Ralph Peterson Jr. | |
|---|---|
| Born | (1962-05-20)May 20, 1962 |
| Died | March 1, 2021(2021-03-01) (aged 58) Dartmouth, Massachusetts, U.S. |
| Genres | Jazz |
| Occupation | Musician |
| Instrument | Drums |
Ralph Peterson Jr. (May 20, 1962 – March 1, 2021) was an Americanjazz drummer, composer, teacher, and bandleader.
Peterson's father, Ralph Peterson, Sr., was the first black police chief and first black mayor ofPleasantville, New Jersey, where Peterson was raised.[1] Four of Peterson's uncles and his grandfather were drummers, and Peterson himself began on percussion at age three. Peterson played trumpet atPleasantville High School and worked locally infunk groups. He applied toLivingston College atRutgers University to study drums, but he failed the percussion entrance exam and enrolled as a trumpeter instead, graduating in 1984.[2]
In 1983, he joinedArt Blakey'sJazz Messengers as the group's second drummer. Chosen by Blakey himself to fill the drum chair, Peterson remained with Blakey until the jazz legend’s 1990 death. He dedicated a 1994 Ralph Peterson Quintet album,Art, to the repertoire of his mentor.[3] He worked withTerence Blanchard andDonald Harrison in 1984, and withWalter Davis (1985, 1989),Tom Harrell (1985),Out of the Blue (1985–1988),Branford Marsalis (1986),David Murray,Craig Harris (1987),James Spaulding (1988),Roy Hargrove (1989),Jon Faddis (1989),Dewey Redman,Mark Helias (1989), andWynton Marsalis (with theCount Basie ghost band).
During the 1990s, Peterson played as a sideman withJack Walrath,Craig Handy,Charles Lloyd,Kip Hanrahan (1992),Bheki Mseleku,Courtney Pine,Steve Coleman,George Colligan,Stanley Cowell,Mark Shim, andBetty Carter.
He began recording as a leader in 1988, with a quintet (Terence Blanchard,Steve Wilson,Geri Allen, andPhil Bowler) onV andVolition. He also worked with Allen and Bowler as a trio in "Triangular";Essiet Essiet replaced Bowler for the 1988Triangular recording. In 1989 he recorded in the quartet format as "The Fo'tet" withDon Byron,Steve Wilson (later Bobby Franchesini),Melissa Slocum (laterBelden Bullock), andBryan Carrott. After living in Canada for some time, he returned to Philadelphia, where he worked again with "The Fo'tet,” and recorded asTriangular 2 with Slocum andUri Caine. He also led the group "Hip Pocket,” with whom he played trumpet.
On May 21, 2021, Peterson’s Onyx Productions released Raise Up Off Me, Peterson’s final full-length album. Comprising five Peterson originals and compositions byZaccai Curtis,Bud Powell,James Williams (musician),Patrice Rushen, andJohn Hicks, the album was hailed as Peterson’s “closing statement.” In the liner notes,Orrin Evans tied Peterson’s music to his life:
If you knew Ralph Peterson, you knew whenever he titled a song or album, it directly correlated to something going on in his life.Art (1994, Blue Note) was Ralph’s tribute to his mentor, Art Blakey, who had just passed.Reclamation Project (1995, Evidence) was his way of telling us he was reclaiming his life and career. “The Trials of Trust and Treachery” off ofSubliminal Seduction (2002, Criss Cross) was his homage to the difficulty but importance of long-term relationships.While Raise Up Off Me can easily be associated with 2020, the Black Lives Matter Movement, and the pandemic, the message I hear is Ralph’s fight to LIVE![4]
Peterson’s style was described as “passionate precision,” fusing the swing and energy of a hurricane with consistent and grounded time.[5] Others described his play as having “agile dynamism, lunging propulsion, and risk with triumph. He was also known for “long, cyclical polyrhythms.”[6]
Peterson believed that music programs “pushing kids to have their own style” was problematic; He claimed not to have a style of his own; “My style is copying the style of the people I love and the way I combine it and that’s nothing more.”[7] Though he conceded that he did have an identifiable style based on his subjective choices in adapting others’ styles, he did not believe that one should self-consciously try to develop their own style, but rather let that style naturally emerge as a synthesis of their influences and experiences.
