Oscar Peterson TRANSCRIPTIONS OF CLASSIC RECORDINGS! INCLUDES BY. OSCAR =PETERSON AUDIO CDOscar Peterson Transcriptions of Classic Recordings SBEEREEEEFEEEEEEEFEEEFI By Oscar Peterson Transcriptions and Audio Performances by Miles Black SBREERREEEEREEREREREEEEEEECanadian Cataloguing in Publication Data Peterson, Oscar, 1925- Oscar Peterson, note for note [music] Composer and M. Black Canadian. Accompanied by compact disc containing performances of the transcriptions played by the pianist Miles Black. ISBN 0-9685120-0-3 1. Piano music (Jazz) I. Black, Miles, 1966- Il. Title, III. Title: Note for note. M22,P485083 1999 786.2165 €99-910471-3 All eights reserved. This book may not be reproduced or transmitted in any form or by any means, electronic or ‘mechanical, including photocopying, recording, or by any information storage and retrieval system, without prior ‘written permission from the Publisher, except inthe form of brief excerpts oF quotations forthe purpose of review: ‘The information contained herein is for the personal se ofthe reader and may not be incorporated into any com- ‘mercial work, of other books. Making copies ofthis book or any portion for any purpase other thaa your own is ‘iolation of International Copyright Laws. Credits Miles Black - Transcriptions and Audio Performances John Gittins - Editor Ken Gee (Artset Hamilton) - Copyist © Copyright notices Accompanying audio CD Oscar Peterson Note for Note All compositions by Oscar Peterson Ail compositions by Oscar Peterson Blues for Big Scotia Blues for Big Scotia © Lynnstorm Music and Tori Mu: All other musical compositions © Lynnstorm Music and Tomi Music Allother musical compositions Tomi Music tom Music Performances by Miles Black Transcriptions by Miles Black Performances © 1999 PQ Music Ine. Transriptions © 1999 2G asic In. and Miles Black and Miles Black Published by: BG: usic G Music Ine. Email: info@pgmusic.com Internet: www.pgmusic.com IAAA SAAS ASA AAA AAA AAA AA SATA AAA AAA AA AAA AAAOscar Peterson COs ae Transcriptions of Classic Recordings Table of Contents BEERE KBE BREE BBR RE RE EEE EEL Introduction PART I - Classic Originals: Blues for Big Scotia Chicago Blues Hogtown Blues + Night Time i Place St. Henri au ‘The Smudge L i PART Il - Oscar Peterson Plays The Blues: 4 Blues Etude 4 Blues of the Prairies + Gay's Blues 4 Greasy Blues a Kelly's Blues 4 Oscar’s Boogie + R.B. Blues a Riff Blues u Ron’s Blues a ‘Texas Blues b b aly 31 72 87 18 140 163 183 195 202 212 221 231 244 249 287 262Oscar Peterson NOTE FOR cu Transcriptions of Classic Recordings scar Emmanuel Peterson was bor August 15, 1925, in Montreal, Canada, the son of a railroad porter. By the age ‘contract. By 25 he had played Carnegie Hall, won the Downbeat Award for best Jazz Pianist, and embarked on his first world tout, The rest, as they sa, is history. of 20 he had a national reputation and a recor This book provides transcriptions of 18 of Oscar Peterson's piano solos — note-for-note renderings of his playing, taken Girectly from the original recordings. Accompanying the written transcriptions is an audio CD containing performances of these transcriptions played by the gifted Jazz pianist, Miles Black. The solos are divided into two groups: Oscar Peterson Classics and Oscar Peterson Blues, The first section, containing 8 of his best known original compositions, provides full transcriptions. The second section, which offers 10 original Blues compositions from his many recordings, gives partial transcriptions — right hand only, for the most part. This is the most extensive body of transcription of Oscar Peterson's work so far made available. The breadth of the selection is also remarkable. Here are Oscar Peterson performances that cover all the bases — from slow Blues to up tempo, even cighth to swing feel, boogie to mainstream, solo to group format — and that cover much of his career — the almost 50 years from Oscar's Boogie in 1947 to Ron’s Blues in 1995, Oscar Peterson's playing is legendary in its difficulty. Part of that difficulty is speed. Take, for example, Chicago Blues. The tempo is slow. Yet superimposed above are to be found complex improvised lines moving as fast as 16 notes per second! It is not just speed that challenges the transcriber. The harmonic richness and complexity of Oscar Peterson's playing is also considerable, His