Due to the fact that for the most part I have been usually and happily part of many of what I refer to as "Musical Moments in My Life," I was more than overtaken and awed by an email that I received on my recent return from Europe. It was in reality a recording of an interview in Japan between Kamasami Kong (the interviewer) and Stevie Wonder (the interviewed). I was taken aback by Stevie's emotional reaction when he was queried about me. Mr. Kong had several years ago interviewed me and had questioned me about my feelings pertaining to Stevie Wonder. I replied saying that "...at a time when music was changing for the young people, Stevie took music in another direction without prostituting it." This was just part of my response to the various questions he asked me about Stevie.
He also included a recording that, to say the least, stirred me so greatly by Stevie's comments on me, that I was totally taken aback!

The emotion in Stevie's voice was enough to almost tell me what he was about to say. I listened in shocked humility as he described his feeling about me, my playing and his exuberance and insistent need to meet me. I can think of no greater musical salute to me than this. I feel this last sentence should reveal my love and respect for Stevie's talents, and for Stevie as a human being. What he has done over the past years for music with his talents and virtuosity truly cannot be honestly evaluated here, except to say that I thank God that he took music down the path that he was walking. I want Stevie to know that he is one of God's gifts to the musical world, and I thank the Lord for him.

Needless to say, our readers and any other jazz lovers and followers have certainly been made aware of the unfortunate passing of a most gifted bassist, Niels-Henning Orsted Pedersen. Those listeners that have followed my career in jazz have certainly been aware of this unexpected and crippling loss to me and the other members of my quartet. I am certain that many, many followers of ours wondered in their own minds how we would overcome this unexpected and tragic blow with the passing of this great bassist and wonderful person.
It unexpectedly came to my mind that perhaps it was time to call on a gentleman whose musical talents and personality I have always enjoyed. I am referring to the Canadian bassist David Young.

David has been known, not only in Canadian music circles but because of his various travels in other countries, to be a more than talented bassist and a great guy. Without giving it too much thought, I immediately called on Dave to stand in the now empty bass position in my quartet. This was a decision that was made without any second thoughts due to the fact that David and I have worked and recorded together at earlier periods in my career. Happily, he responded unhesitatingly, and immediately agreed to join us. For those of you who may not be familiar with David's work, let me say this: David has stepped into a line of heavy jazz bass tradition that has preceded him. It is no easy task to follow the musical offerings of bassists such as Sam Jones, Ray Brown and Niels-Henning Pedersen. I cannot think of too many other bassists that would have the courage and, needless to say, the talent to walk in those musical footsteps! Unhesitatingly, David acquiesced to my invitation to him to join my quartet with the result that he has been able to do this without creating any musical rancour within the group, but rather operated as a musical healant to the three of us that remained.

I would like to take this moment to publicly thank this very gifted bassist and wonderful person for helping to ease the pain of our tragic loss. David, I publicly appreciate the healant that you have been to our group, which was mired in sadness and apprehension with Niels' passing, along with a new sense of purpose and determination to continue with the musical intent that Niels would have been a part of had he not left us. On behalf of Ulf Wakenius, Alvin Queen and yours truly, we thank you publicly for being there for us.

--- OP, Ulf and Alvin

My heart is heavy and yet grateful and happy. Heavy with the realization that Niels-Henning Orsted Pedersen has left this earth; happy with the thought that this gifted brother and fellow musician did not suffer with a delayed departure filled with pain and remorse.
From the first night that my dear friend Audrey Genovese of Chicago played a Dexter Gordon record that featured Niels Pedersen on bass, I realized that this musical giant and I might someday have the pleasure and occasion of not just meeting, but also playing together. After hearing this phenomenal talent on bass, I realized that somehow, someday we should meet, thereby giving me the opportunity to also play with him. This vision and thought took place in the early 1970s, when I was fortunate enough to be able to invite him to join my then trio. This came about due to the fact that the bassist I was using at that time could not return to his home country in Europe because he was worried that he would be interred by the Soviet Union, due to his behavior at some embassy function. Norman Granz entered the picture, and with his usual directional thinking, simply said, "Why don't you use Niels Pedersen?" for an upcoming concert that my group had in one of the then Iron Curtain countries. Norman contacted Niels and reached an agreement for him to do that one particular concert behind the Curtain, thereby alleviating any chance of political upheaval. I vividly remember Niels stepping in without any fanfare (or rehearsal) for that particular concert. This turned out to be a totally impromptu performance. I selected tunes that I had obtained an OK from Niels about, and believe it or not, we managed to have a wonderful performance that evening, filled with exciting spontaneity and musical searching into each other's jazz thinkings.

