I admit gleefully to my two greatest weaknesses: the piano and children. These are two inner weak points that I happily admit to. Over the years I have catered to my love affair with the piano with becoming a jazz pianist. I have also, over the years, raised several children however, my weakness in this respect has overcome me and not allowed me to rid myself of it.
I find it very ironic and I must say happily so, that Peel Regional School Board somehow has seen fit to honor me by naming a public school after me. In no words can I fully tell you what this has done for my affliction and affection for children. Realistically this has certainly been one of the great honors of my career. However, the powers that be somehow have seen fit to also cater to my human weakness by making it possible for me to be around and hopefully helpful to these young and inspiring creatures that we call children. It goes without saying that my first helping of joy came on the official opening day of the “Oscar Peterson Public School” in Mississauga.

After the official ceremony, which was attended by hordes of children and their parents, the children were called forward to sit in front of and around me in the foreground during the unveiling of the new Peel Regional School Board logo. It was during this ceremony that I was happily taken with one particular young man, perhaps of about six years of age, who, regardless of the rest of the crowd of youngsters, decided that he was going to seat himself between my legs during the ceremony. Various times he turned around to talk to me and it was during parts of these conversations that he queried me about my group. Nearing the end of our conversation, he informed me that he now intended to be the drummer within my group. All I could do was encourage him to ready himself for his new occupation. This he agreed that he would do, and proceeded to inform the rest of the children around him of his new position in my quartet. This is the kind of young and innocent intent and fervor that I enjoy from children. The whole ceremony was most overcoming, and I cannot fully describe here the unspeakable warmth and innocence that I felt amongst these wonderful youngsters, coupled with the intense honor that I felt was being bestowed on me.

I fully intend to make every attempt (itinerary permitting) to be there personally and musically for these wonderful youngsters that are hopefully entering not only the educational phase of their lives, but also the musical segment of that phase. This I am proud to publicly acclaim and intend to carry out my promise.

Noah Carreiro - My Future Drummer!

©2005 Oscar Peterson

It is seldom that I have ever responded to various newspaper, radio or television articles about me in the past. This however, has to be one of those "seldom" occasions. I have made it a necessary component of my career to not respond to any unfavorable reviews due to the fact that as I live in a democracy I have followed the principle that each person is allowed their opinion on various subjects. In my opinion, this does not encompass publishing misinformation, most certainly on human beings.

During my browsing of various websites recently, I came across the CBC Archives. In my opinion archives should be made up of honestly ascertained information on whatever subjects they contain. This however, was not the case upon my visiting the website titled the CBC Archives. After reading the article on me pertaining to my receiving the Glenn Gould Prize, I was disappointed at the amount of misinformation that it contained about my stroke at that time.

At this juncture I am quoting directly from their archives article titled Marriage of Two Great Canadians:

"Peterson is in poor health and is bound to a wheelchair but manages to perform several pieces with the backing of his legendary trio: Ray Brown and Herb Ellis, along with Jeff Hamilton on drums."

Herewith, another patch of misinformation, and I quote:

"Oscar Peterson and Glenn Gould met each other briefly to discuss doing a TV special for CBC."

This so-called meeting never took place, and we were therefore never, and I quote, "in the initial stages of planning the program."

Misinformation number three:

"Three days after the Glenn Gould Award ceremony Peterson suffered a mild stroke that weakened his arms. It would be almost two years before he played again in public."

In reality, I had the stroke three days BEFORE the Glenn Gould Prize was given to me, while I was performing at the Blue Note club in New York (two nights before my closing), and in truthfulness, all it did was to somewhat weaken the total operation of my left hand. ELEVEN MONTHS AFTER MY STROKE, I RECORDED AN ALBUM WITH ITZHAK PERLMAN IN NEW YORK ("Side By Side"). Two months after the album I returned to my concert schedule with concerts in Europe, and somehow managed to garner some wonderful reviews from music critics that I respect.