Coming to the fore in the 1980s as a member of the Young Lions, a cohort of musicians tied to the neo-bop movement, Peterson acknowledged the influence of Art Blakey. Dubbed Blakey’s protégé, torchbearer, and “anointed heir,” Peterson emulated elements of Blakey’s playing style, including his snare drum press-roll crescendo, confident that this didn’t limit his own artistic vision.[8] Peterson also acknowledged having apprenticed underElvin Jones, singerBetty Carter and pianistWalter Davis Jr.[9] He credited Davis, who gave him his first gig in New York, with instilling in him the importance of brushwork.[10]
Peterson praisedAlan Dawson’s teaching and developed the veteran drummer’s Rudiment Ritual using the principles of three part-writing to incorporate parallel, contrary, and oblique motion. As a Berklee instructor, Peterson emphasized the importance of customizing his instruction to each student, making adjustments for those who had a stronger work ethic or could more easily absorb information; he refused to hold a student back “based on a pre-described formula.”[5]
Peterson encouraged his students to “learn tunes” and not to be dependent on theReal Book, a popular collection of lead sheets, which he claimed was “60 percent wrong,” and that reliance on the book would limit students’ learning of application. Just using the book, he claimed, wouldn’t teach the syntax and language of the music; this could only be learned by listening to recordings. By the same token, one could learn the melody from the Real Book, but to hear how it was “most creatively improvised on,” one would need to listen to records.[5]
To provide students with this “basic language,” Peterson created a course entitled Jazz Drum Set Repertoire which required students to learn 50 songs in 15 weeks. Though some said that this was asking too much of students, Peterson insisted that it was not. “I usually disseminate five tunes a week. Five tunes a week is not a lot. That's one tune a day with two days off!” This was part of Peterson’s imperative to “internalize” the music, so that students could be ready to perform or record a composition with only 24 hours’ notice:
The practical application of learning tunes quickly is like so: if I get a call today- it's Thursday- for recording on Saturday... the best a band leader can do is next day mail us the music. Or I suppose with email you could get the music by tonight. Right? Fine. We can see and hear the music tonight. Right? But the best we have is 24 hours to learn the music. And you need to be ready to record on Saturday![5]
Ultimately, Peterson taught a holistic conception of musicianship, involving “hearing and playing beyond the drum set. Understanding form, melody, harmony, and phrasing all have a profound effect on what a drummer plays.”[9] Peterson’s Berklee students includedAri Hoenig,E.J Strickland,Tyshawn Sorey, Jonathon Blake, Mark Whitfield Jr.,Kush Abadey andJustin Faulkner.[11] He also mentored the jazz writer Nate Chinen.[12]
Peterson taught at the University of the Arts in Philadelphia and Boston’s Berklee College of Music, where he started in 2003.[9] In 2010, Peterson started his own Onyx Productions Music Label.
In his twenties, Peterson struggled with drug addiction, though after achieving sobriety used his difficulties to “help those coming up behind him, either as a compass point or a cautionary tale.”[12]
In addition to his musical work, Peterson ran a Bostontaekwondo studio for many years and was ranked as a fifth dan black belt in 2019.[9]
Peterson died at his home inDartmouth, Massachusetts, after a six-year battle with cancer on March 1, 2021, at age 58.[13][1] He was survived by his wife Linea, daughter Sonora Slocum, stepdaughters Saydee and Haylee McQuay, and his spiritual daughter Jazz Robertson.[14]
WithDon Byron
WithUri Caine
WithGeorge Colligan
WithWayne Escoffery
WithDuane Eubanks
WithOrrin Evans
WithCraig Handy
WithCharles Lloyd
WithDavid Murray
WithJeremy Pelt
With others
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