I’m starting off straight up corny by saying I’ve been a “transparent soul” with anyone who’d listen to me about my anticipation of WILLOW’s sixth and latest solo LP, which finally dropped May 3rd.
My owning of my corniness, turns out, totally vibes with the messages about the freedom to express & accept your feelings, warts and all, coursing throughout the #greatalbum “empathogen” (2024).
Not only do I absolutely love how WILLOW wrestles lyrically (and musically) with Big Ideas such as existence, ego, anxiety, pain, self-sabotage, fear and love, she does so in such soul-felt, sophisticated & surprising ways, I have to compliment the precise production by WILLOW and her fellow producers Chris Greatti, Eddie Benjamin and Jon Batiste.
There are myriad sounds, echo effects and vocal arrangements involved in each track, even the stripped down ones, but none ever feel overdone — just purposeful and fresh. It’s as if WILLOW threw her hands into the cosmic river of music, tapped into its source, and allowed it to flow freely through her.
There’s a lot going on technically in the music I can’t speak on with any authority (e.g. the multiple time signatures, turnarounds, uncommon verse/chorus structures) but what I can talk about is how it hits the ears and how it feels — free, unexpected, relatable, or, in one word — embracing.
WILLOW is clearly a student of music and draws on varied influences (her IG post of her working her voice out to Ella Fitzgerald’s legendary scat on “How High The Moon” blew my mind a few months ago and still lives rent free in what’s left of my head), but right now she’s reminding me most of the great Esperanza Spalding, particularly during her “Emily’s D+Evolution” (2016) jazz/pop/rock era.
WILLOW’s own pop/rock/punk/soul explorations from the past few years also inform her current jazz/funk/fusion present (and hopefully future).
The singles released from the LP, “symptom of life” and “bigfeelings”, are the best ambassadors for this tight 12-song offering which literally begins with what sounds like an off-mic Jon Batiste screeching, as if being born, “I love everything!”
(BTW, could Batiste be on more of a roll? He also co-produces and co-writes “Ameriican Requiem”, the opening track on COWBOY CARTER. If I’m an artist, I’m thinkin get this man to help kick off my LP, stat, cuz greatness will surely follow!)
After Batiste, we hear steady rimshots underneath WILLOW’s “ah oo ah ah” breaths until she sings “I live my life” — and I didn’t conjure my previous cosmic music river metaphor out of nowhere as WILLOW then sings “I trust this river to carry me / home” in this mystifyingly captivating LP opener titled “home”.
Welcome to the holiday season, Good Black News family! We hope you had a wonderful Thanksgiving – and are counting down the 25 days of Christmas now that it’s December.
In what’s become a holiday tradition, we’ve updated our now massive Black Christmas music Spotify playlist with a whole heap of new songs. The month of November was spent searching far and wide across the internet for new releases, old classics now on Spotify, and other tunes and artists we missed in previous years.
We’ve now got over 700 songs across 40+ hours (and we’ll add more if some crucial tunes get released in the next few weeks) – with the goal to be one of the most definitive Black Christmas playlists around.
If you’re still subscribed to the list from a previous year, we’re here to let you know it’s now updated and bigger/better than ever.
If you’ve not subscribed, check it out while you are wrapping presents, baking cookies, decorating your tree, or just sitting cozily in front of a nice roaring fire, with football on mute in the next room.
As a reminder, we set out to make a mainstream Christmas radio station that you can use in the background all season long. But in the GBN tradition, the focus is on Black artists (plus occasional duet partners and a little Robin Thicke).
While other holiday radio focuses on Brenda Lee and Bing Crosby, we’ve got Ella Fitzgerald and Nat King Cole. When they play Michael Buble, we play John Legend, or Hamilton star Leslie Odom.
Of course, we’ve got The Jackson 5, Donny Hathaway, the original Eartha Kitt version of “Santa Baby,”Stevie Wonder, and two different renditions of The Temptations doing “Silent Night.” And just like everyone else, Mariah Carey!
We’ve sequenced the list carefully – so that you don’t overload on the same songs, tempos or artists too frequently. You can just let it play – or hit shuffle. Or you can even use it as a base of songs to edit down into your own personal list of favorites.