After the concert, I immediately thanked Niels and told him how much I enjoyed playing with him, even considering the unexpected spontaneity that we had to work through. The audience seemed to have really enjoyed the evening. The following day I called Norman and apparently was overly excited about the immediate cohesion that took place between Niels and myself the evening before. With his usual ad lib and spontaneous reaction, Norman simply said, "If it was that good to play with him, why don't you use him as your regular bassist?" Needless to say, I am happy that this took place, and Niels has remained in my group until his recent unfortunate passing. Allow me to express my reaction to his playing this way: first and foremost, he never got in my way, but in reality virtually had such a great musical perception of what I was trying to do that he served to greatly inspire me from a spontaneous aspect. I came off walking on Cloud 3000 that evening because of Niels' musical contribution. He had the most phenomenal technique, coupled with incredible harmonic perception, along with impeccable time. I shall never forget that evening.

Almost from that evening on, we became very close friends, not just musically but most certainly personally, for I developed a great admiration for the depth of Niels' political, geographical and personal understandings. He was a man that had an almost unbelievable wealth of historic cognizance pertaining to European history. He also had a very kindred spirit as a human being, always able to easily make good friends, should he care to do so. People in general that got to know Niels the man, grew to love him apart from his unbelievable musical talent and dexterity on his instrument. I think I can afford to make this kind of evaluation of him, for I have had the good fortune to have played with some of the other great bassists in jazz over time. I used to marvel at the respect and love (and almost musical fear) that I saw in some of jazz's best bassists whenever they were around Niels. One point that I must make here that perhaps is not known by many people, is that Niels could also play the piano (many times sitting in for me in the pre-concert sound checks). I know he had a great love for the piano, which we saw when on a visit to the Boesendorfer piano showroom, he was lovingly impressed with the Boesendorfer grand that I eventually picked out as my own choice.

Over time, I dubbed (and announced him) as The Viking. He seemed to enjoy this title, and for some reason it stuck to him.

I have had the opportunity of having played with and used some of jazz's best bassists (ie. Sam Jones, Major Holley, and of course Ray Brown). Niels and Ray became fast friends and had a great love and respect for each other. This may seem odd in that they were basically both operating in the same musical medium. I can now say, though I have been asked numerous times before, which of the two I preferred. I can easily answer that query by saying I would have been equally happy for whichever of the two were part of my group at the time. I see no reason to go into some of the musical idiosyncrasies of either of these great players, but I can say that individually they have left an indestructible path and indelible guidelines for all of the future bassists of jazz. Niels-Henning was a player of unbelievable talent and dexterity, but selfishly speaking, personally, he became my closest friend and brother, and I shall never forget him or his talent. God bless you, Niels, and may you brighten up the musical world in Heaven as you have done on this earth.

During the earlier years of my trios, Norman Granz (my friend, mentor and personal manager) decided to book the Trio into the London House in Chicago. In its earlier years, and from what I gain from other jazz players, the London House, certainly during the fifties and sixties, was THE jazz room in Chicago. It was not only a new venture for me, but it also served to introduce me to a person who I became totally involved with musically and personally. I am referring to Audrey Morris, the vocalist. This lady with the mellow and emotional voice and lyrical understanding of tunes came into my life and shared the stage at the London House with me for many years. I became very close with Audrey and her husband Stuart, and would nightly marvel at the very personal, emotional, musical and lyrical reading of the various tunes that she performed. Not only I, but also the other members of my group, would sit countless nights after our performances and marvel not only at her musical interpretation of these songs, but most certainly the very personal and truthful reading she would give to the lyrics. I became very friendly with Audrey and her then husband Stuart, and had the great privilege of being their houseguest numerous nights over the years, during which we would share some incredible musical moments and reminiscences. Just recently I was informed that the City of Chicago was honoring Audrey Morris, and I was invited to attend this salutation to her. Unfortunately, on the plane home from the Far East, I caught the flu from another passenger, and was unable to pay tribute to her in person, along with all the other guests of the evening. In my disappointment in realizing that I would not be able to be there, I decided to write an honest salutation to this most musical lady whom I have admired and loved all these years. My wife Kelly forwarded the script to the Department of Cultural Affairs of the City of Chicago and requested that someone read it to the audience in my absence. I have loved Audrey Morris for many years, and shared this love with her late husband, Stuart Genovese, who some time ago passed away. I can only hope that the words that I composed to be read at the event in a small way let all those attending know how much I love Audrey Morris, not only as a wonderful artist, but more personally as a person (my Chicago landlady). Chicago, you are blessed by her presence and talent.