Another quote that annoyed me in the CBC Archives article was the quote that I was now "in poor health and bound to a wheelchair."

I would like to take this opportunity to erase some of these untruths about my physical condition at that time. It is true that I have been under medical observation since the stroke (something that I believe is normal procedure in cases like this), and have since played probably seven or more tours to Europe, five concert trips to Japan and extensive tours of North AND South America. I have been most fortunate in the fact that I have had wonderful medical attention by some very gifted doctors. It is true that I do use a wheelchair at different points during the day (due to fatigue), however the stroke has not weakened both hands, as stated in their article. I take aversion, from a personal sense, in this kind of lackadaisical and misrepresentative so-called journalism, whether in print or on the web. I sincerely hope that the parties that I have named in this printed clarification of the truth will in future realize they have nothing to gain by this kind of two-faced journalism. I can only hope for better and more truthful reporting in the future.

During the past months the quartet has been traveling and performing concerts. The first appearance was in London, during which time the BBC bestowed a Lifetime Achievement Award on me.
This London visit was followed by a concert schedule that took us to Paris, Vienne (France), the Northsea Jazz Festival, Perugia (Italy), the Montreux (Switzerland) Jazz Festival and Monte Carlo.

We returned home at the end of July and during August celebrated my 80th birthday at home in Mississauga. This homecoming included a memorable visit with two dear friends, Elvis Costello and Diana Krall, along with Mayor McCallion (a treasured friend), all of whom were present for the presentation to me by the people of Canada Post of a stamp bearing my likeness. This was staged at the HMV site in Toronto, and was attended seemingly by half of Toronto's population. This was a great tribute, needless to say, which was enhanced by the visit of these two talented people. The presentation was attended by many of my musical Toronto friends such as Phil Nimmons, Dave Young (who is now a member of my quartet), Dave Broadfoot and numerous other local notables in the entertainment and performance fields. This was a great honor and was heightened by the presence of these musical dignitaries and friends of mine.


At the close of the presentation and later in the evening, some of these wonderful friends returned to my home in Mississauga and we spent a fantastic evening enhanced by musical memories and opinions. The evening was topped off (in my view) by an unexpected musical period that arose with the spontaneous piano playing by Ebe Gilkes (my Barbadian buddy), whose pianistic talents I happen to admire. This was followed by a period of reminiscence on behalf of Elvis, Ebe, Diana and other guests, along with yours truly, of recalling some of the early Nat Cole tunes. This went quite a ways back in musical history and brought back many, many pleasant memories of various musical personalities. Diana was gracious in performing several wonderful tunes, both vocally and pianistically to the delight of the gathered guests, who needless to say, bathed themselves in this unforgettable musical period of jazz. I must say that I am most proud of the fact that Diana performed not only at our home, but also at the earlier presentation of the stamp, a composition of mine titled "When Summer Comes," which she and Elvis composed lyrics for. This whole evening was filled with musical and personal reminiscences that all of the guests, along with yours truly, enjoyed and treasured. I would like to personally thank Diana and Elvis, Scott Morin of Verve Records, Ebe Gilkes and Russell Croney (my Barbadian buddies), for making this birthday the most memorable one to date, obviously highlighted by the honor of the striking of the stamp by Canada Post. It is a date in my life that I shall never forget, and will forever be thankful for.

