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Oscar Peterson: the Will to Swing. by Gene Lees. Updated Ed.; New York: Cooper Square Press, 2000

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Oscar Peterson: the Will to Swing. by Gene Lees. Updated Ed.; New York: Cooper Square Press, 2000 Oscar Peterson: The Will to Swing. By Gene Lees. Updated ed.; New York: Cooper Square Press, 2000. 334 p. Paperback. ISBN 0-8 154- 1021-2 $28.25 Gene Lees is a multi-talented expatriate models, but is instead a friendly, sensitive, Canadian jazz singer, lyricist ("Waltz for subjective treatment which draws a Debbie," "Quiet Night of Quiet Stars"), sympathetic portrait without falling into the journalist, editor (currently of the highly territory of promotional or fan-mag copy. regarded Jazzletter, formerly of Down Beat Lees is a master story-teller who tells Oscar magazine), and the author of over a dozen Peterson's story via the gigs he has played books. The hallmarks of his writing are and the people who have played with him, a thorough research, deep knowledge and veritable Who's Who of jazz greats. It appreciation of his subjects, and a delivery unfolds in a series of tableaux focused on which is informative without being scholarly, aspects of jazz and on well-known jazz and relaxed yet full of elan. Oscar Peterson: personalities, from Norman Granz, who gave neWill to Swing is based on numerous taped Peterson his first break in the big-time, to Ray interviews, a wealth of documentation, Brown, the bassist who has played in several including concert reviews and lengthier of Peterson's ensembles, to Ella Fitzgerald, newspaper and magazine treatments from Louis Armstrong, Art Tatum, Dizzy Gillespie, throughout Peterson's career, and sources and on and on. Peterson is the thread which such as archival tapes of early CBC joins it all together. broadcasts by Peterson and the unpublished autobiography of Lou Hooper, an American The writing is unpredictable, almost I jazz pianist who taught Peterson in Montreal. improvisational, and the text is full of elaborations and digressions from the narrative flow, some of which make for This book is by turns informed, insightful, fascinating side trips while others are less deep, touching, and masterful. It draws successful, even intrusive. For example, reactions from the reader ranging from belly while the two-page primer on what to Lees laughs at some of the practical jokes Peterson constitutes jazz and swing, in the chapter and his colleagues, including Lees, have entitled "A Rich Tradition," is a model of played on each other, to pathos at the portraits succinct and pertinent information, of some of the musicians, such as the tenor particularly for the uninitiated, the riff on saxophonistLester "Prez" Young. The author equal temperament and the origins of the first met Peterson in 195 1, when a barber in piano in the same chapter seems a little forced Hamilton, Ontario, Lees's home town, refused and coincidentally implies that the Bach who to cut the pianist's hair because he was black. worked for Frederick the Great wrote the Lees covered the story for the Hamilton Well-Tempered Clavier. Oops! Spectator, and he and Peterson became fast friends. While Lees shows obvious respect Though such errors are rare, I found the and affection for Peterson in this text, it is not discursive approach, which showcases Lees's an authorized or "official" biography. It is encyclopedic knowledge of music, musicians, also not a critical biography written from a and other topics (including William Blake and quasi-objective point of view. Northrop Frye) left in question some of the author's choices of chapter headings. One Perhaps befitting the jazz subject, it that comes to mind, entitled "Service to conforms to none of the standard biographical Canada," covers Peterson's lobbying efforts to encourage greater minority representation At times the writing is quirky and in media advertising and ends by listing argumentative. Based presumably on the fact honours, both Canadian and foreign, he has that Oscar Peterson, the trumpeter Maynard received. Unless I missed it, the chapter Ferguson, the trombonist Butch Watanabe, never did get to Peterson's service to Canada, and others who went on to play professionally per se, which ostensibly should include some all attended Montreal High School, Lees mention of his teaching and mentoring, and contends that a "grade 10 education there his many efforts to foster music (and gave a student a better background than a specificallyjazz) education in the country. couple of years in some U.S. universities." There are also spirited rebuttals of the The book also lacks in-depth analysis of treatment Peterson has received at the hands the musical dimension of Peterson's career of music critics who accuse him of empty from the author's perspective: for example, a virtuosity and