In addition to soul and pop, there’s some jazz, some gospel, some blues, some a capella, and even disco, reggae and Black country in the mix. Hopefully you find all the classics you need, and some brand new surprises you didn’t know you wanted.
This year’s big new Christmas releases include albums from Brandy (currently starring in the new Netflix hit Best. Christmas. Ever!), jazz star Gregory Porter, and hot new soul star October London.
Ace producer Adam Blackstone has assembled an album with friends that include Keke Palmer and Boyz II Men. And on the traditional side, Grammy-winning Best New Artist Samara Joy has issued an EP, and the legendary Johnny Mathis has issued new tracks as well. We’ve got a couple songs from all of these.
It’s Halloween time once again, and I’m back with another Funky Halloween Music playlist for this spooky season. Here is 13 hours of more Soul, Reggae, Funk, Jazz, and movie soundtracks.
I freely admit to casting a very wide net for this playlist, including tracks simply featured in The Blackening, Nope, Get Out, Us, The Master and others.
Screamin’ Jay Hawkins, Beyoncé, Gravediggaz, The Weekend, Ella Fitzgerald, Little Simz, Exuma, King Tubby, Geto Boys, Bessie Smith, The Specials, Ray Parker Jr., and others are all present on the ever-evolving collection of Halloween music.
We hope that all of you in the Good Black News family are enjoying the holiday season and all the prep that goes along with it.
As many longtime readers know, Good Black News couldn’t survive the holidays without our Spotify Christmas music mixes playing in the background.
So, today, we’ve updated one of our most popular playlists ever to share with you again, and offer you the chance to deep dive into holiday music that is a little different than the rotation of 20 Andy Williams, Burl Ives and Bing Crosby tunes you might hear on the regular radio.
While you’re wrapping, decorating, baking, or just sipping eggnog by the fireplace, our playlist is a go-to that can last all season long.
Of course you can set it on shuffle and never know what’s coming next, or just let it play through. We’ve carefully planned it out so that if you just let it play, you’ll get a mix of tempos and artists and soulful styles singing songs you know by heart mixed in with forgotten coulda-been classics and brand new originals that are classics in the making.
As a reminder, musically we’ve set out to create our own ‘radio’-like Christmas playlist, but as only GBN could, comprised entirely of songs performed by Black artists (or in the rare case of Robin Thicke, artists singing in a soulful tradition).
Of course, we’ve got Donny Hathaway, The Jackson 5, The Temptations‘ “Silent Night,” and plenty of Nat King Cole, Ella Fitzgerald, Johnny Mathis, and yes, Mariah Carey.
But as we did last year, we’ve refreshed the playlist this year with a bunch of new tracks – titles that are freshly released in 2022, as well as older tunes that are new discoveries for us, and even some famous songs that had never before appeared on Spotify.
In the era of streaming music, new Christmas music is being released much differently than it used to be. There are still a few new full-length Christmas ‘albums’ being issued.
Among them are collections from Alicia Keys, Regina Belle, and recent Emmy groundbreaker Sheryl Lee Ralph (working with gospel producer/artist B. Slade on her new release entitled ‘Sleigh.’).
We’ve got songs from all of the new releases above (although currently Alicia Keys has only made one single from her album available on Spotify).
The holiday season fast approaches, and I’m back with a collection to gather around the table with family and friends.
Here’s a Thanksgiving playlist that includes new music by Rihanna from the BLACK PANTHER: WAKANDA FOREVER soundtrack, and food-centered classics like Cab Calloway’s “Everybody Eats When They Come To My House” from way back in the day.
This musical journey features soul, jazz, reggae, and gospel, all good music to cook, eat, and clean that kitchen to.
Here’s Ella Fitzgerald and Nat King Cole singing songs about autumn, and several artists like Sly Stone, Massive Attack, and Otis Redding offering songs of thanks.
Plus Little Eva, Fantasia, Louis Jordan and others praising grits, stuffed turkey, mashed potatoes, greens, cornbread, and collards to name a few. Hungry yet?
Happy Early Thanksgiving, y’all. I’ll see you soon with a funky holiday season offering next month.
Soul, Reggae, Funk, Jazz, and movie soundtracks make up this collection. There are midcentury classics, plus brand new and previously unreleased tracks.
Michael Abels’ music from Jordan Peele’s neo-Western science fiction horror film, NOPE, serves as a through line for this mix.