During my earlier years with Jazz at the Philharmonic, and through the geographic vision of Norman Granz, I had the opportunity of appearing in Japan for concerts, then with Jazz at the Philharmonic. When Norman terminated his concert tours with JATP, he encouraged me to continue my global performances, and of course Japan was part of that. I have managed over these years to divide my visits to Japan between some nightclub appearances, in jazz clubs there, and also concerts. This year my office received a call from Yamaha Music asking me if I would consent to performing dual concerts with a young lady who they have been very interested in pianistically. I am referring to Hiromi Uehara. I had the opportunity of meeting Hiromi a couple of years ago when she conducted a seminar at the Yamaha School of Music here in Toronto. I found her to be a most gifted pianist, in my view, and admired the way that she immediately attained a rapport with the students at the Yamaha School of Music in Toronto. I marveled immediately at her command of the instrument, along with her harmonic ideas and unbridled technical control. She visited at my home shortly after this and we became musical friends. I consented to the suggestion that I allow her to play the first half of my concerts on the Japanese tour.
It is one thing to hear a person once on an instrument, and yet another thing altogether to hear them nightly. I made certain to listen to her as she performed the opening of each of my concerts, and once again marveled at her command of the instrument and unbridled love of the music she was playing. She records for Telarc Records, and has exhibited the same amount of musical integrity and harmonic curiosity. I look forward to watching this young talent of hers as it grows and matures in the musical field. I had the privilege of meeting her mother and father one night in Tokyo after the concert, and tried to impart to them how pleased I was with her musical talent.

My quartet performed the second half of each program, and we were more than pleased to receive the warm ovations that we did. Most noticeable was the immediate reaction and love of our new percussionist, Alvin Queen, who musically delighted our audiences (along with us) and the reviewers. His unbridled lust for supporting the quartet seemingly came through to our listeners, and we all had to marvel at the enthusiastic and loving response of our audiences throughout the tour.

I can only hope that the tour has opened up a new path for Hiromi, and I look forward to hearing more accolades about her as we move along in our musical careers. Thank you, Hiromi, not only for your great musical talent, but also for your wonderful personality and warmth.

Hiromi Uehara and Oscar Peterson in Japan, 2004.

Upon my return from the tour of Japan, I was summoned to Ottawa to receive an award from the University of Ottawa, honoring me as a Distinguished Canadian Leader. It was a marvelous evening, which was enhanced for me, selfishly speaking, with the opportunity of visiting with dear friends of mine, our former Prime Minister Jean Chretien and his wife Aline, who were seated at the same table as yours truly. During the evening, before the ceremonies, we were able to trade stories and renew our friendship. I was being honored along with the Chief Justice of the Supreme Court of Canada, Beverly MacLachlan, and Lieutenant-General Romeo Dallaire, which was an honor in itself. I listened interestedly to the acceptance speeches that preceded the award presentation to me.

The ceremonies were being held in the National Gallery of Canada. Due to the fact that I use a wheelchair quite a bit of the time at this point in my life (and due to my bout with arthritis), they were kind enough to build a ramp leading to the stage, for my convenience. When the time came due for the presentation to me, they notified my table that I would be the next recipient, at which time Prime Minister Chretien declared, "I'll push Oscar's chair!" I embarrassedly tried to dissuade him from this venture, but he insisted. And so when they called my name, he proceeded to push my chair up a ramp that must have been at least 25 to 30 feet long, uphill to the stage. I still can't believe this took place! The former Prime Minister of Canada pushing my wheelchair up this ramp to the podium! We have been friends for quite a few years now, and have admired each other's accomplishments in our different fields. I don't know what made me do it, but for some reason when they gave me the hand mic and the applause from the audience subsided, the first words out of my mouth were, "And people say you just can't get good help these days!" There was a roar of laughter, which immediately made me realize what I had blurted out unknowingly, however being aware that Prime Minister Chretien has a great sense of humor, I knew that he would take it in the joking manner it was intended. People were still giggling when I came back to the table, and embarrassedly took my seat next to him and his wife. I love Aline and Jean Chretien, and have been an admirer of Prime Minister Chretien's political prowess over his terms as Canada's Prime Minister. I can only say that I have been so comfortable with our friendship that I can still laugh at this unrehearsed quip. Thank you, Mr. Prime Minister, for your sense of humor.

