Born in Montreal, Canada, Peterson began learning trumpet and piano from his father at the age of five, but by the age of seven, after a bout of tuberculosis, he concentrated on the piano. Some of the artists who influenced Peterson during the early years were Teddy Wilson, Nat "King" Cole, James P. Johnson, and the legendary Art Tatum, to whom many have tried to compare Peterson in later years. In fact, one of his first exposures to the musical talents of Art Tatum came early in his teen years when his father played an Art Tatum record to him and Peterson was so intimidated by what he heard that he didn't touch the piano for over a week.
He soon developed a reputation as a technically brilliant and melodically inventive jazz pianist, and became a regular on Canadian radio. His United States introduction was at Carnegie Hall, New York City in 1949 by Norman Granz; owing to union restrictions his appearance could not be billed.
Some of his musical associates have included Lester Young, Ray Brown, Ben Webster, Herb Ellis, Ed Thigpen, Niels-Henning Ørsted Pedersen, Louis Armstrong, Stéphane Grappelli, Ella Fitzgerald, Clark Terry, Joe Pass, Count Basie, and Stan Getz. An important step in his career was joining impresario Norman Granz's labels (especially Verve records) and Granz's Jazz at the Philharmonic package, with which he was able to play with the major jazz artists of the time. Granz was also his manager for most of Peterson's career. Some cognoscenti assert that Peterson's best recordings were made for the MPS label in the late 'sixties and early 'seventies. For some years subsequently he recorded for Granz's Pablo Records after the label was founded in 1973 and in more recent years for the Telarc label.
In 1993, Peterson suffered a serious stroke that weakened his left side and sidelined him for two years. However he overcame this setback and went back to touring, recording, and composing on a limited basis. In 1997 he received a Grammy for Lifetime Achievement and an International Jazz Hall of Fame Award. He died on December 24th, 2007 of kidney failure.
Girl From Ipanema
Oscar Peterson Lyrics
Jump to: Overall Meaning ↴ Line by Line Meaning ↴
The girl from Ipanema goes walking
And when she passes, each one she passes goes - ah
When she walks, she's like a samba
That swings so cool and sways so gentle
That when she passes, each one she passes goes - ah
How can he tell her he loves her
Yes I would give my heart gladly
But each day, that she walks to the sea
She looks straight ahead, not at he
Tall, (and) tan, (and) young, (and) lovely
The girl from Ipanema goes walking
And when she passes, he smile - but she doesn't see
(Doesn't see)
(She just doesn't see, she never sees him)
Oscar Peterson's "The Girl From Ipanema" is a beautiful tribute to a stunning woman who walks through the streets of Ipanema. The song starts with the description of this beautiful girl - tall and tan, young and lovely - as she walks through the streets, mesmerizing everybody that sees her. The lyrics beautifully portray the Samba dance, as she swings so cool and sways so gentle, that each one she passes goes - ah. The romance in the air is palpable as a man watches her with sadness, wondering how he can tell her he loves her. The singer of the song, who may be the man himself, admits that he would give his heart gladly if he could only confess his love. But each day, as she walks to the sea, she seems to be looking straight ahead, not noticing him.
The lyrics of the song paint a vivid picture of Ipanema - the beautiful streets, the people, the stunning beaches, and the overwhelming feelings of love and adoration. The song captures the essence of Samba dance and the beauty of young love. "The Girl From Ipanema" speaks to people all around the world, as it conveys universal emotions of admiration and a longing to be seen and loved.
Line by Line Meaning
Tall and tan and young and lovely
Describing the girl from Ipanema as a tall, tanned, young, and attractive person
The girl from Ipanema goes walking
The girl from Ipanema goes out for a walk
And when she passes, each one she passes goes - ah
The girl from Ipanema is so beautiful that people feel compelled to react with a sound of admiration when she passes them
When she walks, she's like a samba
The girl from Ipanema walks with a rhythm like the samba dance, exuding confidence and style
That swings so cool and sways so gentle
Her movements are effortless and graceful
That when she passes, each one she passes goes - ah
The same reaction as above, but emphasizing how her movement influences the people around her
(Ooh) But he watch her so sadly
The singer watches the girl from Ipanema with sadness, implying they are in love with her but unable to express their feelings
How can he tell her he loves her
The artist is struggling with how to confess their feelings to the girl from Ipanema
Yes I would give my heart gladly
The artist is willing to give themselves fully to the girl from Ipanema if given the chance
But each day, that she walks to the sea
The girl from Ipanema goes to the beach every day
She looks straight ahead, not at he
Despite the singer's desire for her attention, the girl from Ipanema does not make eye contact or acknowledge their presence
And when she passes, he smile - but she doesn't see
The artist smiles when the girl from Ipanema passes by, but she remains unaware of his presence
(Doesn't see)
Reiterating the idea that the girl from Ipanema is oblivious to the singer's feelings
(She just doesn't see, she never sees him)
Emphasizing the fact that the girl from Ipanema is completely unaware of the singer's presence, feelings, and desires
Lyrics © Universal Music Publishing Group
Written by: Norman Gimbel, Antonio Carlos Jobim, Vinicius De Moraes
Lyrics Licensed & Provided by LyricFind
@coilstapped
Oscar peteresons style is so original, you can always tell when he's playing something
@alvaro5805
Yeah!! Oscar Peterson is a legend of piano world
@fspike2469
I used to own this LP many years ago when I was in my twenties. Hearing this piece brings back beautiful memories.
@nxxmy8541
y yo aqui por "jazz para dos"🤝🏽
and I here for "jazz for two"🤝🏽
@yuriayato8095
Ya esperaba un comentario con referencia en "Jazz para dos"
@nxxmy8541
@Yuri Ayato lo siento, no pude evitarlo
@spirituallyjazzy
Technical mastery, of course. But what really impresses me is Peterson's musical creativity; such original ideas when he's improvising.
@LayeDiaw
Oscar Peterson such a class
@annedwyer797
I LOVE OP, no matter which group/ format he's playing in. He never fails to put a smile on my face and in my heart. I think some of that is bcause he was a gentle giant, a beautiful human being 😘
@kyleshum5941
His ability to make such a technically challenging piece sound so lyrical and layed back has me in shambles