harmonic vocabulary is extensive, and his voicings many, varied, and subtle, often with unusual “fattening” pitches added for effect. Listen to the harmonic structure of Hogtown Blues. Finally, there is his rhythmic depth. Part of this involves his remarkable facility in sub-division and his use of large or otherwise unusual groupings. But part, too, is his powerful “swing” feel. tis a common misunderstanding that “swing” is, Sa ay oe i oe ei AL a a a a t T T T T T mT Tv T TT T rT rwhile hard to do and sustain, rhythmically ‘simple. On the contrary, effective swinging involves the management ot extremely small beat divisions and entails an extremely high degree of rhythmic mastery. Precise notation of its complexity has never been possible. As to notational conventions, most employed here, including the use of sectional lettering, are familiar. However, a more elaborate system of bar numbering has been used than is customary. Numbers at the top of systems are continuous, from the first to the final bar of the song. Numbers between or below staves, by contrast, are chorus-based. This makes it easy to locate oneself within a chorus and to compare material from the same place in different choruses, or even different songs. We hope you enjoy this opportunity to look inside some of the most exciting and demanding music of our century. ‘The EditorBEER REE EEE ERE BEER EEE PEEP EP EEE Eee EEE EEE EEE EEE: Part I Classic OriginalsBREE EERE EB REEEEEEEE EEE ER EREEREEEEr EEE EEE EEREE I “One thing | remember is that almost every time that Ray Brown and | had to be photographed together, he would talk all kinds of trash to me and break me up.! hated having pictures taken, even after | got interested in photography myself. He would say something just before the camera clicked, something really outside, and of course I would break up, as this photo shows.”BLUES F0e Big SCOTIA ‘8y Oseae PeTEcson FROM “Tie Oscae Pereeson Tei0 Lwve Wf THE LONOON House” SePrensee 27, 1902 n.: I} Weeve/PoLaqenn Att THAAD Meoinm Swing, : i A Aye — +— nf (cee) + O7 > We o = > Sh 2 a ts Oo = we 00? 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It's something | used to do after work sometimes early in the morning. I'd go around and take shots before I went to bed. I'd go and get my camera and go out for walks and just photograph different things.” §345933553533335535335333335353335RseaRa4R ease aaaa' FEFFREREFERFREEFFREEFPEEEEEFEEEERFEEFF EEE EEE BEEEEEREEFE CHicage Les BY O6ene Pereeeon FROM "THe Teo" ‘Cuiengo 1975 PaBLo PACO-2810-701-2 Mas $6, 19% Busaro INTRO > ti gi. o, és an 7 He = AT Q7h5BERR EE REE ERE REP EERE ERE RRB eE EE PERE eE REE EEE RE BEEF «e 2 a He. ous —> ess 32oe é8 33 $i 8h oo < a eee™NqOSES 6999343339335 33935333333339333433343533345453345h538343SGEEREFEE PEE EF EEE FEE EFEEEEEFEFESBFEEEEEEFEFEFEEEEEFI 849 ye oF & 5 pat) 67 #35 07 = Hie i i d eee eee a F 67 SSeS SSS - > Chit \ , r C4 v: (i). —— 7 AA SAARS SS AR AAS SSARAAASAAAAARA AAA AAA AAA A AAAaSSEER EERE EEE ERE ERE RPE ee Pee Pe ee Pee Pe Ee EERE EEE I : cel 3 a i ' ee l : EPEEEEEEEE J Het bog / 3 HL | is ‘ i | gs a 2 | | a 5 | S c & L 1 og me we Jak 3 Ss e 4FeESFFEFEFFFERRFERFEFFEEREEFEEFEFEEEEFFEFEFEEF! ata on re geegeeil 42 PF fa e te iy ¥ f 8h7 ADT G49 007 4 7 $——____| peat +9 (eu C145 37GFEEEFEFEEFEFEE EEE EFEEEEFEEEEFFEEEEFEEEGEEEFEEEEEEFI 37: —*{ 8 trae Loosely 38EGF! 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Pe NPN ee een feet Tey eed eI eee erg tei el let eet eee tet eer eek el ile a te ee eyERBEEEREP EEE PEE EDT PE RPE EE EP PPE PTFE EE BEF EEE: (749 (7=" 55 #h + > Me > * > i P94 agQayY AY 4 R_G aH 8H 4Va ay 44d agygdgs#awFsy~4aswys4xg4a2 @” geet a G+7> P49 FASB YAIR SAAB YHA AI YAS BAAD Aas57 7 —r—1 a ——— 343.988 oA ASS S38 BBA IYI 3A aA A!aS& aye a7 ew cs iF = 2 NO OF 60L0 Zz = Ly Lo 58 (Guithe soe seains) PIISXIAS HVS IVA SMH AAsVH AVA ANAGARSAARBAUVAYIIYVsSs AAS ASRRR REP RRR RR ROPER PEPE PPP hr rrr rrr rr rrr eee beer “This grouping is the kind of set-up we called the TV set-up. It worked from a pictorial standpoint - the camera guys liked it. But it wasn't ideal musically. | liked to have the bass right beside my left hand - in other words, the bass notes emanating from the same area that the bass notes on the piano emanated from. Herbie [Ellis] would stand next to Ray [Brown]. They always stood together because they were playing time together.”Hoatown B.0es ‘$4 Oscae Pereeson FROM "CANASIANA SUITE LiMeLique 422 818841-£ ny = i} ‘Swing FEEL ‘Seoreuser 9, 1964 90MM sri) Cs Ball) gy E354) Ebr) Qu (eck UF) me Ct Bolt) ghadtl Cast ear) aft } 7) rt) «etl git gray Sm Be Asi Abe Onur Ghis 60 P24 IIA aAGEC CCECECErPEEEPPERRPEEGEBEEPEPERRPEPPrPERPEREERERPERErErEErERE ; 5 6/0 Qu ini eof 6 Onunttt) Out Ff fu af at! 