a lack of originality. discussion of the pianist's evolution from a boogie-woogie-playing heart-throb for Then there is the topic of racism. Given Montreal teens to the ranks of international the circumstances of Lees' first encounter stardom. When the discussion does turn to with Peterson, the backdrop of racial things musical, Lees the journalist generally prejudice which led the CBC to refer to prefers to quote others and then react to their Peterson in the 1940s as "the Brown Bomber statements. While he does examine some of Boogie-Woogie" and the management of larger ethical and aesthetic issues surrounding the Ritz Carleton Hotel in Montreal to jazz criticism, and such topics as Peterson's demand that the bandleader, Johnny Holmes, commitment to touring for many years and the drop Peterson from an engagement there (he dangers of over-exposure, he left the pianist's refused), and the blatant discrimination personal life outside the scope of this study. experienced by Peterson and other black Marrying four times and fathering seven musicians touring with Granz's Jazz at the children presumably taught Peterson some Philharmonic ensembles in the U.S. in the hard lessons about the conflicting demands of 1950s, it was to be expected that Lees would career and family, but the biographer avoids not ignore this issue. He may have ended up those issues completely. devoting too much space to it, or perhaps too much effort, as I think he also does defending He also bypasses other territory one might Peterson from the critics. Peterson himself have expected to find in a biography of has preferred to work behind the scenes for Peterson. For example, though ample many years, fund-raising, letter-writing, coverage is afforded such perennial Peterson lobbying, and in other constructive ways to collaborators as his long-time manager mitigate the effects of earlier discriminatory Norman Granz, his first guitarist Herb Ellis, attitudes and policies. Airing grievances in the drummer Ed Thigpen, and Ray Brown, public is not Peterson's style. mentioned above, there is little coverage of his collaborations with others, including the This "updated edition" (the book was Danish bassist Niels-Henning 0rsted originally published in 1988) contains one Pedersen, with whom Peterson has worked a textual amendation and a new chapter which great deal since the early 1970s, the guitarist covers events in Peterson's life for the past Joe Pass, the drummer Bobby Durham, and twelve years, including his appointment as others who have worked with him in the past chancellor of Toronto's York University, his 25 years. stroke and partial recovery, and a cancelled North American big-band tour. While the original parts of the book are richly detailed the bookshelves of all fans of Oscar Peterson. and obviously based on many hours spent It covers a lot of temtory and, through with Peterson, as well as with his colleagues, meticulous cross-checking, sets the record family, and friends, one gets the strong straight on several episodes in Peterson's life, impression fiom the new final chapter that including his "discovery" by Granz. Lees's there was no contact between the author and coverage of the little-known Black Forest his subject concerning that material. Old interlude in the pianist's career is particularly issues, such as Peterson versus the critics, are fascinating, as it gives the reader greater rehashed, and the new events in his life are insight into the private person whose career covered from a third-person perspective has been so public. Most of all, the writer's lacking the impact of personal communication assertive confidence and craft make this book between Lees and the pianist. One wonders if a great read. One could say that it is the prose there has been a falling out between the old equivalent of a fine performance by such friends, or whether the new chapter was masterful swing artists as the Count Basie hastily produced and busy schedules did not Band or the Oscar Peterson Trio: "grooving" allow for timely interaction between them. easily just slightly behind a rock-solid beat, Whatever the case, it disappoints by not but capable of breaking out at any moment in maintaining the personal perspective of the muscular "shout" choruses that quickly original text, and by not giving a definitive transform an audience's reaction fiom quiet explanation of the cancelled Swing Magic toe-tapping to lusty cheers. For the territory tour, which resulted in serious financial losses this book covers, and for the style in which for several people and the loss of friends by Gene Lees covers it, he deserves a standing Peterson. "0." Despite such shortcomings, this S. Timothy Maloney biography is a warm tribute by one Canadian Music Division virtuoso to another, and it merits a place on National Library of Canada .
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