November 12, 2004
Dear Audrey,
First and foremost, let me apologize to you and the City of Chicago for my absence due to a recent bout of flu, which I have been fighting off. I'm writing this in the hope that someone will take the time to read it at this most special event for you.

I still vividly remember the first time I heard you in the now-defunct London House. I was immediately struck by the immense warmth and musical tonality that you had naturally throughout your performance. I honestly feel that over these years you have become in essence a musical monument for the city of Chicago. The musical gift that you have given to this city and to its visitors has been nothing but humungous. I must say that over the years whenever I looked over my upcoming itinerary and saw the London House on it, I would get the warmest of musical feelings immediately, and would always treasure the anticipation that went with it. Chicago has benefited from your musical talents, as I have. I learned a lot, sharing the bill at the London House with you, about approaching ballad playing and trying to interpret the meaning of its lyrics through the piano and my group. You may not know it, but you have been held in great esteem by the various members of the jazz world that have appeared with you in the London House, including yours truly. All I can say is, Chicago be proud, for Audrey is in the house.

All my love,
Oscar Peterson

To say that I am saddened by the untimely passing of Barney Kessel would have to be the understatement of mine of 2004. I have been aware of Barney's fight to survive from a major stroke, only to be shackled by cancer of his brain. To me his loss is monumental in the Jazz world.
I was first and foremost a fan and admirer of his from his earlier recordings with various west coast groups. It was an unbelievable and inspiring occasion for me when he took his place in my trio. To this day I vividly remember his joining the group and on the first night, laying waste to me. Ray Brown loved the occasion of me getting wasted on our first night as a trio, and immediately started a campaign of fear by continually asking me throughout the evening what I was going to do about this new threat that now occupied the guitar chair in our group. After each of Barney's solos in various tunes throughout our first night, Ray would look at me and hit me with queries such as, "What are you going to do with that, Pete?" Or, "Looks like you're going to be in deep water every night." I immediately realized that there was an awful lot of ominous truth in what Raymond was using as his points of musical instigation. All I can remember, at the end of the first night together, is Barney's joyous facial expression when he jubilantly said to me (with that Oklahoma accent), "Oscar, this was better than sex!" Needless to say, I realized at the end of that evening that I was facing an exuberant, overjoyed and caged member of my group. In truth, Barney's fervor and musical talent served to continuously spur my group on to a different and higher level, so to speak, due to his musical presence. When he left the group, needless to say, we felt a tremendous loss. Not only of his musical and inspiring solos, but also his most exuberant guitar "shouts" that he would use behind me at various times during my solos. To say that we missed Barney on his departure from the group would be a tremendous understatement. Barney had a type of almost childlike innocence on various matters that arose from time to time in discussion. We missed this gentle musical genius when he returned to L.A. We shall miss him even more now that he has left our planet for a place beyond our human reach at this moment.

God bless you, Barney, and I hope that you and Ray have great fun and musical pleasure together.

Some years ago, shortly before the arrival of Christmas, I received a package at my home, in Toronto at the time. To my surprise, it turned out to be a gift of a CD.
Some years before this occurrence I became friendly with Gene Puerling and his wife Helen through very close friends of mine in Chicago, Audrey and Stuart Genovese. We had at various times, when I was appearing at the London House, spent many evenings listening to various recordings by the then Hi-Los and enjoying each other's company.

Upon opening the package, it turned out to be a CD with no label. Once I recognized that it was from Gene and Helen Puerling, I opened it and proceeded to play the CD out of curiosity. To my surprise, I was immediately immersed in some of the most wonderfully harmonic and musically performed Christmas carols. At the conclusion of the musical part of the CD, there was a Christmas salutation from Bonnie Herman, Don Shelton, Gene Puerling and Len Dresslar, The Singers Unlimited.

I must have played that CD thirty or forty times in total disbelief of the wonderfully musical and interpretative harmonic structuring that the Singers applied to each Christmas carol on the CD.

I was so overjoyed and heightened by this unexpected performance of musical taste and ability, that I could not resist playing the CD for any visitors to my home during and after the Christmas season.

I would insist (upon friends visiting) that we all had to sit down and listen to the CD from beginning to end. I was so moved and inspired by this wonderful musical awakening that I decided that a friend of mine should be made aware of this immense musical talent. I immediately got on the phone and called up Hans-Georg Brunner Schwer (the then head of MPS Records). He insisted, due to my emotional trauma, that I send him a copy of the album. This I did, and about three days later I received a phone call from Hans-Georg. The conversation went something like this: - Hans-Georg: "Oscar, who is this group? I must have them! Please get them for me. I must have them on MPS Records."