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Laie 67butt Ops Gis $5 6/0 Quid 7 Chr ont ro Eur EH gy gy gh DMs Cur a “ Bet Bt AT phy Gh os 0 2 O» 0s Cc 68 PeasEFF CCR OCRRrCECER REPRE DECREE ECOCrREE ERR EFEREERCRERUCGCErEtEEr! Spor Oui f 9 4 9 gh O78 es? eh? 0 C19 Brus Car hs Chit Gbs an O74 dua on gs Be Bit Duss ghaser Ast $01 60h bs gy ent tw gen ns asO ar 69SEE EOP REP EPP REE EP POOP ECR OCE CECE EEP CEE ETEOEETETT eS: Chor gis C9 gis B47 Abo7 > Fas a yu) tes Fo o oy 70“I think this shot of Lady Fitz [Ella Fitzgerald] and me shows the great feeling we had for one another, She used to call me her ‘lawyer. Whenever she had some kind of problem she would come to me and ask what my opinion was on the subject. We were really closHYMN 10 F26200M TIM f HAO IN Me ¢—r— te ee 6k 87 5 ct Curr f 6 oh 6066 LOT Ct Ou Fyn. 8 + e78 os th cya Y Oseat PETERSON FRO “Oscne PETERSON - Preis Gate Concer” oeore 1 #7104Gd Arai £5 08 26, 1964 ey Fe wet Ou a 1 SS aFEE RE CCRPECEGCEEPOETEGUEUPEEERECPERE EE OCEPFEDPOCREERPrPeREE! . & Th 8 8 thee € ¢ Ayes Ou mh 8 .. } i J 73Yow F/O. 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Ath Ou $07 85“This is a shot of the current quartet - myself, Niels [Niels-Henning @rsted Pedersen] on bass, Martin [Drew] on drums and UIf Wakenius on guitar. We're in Sao Paulo in 1998, appearing in one of the parks for a crowd of over 35,000 people. We played a lot of our ballad things that day, and also some Bossa Novas which | had written. The amazing thing was that even with that amount of people, there wasn't a sign of anyone running around or anything like that. There was dead silence in that park. We could hear each other tremendously well. It was a comfortable performance for us, and apparently the people enjoyed it too,” PIQGIVIIIVIISAI II G94 GIVI IIH II III II IV BVI VIIA V IIaClOeETEEEFTEEECECEEFI COUPEE ECHrEEEE C C6EFEECEEEE 1 ‘Sr. Srv reel =i WM Heron A NIGHTINGALE y Oscae PETERSON FROM “TelsrELA - Oscae PerEeson TeI0” WPS Mastecseries S21001-2 PUBLISHED BY TOM Music, 1970BR REEF BRE RE RR EF RRR ORE RAP RRP PGR ERR eer ee oe al fs Colt) hast? bs CHoes 6-5 9 88f ct GCEtCOCEOCCP REECE RET ee C St ie tee eet or? Gras Cs Ghr# 89GECCORGOCRPGCEGEOCGOERFCGEEEOCCOGCCCER EE CRECCrER ECC: ( Hr $s CHoeus Gur or? 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Cus Bras Bass er Peg TS a ee ae POV SP SVD d ebb boy ebb gedsbedogpogedGEGeecrccce bes LAN $005 109Os Os ra 5 EEN EN DQ doddaay om G yo gy fs J EB JOG ra) JIIG III III9 J PIIVeIIIIIIY 110CEBCE CEE EE EEL CEU EEL C eS ear aoe t CEGEEEEEEEUCEL ~s4 en? 111Gis Abs Gut C8 Gh wm Ore, be ww Qs fp zo a) 112 PVPS VDD edd ddA se AgsGE6GECOECCELCOCEOCOCECUTERPEEFCECUCCEEELCECOL ECT: Cus b fas ayo) 4 ; Ful/oh cha os 113114 8s €7 2 PUAGPVIWIIIII JI IID IY IIMA Dag Ai$, m F715 8s 7 8 GGG ECE EEE EG Ese Geet et Ge te eee Pot [ CEECeEEELECEL 115116“This is my beloved teacher, Paul de Marky, and he has that same sort of inquisitive look that he used to get when I'd play things for him. He'd say. ‘What have you been doing? Play me what you've been doing recently. 'That's the look he used to get.”118 "HO LIS FASHION (eno in) sr. teuro =90 MM , €7 Hero IN Nigut Time ow 4 bane Pereesen, Feo “OP Taio SaTULOAY Nigut at tHe B06 Nore” Magen 17, 1990 aS ] PPLDEVLVEDER 2 Dodd Viel dsdd dd ad ddd ad edd. 10ececececcerecrerroeoeneer: CGE EEC CREEL GECL ; o.t/A A Wao €7 A PUNO SOL | » CO tit): = 119“gant Qo 120 POROPEVEVSV DVD DV VPP Vee FT dD dd 2d de ddaCEGCLECELEELEOCELELOELE CELI: Lt i ot COOCCEC teted 121SO iy 1 SS 122LEGGE LEOCEOEEEELE GbE beat t t CEEOL t i ti ee 0” 4 Puno seu Baars 0 Seta 123124 Puno sou Soa CS Te oo eee SSCOCEGECLEOOCEEUEOCEEEECEC EGE COOP EGE OGL Ete 07 PUNO $0.05 125126 > ‘7 Puno soLo4 WPPPIDVIIIWMVIIAVIAIAWIVIAIAIIIIAS J PDD VEEP) baLtt BSCS Eee ER ies i REE PSs ies (-LtGOtt GOfb bib tt ¢7 bz Paar! 127‘7 Plano ste S } in 128 SOAS SOS See Sree aCuGe ti { GF tit Clete EE Ctr. 0:03 Cole ( C COG CL t e749 a 129PIAA AI AI INA