa Suite“ (1983). Er komponierte für Filme und moderierte mehrere Fernsehsendungen über Jazz, darunter 1974 eine für die British Broadcasting Corp. mit dem Titel „Oscar Peterson's Piano Party“. Oscar Peterson spielte im Blue Note Club in New York, als er 1993 einen Schlaganfall erlitt. Er unterzog sich ein Jahr lang einer Physiotherapie, bevor er seine Karriere im Aufnahme- und Konzertzirkus erneut startete. Read the full article

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