I made hurried calls to Gene and asked him to immediately get in touch with Hans-Georg. Happily he did this, and this phone call resulted in a series of what I consider some of the most talented and musically enlightening vocals by the now Singers Unlimited, structured by the humongous talents of Gene Puerling, with his wonderful voicings and harmonic genius.

There is an unspoken procedure that takes place in my home each and every Christmas season. On the day that we decorate our Christmas tree, it is done to the inspiring and wonderful music of the Singers Unlimited Christmas album. I consider this to be one of the highlights of my musical career: simply having had the good luck to in some small way help in bringing this talented group's Christmas salutation to the world. If you haven't heard the album, in my opinion, you have missed a major part of Christmas.

The date of September 10, 2003 became what undoubtedly has to be the most rewarding and memorable date of my career. With all due respects and thanks to all of the various sources and organizations that over the span of my career so far have honored me and presented me with various honorariums, this honor by the City of Mississauga (my home) has to be the most rewarding and unforgettable honor of my career. This is my home. This is the place that I have repeatedly returned to after various tours, recording sessions, festivals and award ceremonies throughout the years and the world. It is difficult to find suitable words to describe the sensation of being appreciated not only by my neighbors in the city, but also by my peers in the jazz world who chose to inconvenience themselves, unselfishly, to honor me on this unforgettable date in my life.
Our mayor in Mississauga is a lady who is revered, loved and respected by her constituents, and most certainly yours truly. Over time she has somehow managed to make Mississauga not just a wonderful city to live in, but also a place to be proud of and brag about throughout the world. She and members of her Council, along with Ron Duquette, collaborated on a tremendous day dedicated to showing me their pride and appreciation for my efforts in the Jazz world. The ceremonies opened with them presenting me with a plaque that read "Oscar Peterson Boulevard," confirming that they intended to name a street in Mississauga after me. This was done at City Hall by the mayor and her staff in the auditorium filled with very emotional and heartwarming people.

That evening they presented me with a beautiful trophy, making me the first inductee into the Mississauga Arts Hall of Fame. What a glorious evening it was indeed. It glittered with some unbelievable talents in the Jazz world. Dave Young, a bassist and friend, whose talents and friendship and love I have enjoyed over the years. Oliver Jones, who needs no introduction due to his numerous well-loved recordings and festival appearances throughout the years. Renee Rosnes, a gifted Jazz pianist in her own right, who stunned me once with her musical reading and revamping of one of my compositions at an affair hosted by the Royal Conservatory. That evening remains inscribed in my memory by her sensitive and harmonically diverse approach to playing my composition, Ballad to the East. I will never forget that young Jamaican pianistic giant, Monty Alexander, who stunned the Hall with a beautiful rendition of his composition, Sweet Lady, along with Johnny Mandel's great composition, Close Enough For Love (which only Monty could play), and closing his segment with a heartwarming reading of my Hymn to Freedom. Thank you, Monty. Benny Green and Russell Malone, two young talents in the Jazz world, who performed a beautiful duo tribute to me. Jeff Hamilton, a tremendously gifted Jazz percussionist, who earlier in the years graced the drum seat in my quartet, and on this night gave a brilliant performance of Duke Ellington's Caravan, playing his drums as melodic instruments in the front line of Duke's orchestra. The dancers from the Randolph Academy for the Performing Arts in Toronto drew an overwhelming response from the audience with an unforgettable and beautifully performed dance routine. Phil Nimmons, a close and dear friend and gifted clarinetist and composer and teacher, offered a musical tribute and remembrance to his dear wife, Noreen, and my former bassist and best friend, Ray Brown. Thank you, Phil. Carol Welsman, who gave a breathtaking performance, lyrically and harmonically, to a now-rejuvenated ballad: A Nightingale Sang in Berkeley Square. Lastly, Clark Terry, a leviathan of the Jazz world, who demonstrated to an awed audience his musical genius and skills, not only on his instrument, but also demonstrated his complete knowledge and control of his instrument, whether it be in its normal position or turned upside-down. This served to bring on a wave of disbelief and awe from the audience.

These wonderful artists' performances were prefaced by a very sensitive and intelligently put together reprise of my beginnings and pathway through the world of Jazz. I have only praise and thanks to Ron Duquette. I also must say a very grateful thanks to John Donabie of CFRB Radio, for his meaningful handling of the Master of Ceremonies spot for the evening.

I have never had the feelings that I experienced on this unforgettable evening of musical prowess and love by some of my peers. From the tremendous waves of applause from the audience, I can only close this by saying thank you, Mayor McCallion; thank you all who gave so unselfishly to what has been the most unforgettable honor of my career. Mississauga, happily, is my home and shall remain so.