IIIAI1IIIAA } Pb IAAIGUGeCbbelLEOOCElCt GEL CGtLI fbeCebtELELt GCeGGOot&ut 131132 3 [a a a PPD DF 1 II aA: } PPA AINA IAA)eee ( CoC te Cele Ci fikit Ce if CCGG os PUNO $006 Oe alee ao eee cele oy Ey oy Oy 8/0 133,134 WwAAD t PEPER PDD DD PPD DT Vis PT IWATA ) i) Poy vividEERE GREECE Ett Gf Cafe C6 Goi eee ieee ae eC eto f1 geen PUNO S0L0 7 cy 135,SiG VD vse VY e749) JUNI IDG IIDIID Hi yyy 136 boyee GI tie (CHI Sie eet eet te Ca seat E ats e f tOOCkOeb OEE Tk & ay os PUNO S010 7 > oy 137ry 138 CH/B fis (quirae sov0 seqins) PVVEPSPD TDD DID DT I aaGEEE l t ( “This is JATP [Jazz At The Philharmonic] at the airport - in San Francisco, | believe - getting ready to leave for our tour of Japan in 1952. And what a group. From the left: Norman Granz, whose tour it was; Gene Krupa; Ella Fitzgerald; her husband at the time, Ray Brown; J.C. Heard; then Barney Kessel, yours truly and Lester Young. In the front row was Flip Phillips, Charlie Shavers and Willie Smith. | remember it was in Hawaii on this trip that Willie Smith was bowing and bowed himself right off the stage [laughs]. He didn't see how close he was to the edge. After this, when we arrived in Tokyo, they gave us a ticker tape parade.”140 PLace ST-HENaI 170-186 cg & a 67 > Wea NL Bt OVE Gu €67 Bye 4 & €o7 gy y Oscne Pererson FROM "CANAOIANA Suite® LIMeLiqut 1965 PoLvanm Receeos, ‘Tomi Musi¢ Co. BMI Cu Fos a ee ee ee ce J pV Vy gy peyed iGEGCTECECL COLL belt CeObEbeGOlt Geen OeOREEL C7 ‘7 é t Ne) A 144142 7 $ PIANO $0L0 Ay 7 G7 & (ovo piexur) Qu Veyeqyeqeyyypay ] na J PYIPEVEVTD Gd diddyCECE EL COCLEELEOCEELLOCECEL CECE EEEETL GEL 143144 PIANO GOL0 2 SPP eye pdb PCA CE ee ee yee y PaCOGS OCOOCEEOCEL I li GC CEEEELEUOELELOCEEECEEELEOCECELCEEE 145Gio bbb bbb eEE LEO OL ie Gl tt (a7) q 8 (7 Qu 4 ty hu Gut 146CEEOL CECCHOCCEEeO ECOL bOCGEeEOCOCCEEOCEL ( C GeEEEECEE EL 67 % = (AN) SA66 SOL0L 47 a7 €07 Cu a7 147J 9 2 8 er, Bra gt et ath eal wea 148 -Coe GOUOCEOCCHEEeEEOGCEEUEEEETL bee £ ( GEGEEEL 149» @ e.g oF of 4 ge 7 a 2 fo Pe AEE Peppa app IAAAAfete et ee ee et eer Ee Get Ge Gs (ee et et eee tte [e EGEEELE $7 q Deus 0102 di 7 pvMWY > Qa Fi aoe ENO OF OOS 6010 gf, PUNO soL0 4 7 A 2 PPEVEVEDED EDD EDD ide edivipinidé q? Cu 152COGECOCOGELGELIEGCEEELEOGLECE Lt ( Ge6GeGEtE-COGCtEELeEL ss % (Ab7) 67 47 607 * A 153Stes yas ) ge > & eS PuaNo soL0 $GE6GCGECCCOCECOCOCERECOCCEEEEGECERGOCEOCEEECREGCOEEEEE I eu a 67 155fee * a7 a tu PIANO GOL & Quy gga 3gGECCEEE: Cece C GeECCEEO ECT OCHRE EEE LOCOCOL FEEL 67 > ar, —, és7 157or SEE ee ee eet: wo Cu % & CH — Bye OVA Gu eo? Bf 158 SVDPott OOCEf OO EOL GEGCEEbEbCELEOCOCEEE EEE OCoEL 159Gr = & wm Ce, St OV gy eo ot 6G EO, OF SS a a toa Daeg te fe te tee ter St eee iSite j PY IVIOar eh ee eceeoecer GeO Us Ge Ge Peace & C 161“This shot of the Trio of Ray Brown and Ed Thigpen, or Thags; as we used to call him, was taken at Massey Hall during a concert we performed, probably in the mid-60's. This was one of the most rhythmic trios I've ever had. Ray and Ed played as tightly together as did Ray and Herbie Ellis. With them it was possible to start a tune very simply and have them just, as we call it, walk behind me. | could just play the melody, because of the tremendous rhythmic impetus they created playing together.”Gt tt Cheek leeetut ea GECLLCEECECEEEEELEEEEECEL EL THe SMLOGE $4 Osene Perensen, FROM “ELOQUENCE - Live AT THE ‘TWVOLI GAROENS COPENHAGEN” May 05, 1965 LiMeLigut 848 842-2 > 2 eto w yar. ar 2 Gur 07 . fl y? a. #7 (647) CHL a an a ea 2 Howe “2 1 a AT AT ANT) OT a) 5 op. 163164 gs on? a, = fa nf Hao ws a7 Hs 67 a7 ets ee eS II eee eae ge 9 io vididivigiyiySteer CeGECEECEE CHEE OCETL ( CeEEECELELEUEGELEGCEt ta t/t a /6s [24] a9 | he Abs b 2 Heo Ww 4 an, Ass Able a7 ul) ADS 69 a d/o 165« , oe ayer [25] gp rr _ > || 2 Punosmot * Abs ey? So ea Le * 4H on _— pW Sys 87 aCe&ECEEEL COC P Eb heehee teller reettt fl Geeeete cet a7 07 e743 Bhs cH an As PIANO SOLe 2 b 167168 7 2; CTA ‘9 b an +9 $7 ; a 7 PIANO 60108 b jae on ea ei 1 | PPANAMAD IDI AND IANA AANA AIVIAANANANAAANell L COCCOCEEEUCELELOELECOLLOULELE CECE OCEECIELEC! (+7 69 B47 47 $h7 an CH8 en? PIANO SOLO 4 b er _ As Ab? 7 a7 169170 a 7) fur 847 cea + PUNO $0L05 a7 PIDBOMAVIDA AIA IAA IID IIIB eeeCGCECCECELECELCEUCELELOLEELECOEEELCELPOeCocereeerroeeucis Ay? a9 047 a7 Ay mg, s i: Pee Cee... ey __ 16 pune so.06 Alb Abts172 er? A ot a7? on __?) a7 a7. Ay? ‘7 