In “Jazz at the Philharmonic”,
with Norman Granz (1950s)
|Birth name||Oscar Emmanuel Peterson|
August 15, 1925|
Montreal, Quebec, Canada
|Died||December 23, 2007
Mississauga, Ontario, Canada
|Genres||Jazz, bebop, hard bop, third stream, blues|
|Instruments||Piano, clavichord, electric piano, synthesizer, organ, vocals|
|Labels||RCA Victor, Mercury, MPS, Pablo, Telarc, Verve|
|Associated acts||Louis Armstrong, Count Basie, Ray Brown, Clark Terry, Roy Eldridge, Herb Ellis, Ella Fitzgerald, Dizzy Gillespie, Norman Granz, Benny Green, Coleman Hawkins, Barney Kessel, Milt Jackson, Niels-Henning Ã˜rsted Pedersen, Joe Pass, Ben Webster|
I don't do something because I think it will sell 30 million albums. I couldn't care less. If it sells one, it sells one.
We're not like pop musicians who have to perform the same top ten tunes every night of a tour.
You not only have to know your own instrument, you must know the others and how to back them up at all times. That's jazz.
The music field was the first to break down racial barriers, because in order to play together, you have to love the people you are playing with, and if you have any racial inhibitions, you wouldn't be able to do that.
I don't believe that a lot of the things I hear on the air today are going to be played for as long a time as Coleman Hawkins records or Brahms concertos.
Some people try to get very philosophical and cerebral about what they're trying to say with jazz. You don't need any prologues, you just play.
I believe in using the entire piano as a single instrument capable of expressing every possible musical idea.
It's the group sound that's important, even when you're playing a solo.
Too many jazz pianists limit themselves to a personal style, a trademark, so to speak. They confine themselves to one type of playing.