![]() He made his first recorded set of unaccompanied piano solos in 1968 (strange that Norman Granz had not thought of it) during his highly rated series of MPS recordings. In 1960, Oscar Peterson established the Advanced School of Contemporary Music in Toronto, which lasted for three years. Later versions of the group featured drummers Louis Hayes (1965-66), Bobby Durham (1967-70), Ray Price (1970) and bassists Sam Jones (1966-70) and George Mraz (1970). In contrast to the earlier group, the Peterson-Brown-Thigpen Trio (which lasted until 1965) found the pianist easily the dominant soloist. In 1958, when Ellis left the band, it was decided that no other guitarist could fill in so well, and he was replaced (after a brief stint by Gene Gammage) by drummer Ed Thigpen. Their complex yet swinging arrangements were competitive - Ellis and Brown were always trying to outwit and push the pianist - and consistently exciting. The Peterson-Ellis-Brown Trio, which often toured with JATP, was one of jazz’s great combos from 1953-58. Kessel tired of the road and was replaced by Herb Ellis the following year. Peterson’s talents were quite obvious, and he became a household name in 1952 when he formed a trio with guitarist Barney Kessel and Brown. Peterson was recorded in 1950 on a series of duets with either Ray Brown or Major Holley on bass his version of “Tenderly” became a hit. Norman Granz discovered Peterson in 1949 and soon presented him as a surprise guest at a Jazz at the Philharmonic concert. His technique was quite brilliant even at that early stage, and although he had not yet been touched by the influence of bop, he was already a very impressive player. Those trio performances find Peterson displaying a love for boogie-woogie, which he would soon discard, and the swing style of Teddy Wilson and Nat King Cole. From 1945-49, he recorded 32 selections for Victor in Montreal. Peterson picked up early experience as a teenager playing with Johnny Holmes’ Orchestra. After winning a talent show at 14, he began starring on a weekly radio show in Montreal. Oscar Peterson started classical piano lessons when he was six and developed quickly. Not all are essential, and a few are routine, but the great majority are quite excellent, and there are dozens of classics. Because he was Norman Granz’s favorite pianist (along with Tatum) and the producer tended to record some of his artists excessively, Peterson has made an incredible number of albums. As with Johnny Hodges and Thelonious Monk, to name two, Peterson spent his career growing within his style rather than making any major changes once his approach was set, certainly an acceptable way to handle one’s career. Perhaps it is because critics ran out of favorable adjectives to use early in his career certainly it can be said that Peterson plays 100 notes when other pianists might use ten, but all 100 usually fit, and there is nothing wrong with showing off technique when it serves the music. Peterson has been criticized through the years because he uses so many notes, has not evolved much since the 1950s, and has recorded a remarkable number of albums. Like Erroll Garner and George Shearing, Peterson’s distinctive playing formed during the mid- to late-’40s and fell somewhere between swing and bop. His original style does not fall into any specific idiom. is at his absolute best when performing unaccompanied solos. Very effective in small groups, jam sessions and in accompanying singers, O.P. A pianist with phenomenal technique on the level of his idol, Art Tatum, Peterson’s speed, dexterity and ability to swing at any tempo have long been amazing. But even then the paintings seem to have soul.Oscar Peterson is one of the greatest piano players of all time. Most of the paintings are of figures, often looking away from you, rather than into you. Very expressive, very emotional," Zona says as we tour the silent gallery before the museum opens for the day. "But in all they’re just beautifully done, beautifully accomplished works. ![]() It's vivid, harsh and even grotesque at times. The artwork, which spans nearly his entire music career, is far from nostalgic. Louis Zona, the director of the Butler Institute of American Art, leads me to an upstairs gallery filled with dozens of Mellencamp's large oil paintings. If you're like me, you're picturing some kind of Norman Rockwell type Americana. Hum a John Mellencamp tune in your head and try to imagine what his artwork might look like. ![]() On this week’s State of the Arts, WKSU’s Mark Arehart takes us to the Butler Institute in Youngstown for a look at the rocker’s newest exhibit. But unbeknownst to many he’s dovetailed his music career with work as an accomplished painter. John Mellencamp has been making music and touring since the 1970s.
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