7 7"), A | CHAE 7 PUNO 60007 a" we $79 en a en er? pits Bis Os g74 VV DS yy Paes WAIAID pas 1 EO ,ITAS y PryaagaasaCeOCCHOCEREECOr Eee ele & COoeeecetceeeener id CoOGkutt ‘ ‘79 aus Tt ) G7 fa fr 7 Ts Gu fur 173Ab? A7 ar Ab7 , of 7 Q47 174 J PEAY s) BCH is eis eo tee eI SISter eto ate tettot [ BAUER PE ER CSE ied i= fete ee eae eae GCCGECCELCIbeoCrt 07 CHdd ny) a ap Piano S0L0 10 As ee ny) 175ry 176 fur ful gus 9 > 879 = A $78 ey lg PIANO SOLO SL As G+7 Ass on bz Bhe7 b a SHV U NDI aa J PIQVDIGUGCor ccececeeeccecceci! Ceeetreececeleercecececect Gs on eo en Bpis a] ay 117Als AbsS Ae? 67 = Wee a 2 ayo i ane 4 > Cat7 178 VLE a a) J PdqgQuceeneerrececct ecceocc ecececcecercecreccecce eecene * os q7 en 047 ys Ass Abs ai GH? 0749 Fug Ful Spit tus ous gel gow DB + veneese. || Hero ours 179180 Ass a) é his ee é on JIVGIIVIIAIY a 7 a aGcerercercrccerccecerrceect: i see ee Cte teeter et aoe Part II Oscar Peterson Plays the Blues“This appears to be taken at one of my early recording sessions for RCA Victor. | had at that time Frank Gariepy on drums and Bert Brown on bass. That was the original group that recorded.” 2) J2ps 2 Jcoor CeCeCCCece nr Cceececerrcececece CEOCeceercect n.d} 144 MM cry ql 7 BLUES Ervoe By Oscar Pereeson FROM “Blues Ervoe” LimeLiqur 818 844-2 Maw 4, 1966 84/0 Bhuf Cu t+ & Bo FO 7 7 —— r $h6% SIMILE Pr ae 183,as te = Fa $ a7 07 7 YA é Ces f Fe Sry/b ViVIVIDLD.Y VD ds sas J PVE DdEct ecccercecerceri CPG Gt Ge Getta fete ( ee eee eee ’ é sy rye poo Cor Cyt HGS SIMILE Ag ov rio A 1852 ¢7 FYA 8 , tb MM 7 1 PUNO SOLO « Gu? 186 f Q7 Sny/s $7 7% ‘DOUELE TIME Feel (Gtk0 pievur) ‘7 07 923599370-990509:92299 ] PLSD TD OV VER ED EPOD Tedd danasCeUeLUCEEEEECEOCECEOCOFFCOCEOECeGeEL en eeeeeeettt 7 » 47 Q7 eit as suet 7188 7 ‘7 Ee RN ae EO ieee eralEAA ee eae Geeeceene GCEeOCEUEOCEFCLCEEGEL EC C Ceeeececrsr 10 7 PIANO $0405 7 189PUNO SALeG ers) J99AINNIIAIAAIIIIAANAIWNIAANNA INIA ANAAAASA J 190 PwqIaangAANnCee GCC eres eee ee CEES Hee E C EBSCO GEE Est es CEE EEG EEC Gee Gee Ge Gist ee st Cit cae CEE A Qu Q7 > 07 PUNO SLOT 67 #7 (07ete eae J 192 FESS eee et Ogee Senoee Ta Sate Cot Ce C t CLOLLOLELCELCULL 04559) i 193"This is a shot of ASCM, the Advanced School of Contemporary Music that Ray [Brown], Ed [Thigpen] and | founded in Toronto in 1960. We had a wonderful time teaching youngsters and giving them direction in Jazz playing. The problem with the school was that it ate up so much of our playing itinerary. By the time we auditioned all the tapes that were sent in and then sent back the letters, prepared the courses, ran the courses and then adjudicated them, it just took too much out of our playing time and we had to give it up. This picture has Butch Watanabe and Eric Traugott in it. They were two local musicians at the time. Butch taught trombone and Eric trumpet. Of course, Ray taught bass, | took care of the piano players and Ed looked after the drummers."COeCehCeOeCCeCOeeChheeeeuceteeckeceecekrtcts i (Gee BLUES OF THE Peaizies Melh q7 | 4 INeoquerTiON 4 — q7 5 me Heo Inset by Oscne Pererson FROM “CANADINA Suits” ‘Serrensee 9, 1504“Sha i al tol teal | Tae ded Se See eRe eit etre ] ] Py.ds2200CeEeccCec c C COEC ECOCCGCEECCEEEL C f 19767 PUNO Sole 2 PIU IBBWIIIDNID IIB IANS } Psaeccecceocecer! ececncec Cece Ce ee eo ee ee200 67 PIANO SOLO 4 P (GAs6 soko seains) 119999.2993959 tga IQ ¥202950 7952005029 295001 BV 21aC ESS Ser Se ee een {ttt CCE SESE “This is a shot of my first record store signing of my 78 single. It was done in Montreal for Simpson's | believe. We had quite a few young admirers, as you can see from the photo.”so t Sal vl MM £ Gew) Bo Gav's BLUES #4 Obcne Pereeson FROM "Hisrtey OF AN AeriGe™ Paso 2625-T00-£ Feseuney 14, 1978 7 * 6m He €o et et ee ee TH Ve I SeGCeGecreeecceceerccecceceeeceecceecerenrerrcerter Gis 4 ou $7 a7 eg G7 203204 PIJIDIIVIDIIVIIDIIIBDVIIIIIIIIIVI AI IIS sa yg ggOGer erence reececececcecect: C OSS St et Seer et ate fa Os Gut 1 (G0L0 pieKor) ‘7 2 a on $7 i] Pune so. 2 $7 me Puno sovos 205LLELELEUELEULE LEU EEE OCELEL Cette st i 2$7 PLANo 600 4 ! l fl a c og s PIDBIIIIVIDIIIDIDIIIIAIIIAIAAAYN a7 a 207eee Set a 3 z 208Cte tt See bbeebenrbeeebet LP UPeeevuetwt > 209210 > a7 ae gn Fob RSE PP QP SP PDP DSP beh bP bebe bh Dib Dd bob bed Phebe bed cbebebid cb bibebed{ Creer receccet C Ct ke Ll CLEL ek “This is an historic shot of the famous saxophone recording