As an AFM member, you are part of a membership of more than 80, musicians. Experience has proven that collective activity on behalf of individuals with similar interests is the most effective way to achieve a goal.
The AFM can negotiate agreements and administer contracts, procure valuable benefits and achieve legislative goals. A single musician has no such power. The AFM has a proud history of managing change rather than being victimized by it. We find strength in adversity, and when the going gets tough, we get creative - all on your behalf. Like the industry, the AFM is also changing and evolving, and its policies and programs will move in new directions dictated by its members.
As a member, you will determine these directions through your interest and involvement. Your membership card will be your key to participation in governing your union, keeping it responsive to your needs and enabling it to serve you better. To become a member now, visit www. Historic programs and photographs of early concerts shared space with computerized displays. No small tribute, all of this, for a jazz pianist who might easily have never even become one.
They turned out to be jazz tunes that were popular at the time: Duke Ellington and Art Tatum, who frightened me to death with his technique. Peterson was born August 15, , in Montreal. His performance career began while he was still in high school, as pianist with the Johnny Holmes Orchestra.
After a few years with the orchestra, he formed his own trio, the first in a format he maintained throughout his lifelong career. With the trio, Peterson quickly gained fame and popularity throughout Canada. Word of his talent had spread to the US. We gotta put him in concert.
But Granz also failed to reach out to the Canadian pianist until a visit to Montreal. Granz was on his way to the airport to leave the city when he heard Peterson playing on the radio from the Alberta Lounge. He told the cab driver to take him there immediately.
So, he planted him in the audience and brought the six-foot-three, pound year-old onstage as a surprise guest. It marked the beginning of an international career of remarkable productivity and distinction. Under his guidance, Peterson toured with Jazz at the Philharmonic from to His bravura performances, both in concert and on record, immediately captured the imagination of the American public. The Peterson-Brown-Ellis trio was regarded by many as the best piano-bass-guitar trio of all time.
It became renowned for its passionate and spontaneous soloing, as well as its ability to play at breakneck tempos and to tackle complex arrangements. He returned annually with his trio for many years. They often accompanied the singer Ella Fitzgerald.
In , Peterson made the first of many appearances in Japan. The two became good friends. Peterson performed at the Montreal , Stratford , Shaw and Vancouver International festivals , and appeared often in Canadian nightclubs. Throughout his career, Peterson made Canada his home base. In , he moved from Montreal to Toronto , and later to nearby Mississauga.
Also in , Ellis left the trio. In , Peterson changed its composition to piano, bass and drums by adding drummer Ed Thigpen, famous for his sensitivity and meticulous brushwork.
The Peterson trio of this period was celebrated for its seemingly telepathic sense of interplay and its virtuosity. Canadiana Suite was one of his most acclaimed. Between and , he recorded a series of solo albums for MPS called Exclusively for my Friends. Hayes was replaced in by Bobby Durham.
In , Oscar Peterson began to perform solo almost exclusively. The success of this trio rivaled that of the Peterson-Brown-Ellis group. The band expanded to a quartet in with the addition of drummer Martin Drew.
The mids saw Peterson achieve a high degree of critical acclaim and industry recognition. Despite being afflicted with arthritis since his teens, Peterson maintained a rigorous international touring schedule well into the s. He played and recorded in a duo with pianist Herbie Hancock and made several appearances at the Festival international de jazz de Montreal ; these included a concert with the Montreal Symphony Orchestra at the Forum in As a result, he reduced his performance schedule to a matter of weeks each year in Europe, Japan and the US.
In , he reunited with the Brown-Ellis trio, producing several acclaimed albums of their performances at the Blue Note club in New York. In , several months after having hip replacement surgery, Peterson had a stroke while performing at the Blue Note.
His left side was especially affected. He withdrew from commitments and resumed performing gradually after a two-year recovery. Whilst the whole idea was devised as a marketing ploy one that worked so well, that Granz had Peterson repeat the concept 7 years later with a different series of songbook albums , the playing is exceptional, and this collection offers a vast set of recordings of Peterson with perhaps his most important trio comprising Herb Ellis and Ray Brown.
Recorded in under the supervision of producer Norman Granz, and featuring Ray Brown double bass and Ed Thigpen drums , many view this seminal release to be one of definitive recorded examples of the piano trio format.
As expected, the band swings effortlessly throughout and Peterson dazzles with moments of intense virtuosic flair. Released in on Verve, this is another of the most famous and popular albums in the Oscar Peterson discography. As the title suggests, it features some of the most well-known and oft-requested! The fact that they still manage to create fresh improvisations on these tunes only goes to show the skill and talent of these players.
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