Review: OSCAR PETERSON CENTENNIAL TRIBUTE at Rose Theater (Jazz At Lincoln Center)

The year 1925 was a pretty good one for bringing us figures from the music world whose influence and impact has outlasted their time on Earth. Some tributes timed to that date began on time last year and others have continued on into 2026 because hey, why be picky or a party-pooper? Celebrities whose centennials were celebrated with extensions into the current year include Sammy Davis, Jr. and Mel Torme (both with group shows encored at 54 Below), jazz singer June Christy (saluted at Pangea by Vicki Burns), and, of course, songwriter Alan Bergman, who actually passed away just several weeks shy of his 100th birthday, recently honored (along with his songwriting and marriage partner, Marilyn) by Marieann Meringolo in various places and at 92Y’s Lyrics and Lyricists program. Add to these the giant of jazz piano, Oscar Peterson, who died in 2007. 

A dazzling and dutifully respectful program was held to mark the 100th anniversary of the birth of this major figure, joyfully noted with a big concert in the Rose Theater in the Jazz at Lincoln Center complex on May 8 and 9. It was a richly deserved embarrassment of riches, with a bevy of jazz instrumentalists and vocalist Dee Dee Bridgewater in a generous-length evening. Although this terrific vocalist was given top billing, she didn't appear until late in the program and didn't sing many numbers. But they were terrific.

Oscar Peterson won eight Grammy Awards, including one for Lifetime Achievement and performed as soloist, group leader, and accompanist to vocalists such as Sarah Vaughan, Billie Holiday, and multiple projects with Ella Fitzgerald. He also recorded with the group called The Singers Unlimited. His oeuvre seems unlimited, too, as he appeared on over 500 studio and live recordings, with more archival material still being released. Less known to the general public are albums with himself as the singer. His vocalizing on disc was attractive, but it was said that he sounded remarkably close to the timbre and tone of Nat King Cole, and so that side of his talents was not pursued all that much. But his instrumental work was always in great demand and, well, just great. 

The program was put together by the icon’s widow, Kelly Peterson, who hosted, speaking with clarity and warmth, eschewing sentimentality or sorrow. At two grand pianos for the grand affair were two star keyboardists who acknowledged his prodigious influence, but are certainly potent, prolific players themselves: Cyrus Chestnut and Benny Green (the latter had been mentored by the late Mr. Peterson, and became close with the family). They played lush (and sometimes longish) selections, including ”Fun to Be Fooled” and the standard “There Will Never Be Another You.” Although the latter’s unheard lyric in this performance is about the uniqueness of a lover, the title consciously or unconsciously seemed to suggest the feelings that participants have about the one-of-a-kind qualities of the man being honored. A memorably special treatment of “Never Let Me Go” became a jazz/classical marriage very much (intentionally) in the style of Johann Sebastian Bach. 

More than ably filling out the band were drummer Carl Allen, with bassists Bob Hurst on the first evening, the one reviewed here (Christian McBride was on bass on the second night, with a somewhat different set list).

Dee Dee Bridgewater’s set was primarily focused on music composed by Peterson. While arguably not instantly accessible (aka “hummable”), the pieces were elegant and/or dynamic. The same might be said for the graceful lyrics for his originals, which had been set (posthumously sometimes) by Harriette Hamilton. However, some were actually in plain-spoken lingo, as opposed to densely poetic (“I Never Dreamed I’d Be Without You” has lines such as: “I never believed you’d ever leave me” and “I never dreamed I’d be so lonely: Lost in a world where there’s no you…”).  

“Hymn to Freedom” was handled with care and suggested a majestic air, although the singer claimed she was daunted by her assignment and in approaching the compositions of the masterful musician, whose concerts she used to attend. (“I’m a little nervous.. I was always mesmerized.  I didn’t understand how he could play all those notes!!) As expected, Miss Bridgewater projected intensity and formidable musicianship, but her quirky playfulness – not appropriate for the serious material – was kept in check. However, she let her joy flag fly for the festive fun moment near the end with the happy mood bursting forth for the Gershwins’ “‘S Wonderful” which just happens to be a track on her most recent album, recorded with another wonderful pianist, Bill Charlap, with a quite different treatment. But that’s what it is about jazz that we love: ‘S wonderful.  

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