Norman [Granz] made with Johnny Hodges, Charlie Parker, Flip Phillips, Benny Carter and Ben Webster. It's interesting that Bird is lined up right behind Johnny Hodges. Actually, | think there was a piano solo or guitar solo in between and that's how they were able to use one mike.” (Ray Brown/ bass, J.C. Heard/drums)Greasy SL0es #4 Osene Percesen, FROM “Hisroey OF AN AeTIGT™ Paso LPACO-L426-T02-1 Feseuney 14, 197% 9 am SH aa ree” ft Vid Shwe f * - | en) fon 7 = . GIF thyé & Cye Cth cays 1T , Mt sey OH en a w Pin SOL0 4 * 7 f Gh7 67: G7 215CEEEULEEEEtIECRAtrenreerr reer) er reeerereereereere : PIANO $040 5 216ft tl eS tS aS ee See aS oe Clteeuwt C C t Cecete 7 PIANO $0107 PUNO Sth0 6 1 217CEEELEEEEEEPEELE CECE EULEUECELE ERT UCEECeEEECECEEL! ( a A a k pes ‘s a 1 5 % PIANO SOLO 8 7 218' Etec oeeetel Ct C Cece Cte GCeCECLCOCOOCEOOeOhreceer t PIANO S0L0 9 SI > (guss sove stains) 219and « OSCAR PET Pm Sherman and “Clay $1.50, $2.00, $2.50,’ $3.60" inel, tax “This is a poster for the Jazz at the Philfharmonic] concert in San Francisco, the first year that | traveled with the group. It is the same line-up as the Carnegie Hall concert except that Charlie Parker was only on that one concert of that tour. If you look at the line-up, it's unbelievable. Buddy Rich, Flip Philips, Coleman Hawkins, along with Lester Young, Bill Harris (who was my roommate), Harry Edison, Ray Brown and Hank Jones. When you think what that particular line-up would cost today and if you look at the ticket prices, $1.50, $2.00, $2.50, it's unbelievable! What wonderful nights of music they provided. It was like a fairy tale to be working with this group every night. Of course, we also had Ella Fitzgerald. Hank [Jones] was accompanying Ella at that time. That's where | learneda lot of things about accompanying - from Hank.” J JIII9G IU GJ JClctktt C Co CCECCOCCOLOCOOCCEOCECOCCEREPCOOeEP CeO KELLy's BLvES 84 Oseae Pereeson FROM "SaToROMY NiQit at the BLUENOTE” TeLaee CO 88406 Magan £7, 1990 iH ome = MM Q7 Q7 ne HekO IN 1 G7 07 gr Or 07 221222 Cio7 Q7 By aw 4 67 reat Reso Ne A 6323999999239 9999I79 9210539923913 907799597990000"7eeccecccerccecrerecececrceccrect t Ceecee Ceececec cece Aw AtT m4 223CECECEeCCCCCECCCOCCECCCECEECOCCOELEECECECCCECECET! 3 Che? e7 uy 224“ 0 > 47 > Cet G = ty — i — a GO pee set epee eee sgt tee c «1, 2 Q7 ie ete cae e 87 3 a S46 a 9 pavecies oa A > > = 225 Coeere C* a » 67 767 Ab) G7 7 G7 » ay shee G7 0b7 G7 AT 3620509977 70999NA « Q7 F767 > Ay > o7 at fe) m4 tee » G7 €7 47 7 = 7 c o 226 te227 otha 3S 7 zs 3 2 7 32 a a ce a al x eee = - =x SL Peco ww a 7 = s & s - s aSREEE SCECECEEEERPEEEEEFREEE EEE REE EEEGCEEEEEL! 7 _ PUNO $007 228COeeeeoCteebee eeu $ G7 F7 67 q €7 Ava mit ar o7 82 (unerer shor seqine) 229now at Bossom Musi Ci ' ia yea Le SeonCOoeeeceteenerenreenrececreecett ( Cee eee Oscae's Boogie #4 Oscne Perensen, FROM "BEGINNINGS" ROA/BMG 74821~-85105-0 d=150.Mu Occeusce 45, 1947 07 iwresoverion 231inate EBPLELEELELRULUEEEELRLEERUEGCEELLS 232233 7 3 3 - oa 4 oe ——~_— PIDDDIIIDWIVBGIVIVI IID NII SBNDNINIINI9ADIIIAIAIANIIAINIIIAIAAAASD234 4 PUuNo $00 2 (8'8)- - - aaa AAAWAWIAAS WWAAA | 9342) 13a 73a 7 7 Jao IA997909ANN 1A A ow, q7 (WALK 8458...) Q7 > PUNO 60105 C7 (MYR Het t tet nett ean ined eat det there tat « ce Ss = 3 4a * FF tm”. PAVIDDIID SII DIV IDI DI BBVII IN IDI YSBIIDIVIYVIYY3y2FCCECUCRECEECECCOCCERFOCCOCOCCEECREE RE CECCOOCReECeCere & st Ow 67 ow I ‘7 ea tha * buna sovo 4 » as 1 «07 “07 > 007 236Gace GECECCEECCECCHOEELCECEOGEOCOROnErGOKeE cus PUNO S005 237EeCCE CREE EC OCEROCOCRCECEROOCOeOROCECeECCCECeEEECEELr: 238PID III m2 Plano 60407 Ss a 3 —————— —— —————— ————— JIDVISIIDIIIII III III og (8)--, o-oo gg (nnn eee eee eee eceeee eee ry 1CCEGCCCECECOLCEEOC EEE CECECE COLO ECECOCEOEC OCF OOCEEL Ss aQ ‘ss 2 $ é 3 2 z (BT Tne ee ee I PONS eee ee ee 240 5 a ——GbCtoeott i CCCCELE EbCECLE EL hh t ¢ fl Cele lett ii & & L & (8). koe 241Pee ee eye ey ete pe ae ag ea ee“This is from a break in a television show and Dizzy [Gillespie] is teaching me his tune, Con Alma, showing me the chord progression.”01MM a é @.8. BLvES % & é 8h Go? £7 Sb -A4 * A 84 Osene Perecson FROM “Histoey oF AN Aerist” Paso LPACO-LOLt-T00-2 Oerensee £7, 4970 (BAsG FILL) (aS FILL) % Ge? £7 - A (Bh66 FILL) 244 EER ECO E EER Ue ge a a ae ye)Clots ClLELEECELELL tL t CeOCeweecebretroeor nr Ceccet (Cc ® cust a Puno sa.04 47 $ ar 