From left to right: Rector of the University of Ottawa Dr. Gilles Patry, Aline Chretien, Kelly and Oscar Peterson and former Prime Minister Jean Chretien at the Distinguished Canadian Leadership Awards.
Photo courtesy of Robert Lacombe

Although the word genius over the past years, and most certainly in the Jazz field, has been bantered about sometimes superfluously, there is one name in my opinion that totally epitomizes the true meaning of this salutation. I am posting a copy of a small tribute that I wrote about my biggest influence and idol in the jazz field, Art Tatum. I have asked another musical giant, Hank Jones, to read it in my stead at the induction ceremony into the Ertegun Hall of Fame, in New York City. I have intended in the past while to devote a segment of my Musical Moments to my idol, Art Tatum, and still intend to do so. In the meantime, allow me to enclose the tribute that Hank Jones generously agreed to read in my absence at the ceremony (due to my tour of Japan). Needless to say, it will not be difficult for me to enlarge on the small tribute I paid to Art that night, and I intend to do so in the hope that any young pianists following me will get the impetus that they may need, and that I have had just from hearing and knowing this man, to become better jazz pianists. I'll leave you now to fulfill my own tribute intentions.
TRIBUTE TO MY MENTOR
(read on September, 30, 2004)

There aren't any words that I can utter that will ever fully describe the immensity of Art Tatum's talent. I truly feel that he was touched by God in a special way, unknown to all of us. Although I feared him when I first heard him in my earlier childhood years, I grew to understand, the more that I listened, that God had laid His hand upon this man. To me Art Tatum was not just another Jazz pianist, but in reality an extension of the instrument itself, enabling him to produce musical improvisations that few, if any, players, including yours truly, could envision themselves inventing. Musically speaking, he was and is my musical God, and I feel honored to remain one of his humbly devoted disciples. May our God bless you, Art.

©2004 Oscar Peterson

It takes a tremendous amount of musical genius, in my estimation, to be dubbed a "King" by other world-renowned musicians. This is the title that Benny Carter wore with great dignity during his musical lifetime. It was unanimously given to him by the majority of world-class and well-known Jazz musicians. Let me say here that he wore his coronation with great musical talents and personal dignity and warmth. Whenever a musician such as Benny is awarded this title by musicians with credentials such as Duke Ellington, Dizzy Gillespie, Ben Webster, Roy Eldridge and on and on, it is viewed in the Jazz community as a creditable salutation of unequivocal musical talent, and a justifiable coronation.

Benny Carter wore this crown to his last day here on Earth with profound dignity and aplomb. I was honored not only to have known him as a friend, but most certainly as a musical genius. Needless to say, I was deeply moved when I was presented with the Three Key Award in 1995 in Bern, Switzerland at the same event that Benny received his. The reverence that was accorded this man was noticeably present at any and all concerts and record dates that I was fortunate to be a part of with him. On various recording sessions and concerts whenever musical questions arose from the front line of Jazz at the Phil, for instance (the horns), they would inevitably await a solution to the musical problem from Benny, the King. He has had a tremendous effect on various players and arrangers. One very noticeable disciple, amongst others, of his musical teachings is none other than the great Jazz drummer, Louie Bellson, whose arranging skills are well-known and respected throughout the Jazz world. Benny not only enjoyed an improvisational talent on saxophone and trumpet, but his musical talent was so expansive that it covered the world of orchestration not only in the field of Jazz, but also throughout the television, movie and radio fields.

I personally have enjoyed his friendship and musical genius throughout my career, and feel that his presence will always be felt as long as Jazz lives, which hopefully is forever. We will miss you, Benny, with your quiet yet authoritative musical direction that we were all blessed with in your lifetime. I personally thank you, also, for your wonderful compositions, a few of which I have had the honor of playing from time to time. Your carriage as a human being is the kind of form that many of us in the Jazz world not only recognized, but have also tried, unsuccessfully I might add, to emulate. I feel that the friendship that we have had through the years has helped to bolster my ongoing belief that Jazz will never die as long as players consult and digest some of the musical lessons that you have left for us. God bless you, King.

Uncle Benny and Celine Peterson









"King" and Oscar Peterson