Tag: concert

Jazz Memories: My Journey with Oscar Peterson’s Music

October 17, 2025

My son reminded me of a time when, after dinner, I lay down on the couch, closed my eyes, and listened to Oscar Peterson as loudly as the family could tolerate. Oscar Peterson has always been my favorite jazz pianist. In my youth, I enjoyed listening to my mother play jazz: she had a perfect ear and could play any song without sheet music, picking out chords as she went along. Perhaps because of her influence, I started playing the piano at an early age and continued until I rebelled in my early teens against the long practice sessions. This background helps explain my passion for jazz piano. In my opinion, as a jazz pianist, Oscar Peterson is unmatched, even when compared to greats like Ramsey Lewis, Ahmad Jamal, or Art Tatum.

Oscar Peterson’s fame is indeed global. He won eight Grammy Awards and collaborated with legends like Ella Fitzgerald, Louis Armstrong, and Nat King Cole. He also received the Order of Canada, among many other accolades. His success is especially inspiring considering he grew up in Little Burgundy, a predominantly Black neighborhood in Montreal, where racism was alive. His father worked as a porter and a sleeping car attendant for Canadian Pacific Railways (CPR). However, he was also a musician who encouraged his children to pursue music.

Oscar displayed his talent for the piano from an early age. He studied under Paul de Marky, a Hungarian classical pianist who had studied with Stephan Thoman, a pupil of Franz Liszt. Although he initially showed an interest in classical piano, Oscar’s musical path evolved significantly early in his life. He played in jazz clubs in Montreal as a teenager and later performed at Carnegie Hall in New York in 1929 when he was twenty-four years old. Over his lifetime, he recorded around two hundred albums before passing away in 2007.

I remember seeing Oscar Peterson perform at Norfolk State College in 1968. He played spirituals to an all-black audience—we were the only white folks at the college. I had a job in Norfolk, VA, but I was mostly ignorant of the racial issues in the United States at the time. When we entered the auditorium and realized we were the only white people there, we felt a bit out of place. However, the audience was enthusiastic, wholly immersed in the music, and ignored us. The auditorium seemed to come alive with people stomping their feet and clapping to the rhythm.

While in Norfolk, I cannot forget the time when I played some Oscar Peterson music at full blast, and a black pastor knocked on my door looking for donations. The first thing he said was that I was listening to some great music. Naturally, I gave him a large donation.

When the announcement was made that the Oscar Peterson Centennial Quartet would be performing at the National Arts Centre in Ottawa, I quickly purchased tickets. I wasn’t familiar with the Quartet, but I assumed they would play Oscar Peterson’s music. I was particularly eager to hear the pianist, even though I knew that no one could match Oscar’s virtuosity.

In honor of Oscar’s 100th birthday, the Centennial Quartet was formed this year. The organizers assembled a group of accomplished musicians for the Quartet. The performance we attended featured Ulf Wakenius on guitar, who had played with Peterson for ten years, from 1997 until Oscar’s passing. On piano was Robi Botos, a former student of Oscar’s in Toronto. The drummer, Tom Doxas, and bassist, Mike Downes, are both well-known figures in the Canadian jazz scene. The Quartet is touring globally, and while the musicians may change depending on the venue, the music remains consistent.

Upon arriving at the theater, we were treated to a multimedia presentation of Oscar’s life on a giant screen above the stage. Then, Celine Peterson, Oscar’s youngest daughter, took the stage to share anecdotes about her father. The concert began with Celine introducing the drummer, who performed a quiet drum solo. The bassist was introduced next and joined the drummer in a soft swing while Celine continued speaking. Following them, the guitarist and pianist joined in, and the Quartet launched into one of Oscar’s compositions, “Night Train,” apparently inspired by the composer’s father’s work as a sleeping car attendant for the CPR.

The Quartet’s interpretations of Peterson’s compositions, including “Hymn to Freedom,” “Cakewalk,” and “Place St. Henry,” were met with enthusiasm and loud applause. In addition to these pieces, the Quartet also performed popular classics like “Sophisticated Lady,” a composition by Duke Ellington, and others. The audience’s warm reception was so overwhelming that after finishing their set, the Quartet had to perform an encore to calm the audience’s applause. I was bobbing my head and stomping my foot to the rhythm throughout the concert. As the smiling crowd exited the auditorium, I stopped at a table in the lobby to browse the CDs for sale by members of the Centennial Quartet. I decided to buy one—the one featuring pianist Roby Botos—hoping to enjoy jazz piano in the style of Oscar Peterson. And as soon as we entered our house, I started playing all of my Peterson’s CDs.

Monetizing Past Grievances

August 8, 2023

I attended a concert, with fifty people in the audience, in Collingwood, ON, as part of the porch festival on July 26, in 2023. The concert triggered my thoughts on monetizing past grievances.

The porch festival evolved in response to Covid when artists could not perform in closed venues. Instead, people with a porch on their houses and a backyard welcomed artists to play on their porch to an audience in their yard, sitting on camp chairs.

Quammie Williams gave the concert, with Tiki Mercury-Clarke and a local bass player. Quammie, an accomplished drummer, singer, actor and consultant on culture – he was Director of Culture in Barrie, ON – sang and drummed African “resistance songs” with Tiki, who played the piano and ssng in an impressive tonal range.

As usual today at these venues, the MC started out by thanking the Ashininaabi (indigenous) people for letting use of their land for this concert. I am not sure what the homeowner thought about that.

Quammie and Tiki included history talks about slavery in between songs during the concert. Although I heard many of these stories before, I came to listen to jazz and began to get restless as the performance went on with lengthy stories. Quammie’s stories about the emotional toll of slavery on Black people were draining and should have been told with more anger and shouting. But no. Quammie quietly explained the stories behind the “resistance songs”, making his message of slavery even more powerful.

I looked around and beyond the three black artists on the porch, there was not one black person in the audience. But the audience lapped up the talk and the music and gave the performers a standing ovation. Whether the performers meant it or not, the underlying message was unmistakable: white folks were the slave owners creating hardship for Blacks. In my offbeat way of thinking, I thought the enthusiastic clapping was almost an exorcism for the well-heeled senior crowd, consciously or unconsciously, cleansing their souls of having embraced slavery in the past.  

I really enjoyed the music and my negative reaction towards being told to be grateful to the Anishinaabi and being responsible for slavery were fading, when I read that the Black Class Action Secretariat (BCAS in Toronto) sued the Government of Canada for past discrimination of black civil servants for C$2.5 billion in the court system.  I do not question that discrimination has occurred against Blacks in the Canadian federal civil service and wish it had not happened. The government should have solved this issue in the past. What concerned me was that past grievances have become issues for restitution, always resulting in monetary awards.

The mother of all these restitutions is the “reconciliation” process with Indigenous people in Canada. It started out with “reparations” for the Indian Residential School Settlement Agreement, that ended up with a C$5 billion settlement. Other claims followed. To date, over C$60 billion have been awarded to indigenous people by the government (there were circa 1.2 million Indigenous people in Canada in 2021). And other claims are in the pipeline. Compare this number to the Canadian defense budget that was C$26 billion in 2021.

I am afraid this trend to sue the government for past grievances will continue and the grievances will become weirder and weirder. Any minority group, ethnic, religious, or other, could organize a class action claim and sue the government for damages. Many may be legitimate, but I wonder if we should consider whether grievances to historical events should be compensated. How far back in history should we go to fix past wrongs made by previous generations?

Monetization of past grievances is a dangerous and costly trend and should be stopped. Why should the current taxpayers pay for injustices committed by previous generations?