8 ($i66 FILL) % Go? £7 8) $7 qf CoE Ip (7 $ho7 PUNO Sebo & a | Gass Au.) 7 a1 245Pobobedeteol te bo VDDD a Tae eeeGClOCLEOCELECECERELROELELCE EC EROCOEOCLOLELELEL CEE EEE EET ( 7 7 (BiG $019 BEGINS) 247"This is obviously one of the broadcasts of the Trio but from a studio, as you can tell from the studio clock. We have Austin Roberts on bass, who originally came from Toronto, and Clarence Jones on drums, a Montrealer who passed away in the early fifties. This is, in effect, the first Oscar Peterson Trio.”CL CLECEL L COOCECCELEECOCECEEECEELELCEOEEL L COLL 108MM (eiaxur) RIFF BLUES iY HEAD IN, 84 Osane PETERSON FROM “THe QUNTS” Paso 25018-6858-2. Ocnensee 7, 1974 249250 gS ee eeCelt GCeUCECEULOCECELCECELUEECEOCEFCEEOCEOCUCEL t CLEC q7 Qu 7 (Goto preKue) $7 Puno soL0 é co U me PUNO SOLO.252 ‘1 a7 > PIANO S0L0 6 > } wagag 1 Bett ae een eee Re ne eg i oieCEbLLCLEOLE CELE OCOCELL CEL! l COCEEEOEEELCELEOCOCELOOCOCEL $7 # Puno sob0 4 253254 PuUNd $00 6 ee a IDA 7 Se aacCeeocecett { CREGEHRCEREOREOCeOCeEretr tr OCeeOrheeeernrte (quite s0L0 seains) 255a Vash! OnE WEEK ONLY lee © STARTING MONDAY, FEB. IZZY GILLESPIE ctciecris FIRST NITE CLUB APPEARANCE IN N. E. 2 BUDDY RICH At°.H5 Featuring HARRY EDISON - ZOOT SIMS 1950 aa rane POLL WINNER - JAZZ AT THE PHILHARMO! Jan. 29 i OSCAR PETERSON past, NO COVER - NO MINIMUM “This is an interesting shot in that it shows in this billboard the amount of talent that was available to people that went to Jazz clubs. First of all Dizzy Gillespie followed by Buddy Rich and his orchestra, and then my group with Ray Brown. This is the kind of thing they would present, as it says, with no cover and no minimum. Of course, in some of these clubs we would not only do matinees; we'd also do the occasional, what they used to call, ‘breakfast show: We'd go on at around 4 in the morning. Sometimes we would open on Monday afternoons with a matinee, then come back at 8 o'clock and play till 2:00 or 3:00AM.” J 1999 J 1Geet: C i eee ee ct Ctet t CeOGleecet leer eeeectrtc > gn “ Ow Melb o=144 UM f7 Qon's BLUES a revue) me HAO IN $07 Q7 f 0 m4 7 f ‘Y Osene Pereeson 00K “THe Moet | Gee 00" TELALC-CO88570 ‘Tanney 5, 19% 7 G7 07 a7 97PIANO SOLO > $7 Tet SI PIII SSSI ea Sa ayEeeeecereeeeteret Ceecetnr OCeCectuerrut (: C ag 259260 (ftonper sib s66iN6) 3502927290570 20 20-3 2d daa } PINION GIO)C ( cee Cee € cctut ig "This is from the Festival in Montreux. Roy Eldridge is reaching for one of his famous high note out choruses. Clark Terry and Dizzy [Gillespie] are behind him. Dizzy is busy perking up the rhythm section and Clark is just looking on in amazement."Melb = 408MM Gye d sis inreo Wwrenoverion Aur Texas BLvEs o ove 87) ‘BY Oscae PETERSON OM “His rte OF AN Aerio” Paso LPACO-L605-T00-L Decenser 27, 1971 ¢7 So ae t Iee p J P9999 9997999 9d dd)OelOEreEeeererts: if + 68 7 Arg bg, 07 OR ol A a ee ee ; ays ar f SE TE Steg C Ceereeaerrnkqd r ® Chet oo 0 gy ge? AMT * 07 oye os e a7 0 Bacus Gf 0 a om ews ~ 97 ¢7 Au? $ i oye ii . = f 2 a $7 i ¢7 A7 7 PIANO SOLO 6 6 = = Od 5 1 = -¢ gs Wooo ope PVD ID(ele lt es is Inb:dab bebe biti k Ge bd be ihe bet be CCl ter beb Get lt a] $7 $7 ne a og, tir Go 0 a ae oot, o/s G PIAND $040 7 > ((auitae soo seqins) 265Notes€ C Leek C GECEL ‘This stand-alone book and CD product is a companion to the Oscar Peterson Multimedia CD-ROM, a software product which includes digital recordings of Oscar Peterson, MIDI renderings, video performances, audio comments and stories, autobiography, photos, discography and more. The Oscar Peterson Multimedia CD-ROM is available from your local music or software retail outlet and from major book sellers. OSCAR PETERSON MULTIMEDIA CD-ROM MULTIMEDIA PERFORMANCES, TRANSCRIPTIONS, AUTOBIOGRAPHY, PHOTO GALLERY, DISCOGRAPHY AND MORE! brings an exclieg new level of artsy wo the Muda esperence inthis sgnatre CD-ROM Ths ich weary iterates interact audios performances wi on-treen piano displ and Botton. You tan see and. sudy exaoly what the master is pling! Join Oscar for a musi jouriey trough Ws ie and cee. Theres also a Comprehensive Mukimedla anobiography loaded wilh audio and vdeo clips PLUS exclusive shoiogriphs “fom Oscar "Peterson's priate ‘alco Je piano legend Oscar Peterson Feature rich Multimedia progeam Wun his powerful und gore ew Mlamedia rine, you can ves and iody tery nuance of Oscar Peesins visi or the fist te ICs pssble to eaperience audio performances perfectly synhroaized vo de ease disp of wunserbed otaion and an on-screen viral plano keboard Use the fl ge of playback featres sow the tempo, ep thong pce rote br aot, loop, ot transpose to your ore Be. 14 audio/video performances by Oscar Peterson tear Osea Person perform some ois rene, Teconded works, salaing: The Side Hogown Hus, Ghigo Blues, Mace Stfenr, Nigngale, Hymn To Erdem, Night Tie, ad tues For Big Scouia, YouTl als see every note of Oscars performance is aotion and ped in eabtine on the rua pian keyboan- Watch fahuloas fulMengih video performances of Pace Selle, Cty {ighs, Slow Blues (sith Coun Basi), The Theme, Bach's Bhes, smd Love blade 10 MIDI transcriptions of famous Oscar Peterson blues performances ¥ Precise “otefornote’ eeusciptions and performances of Oscar Peterson bles. oils including: Rt Blhes, Bes Etude, Blues OF The Prue, Greasy ues or Curt Hei), Gays Bhs, Texas Blues, Hoos Blues, Kell’ Bes, RB. Blues. ain Oscar's Bogle. Sad the on-screen natn and iano display 2 you Hien to orer 100 chores of ‘ui Oscar Peers hes ens pntck Standen ema Selick rwn ei €MDN plc ours Cet. Jj a set ty esos bh py Per Oneen ieo i ty Togs Siete no ‘end at (sn nti angst cord spud crtalton, “os cy ‘ar ae, audio anecdotes, photos & more! ‘Oscar’ interactive autobiography i ‘imine pret sed ise ire te ealy days in Montel the present, 4 eight for Oscar Peers fa ‘over to hovrs af aio commentary by Oscar Peterson. Oscar tel the story of his ifs, muse and the masiins he fs worked wih =~ Barney Kase, a Brown, Herb Els and may Includes muscles oft performances by Osea hase Browse through orer 100 of Oscar's favorite photos — memorable ‘moments, musicians, landmark pefor ‘hance, avard, mementos and more. meine i 2 connie pide the highligh of Oscar's fe and casee. Complete discography From 1S45 10 the preset, Oscars recorded ener 3,000 pieces in or Y eos Instant deta fay recog Print the music! Print ee 200 fl yas of ee for sow plano transcriptions including ‘hord Symbols and arias, Each page shows you exactly what Oscar is plang ids esos ie fener en t-have’ library for education or entertainm "hese 24 landmark seleons are an essen aéiton to ie library of Jaz fans, sets, ‘las euatr Py the complet sng it stomatal tn Jukebox mode fr hours of listening. pleasure, or use. the powerel and innova Mulumedi fetes ops fer ole and undersanding of the music Bat makes Osear Peterson az legend REQUIREMENT Winks 95,98, Nor 3.1, 16 RAM; any Windows uatble 16 ft SoindCrd (ope SundBist 16 |ANFS2, NES, Enna); CD-ROM de om brag au nner ica Wo eo tsa pn ok (hare co 19 korea as ess ‘Skee bs alee ice Sie reste idl > KE] Dated PG :--. Male te Seeman. hea Ca ind ppmaccon SOSA caescar Peterson — LAE ee Transcriptions of Classic Recordings ‘The Enclosed Audio CD is a companion to the 18 transcriptions in this book. Fach track has been carefully recorded with stereo separation ~ piano on the left channel, bass/drums, for those tracks that have them, on the right channel. This allows you to isolate the piano part, to study each patt, or practice/play an individual part yourself Each piece was played by Miles Black, exactly as notated, and recorded in real-time on a digital piano. ‘The resulting MIDI files were then played through a Roland Sound Canvas, and recorded with a sequencer, Powerlracks Pro Audio 5.0. ‘The final digital audio files were then rendered to the CD enclosed in this book, using Adaptec’s Easy CD Creator. Songs on the CD V Blues for Big Scotia Blues Btude ¥ Chicago Blues 1 Blues of the Prai ‘Hogtown Blues Gay's Blues Hymn to Freedom Greasy Blues 1 Nightingale Kelly's Blues Night Time V Oscar's Boogie ¥ Place St. Henri VRB. Blues V The Smudge 1 Riff Blues Ron's Blues Texas Blues Note that for pieces where only the right hand was transcribed, Miles Black has added appropriate left hand ‘comping’ to round out the sonie space. About Miles Black - Vancouver-based pianist Miles Black is a much sought after session keyboardist, equally accomplished in the Blues and Jazz genres. He has had a long association with PG Music Inc., and is featured on many of ‘our software programs. Miles has become one of Canada's leading jazz. pianists and composers. In 1987 he moved to Vancouver, Canada and is much sought after as a leader, sideman, and session musician. f - - - c f - - cr - - - c - - a c