It features Beyoncé, The Weekend, Ella Fitzgerald, Little Simz, Exuma, King Tubby, and long-lost collaborations with the late Ranking Roger and The Clash.
I freely admit to casting a very wide net for this playlist. It won’t scare kids off your porch on the 31st, but it might have you shaking a tail feather from now until then.
Please enjoy this collection that offers, witches, ghost, werewolves, and monsters both real and imagined.
We end our celebration of #JazzAppreciationMonth today with a short tribute to a seminal architect of the sound, the legendary New Orleans son, Louis Armstrong.
To read about Armstrong, read on. To hear about him, press PLAY:
[You can subscribe to the Good Black News Daily Drop Podcast via Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or listen every day here on the main page. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Saturday, April 30th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Today, we’d like to close out #JazzAppreciationMonth, with a short tribute to a primary architect of the sound, the legendary New Orleans son, Louis Armstrong:
[“St. Louis Blues” by Louis Armstrong]
“No him, no me,” is how jazz innovator Dizzy Gillespie described the impact of musician Louis Armstrong.
Widely believed to be the first great jazz soloist, Armstrong’s improvisations on the cornet and trumpet influenced every jazz musician after him and elevated the musical style to a new, exciting standard.
Born in August of 1901, during one of the more challenging times of his childhood, Armstrong was sent to a home for boys in 1912 after firing his stepfather’s gun in the air during a New Year’s Eve celebration.
While at the “Colored Waifs Home for Boys” as it was called, Armstrong learned how to play the cornet. When Armstrong was released, as he worked odd jobs he was mentored on his horn by one of the best players in town — Joe “King” Oliver – and eventually replaced Oliver on cornet in Kid Ory’s band.
Armstrong soon reunited with Oliver when Oliver formed his own band in Chicago, which lead to Armstrong’s first recorded solo on record, 1923’s “Chimes Blues.”
[Excerpt of “Chimes Blues”]
Armstrong soon left his mentor to join Fletcher Henderson’s Orchestra, the top Black big band in New York. But the big city lifestyle and creative restraints Armstrong encountered lead him back to New Orleans to play with his wife Lil Armstrong’s band at the Dreamland Café.
Armstrong also began recording with his studio band – first the Hot Five and then Hot Sevens – even though they weren’t who he played with for live performances.
These recordings with smaller groups of musicians were an early influence on what would that become the norm after the swing band/orchestra’s hey day in the 1930s that ushered in the bebop era in the 1940s.
Armstrong’s stop-time solos on numbers like “Cornet Chop Suey” and “Potato Head Blues” changed jazz history, featuring daring rhythmic choices, swinging phrasing and incredible high notes.
[Excerpt “Potato Head Blues”]
Armstrong also innovated with his vocals, and his riff-style “scat” singing was emulated by popular singers like Ella Fitzgerald and Billie Holiday.
[Excerpt of “Heebie Jeebies”]
Armstrong’s influence on other musicians was impactful and immediate. A young pianist from Pittsburgh, Earl Hines, assimilated Armstrong’s ideas into his piano playing, and together, they made some of the greatest recordings in jazz history in 1928, including their duet on “West End Blues”:
[Excerpt of “West End Blues”]
“West End Blues” proved without a doubt that popular dance music like jazz music was also capable of producing high art.
As Armstrong’s reputation grew, he toured in Europe, began recording hit songs of the day and appeared in Hollywood movies such asPennies From Heaven and High Societywith Bing Crosby, The Glenn Miller Story with Jimmy Stewart and New Orleans with Billie Holiday. Armstrong also recorded with a smaller six-piece combo, the All Stars.
The personnel of this combo would frequently change, but Armstrong would perform live with his All Stars until the end of his career. Members, at one time or another, included Jack Teagarden, Earl Hines, Sid Catlett, Barney Bigard, Trummy Young, Edmond Hall, Billy Kyle and Tyree Glenn, among other jazz legends.
During this time in the 1940s and 1950s, Armstrong had hits with his versions of songs such as “That Lucky Old Sun,” “A Kiss to Build a Dream On,” “Blueberry Hill” “La Vie En Rose” and one of the biggest hits of his career, his version of “Mack The Knife”:
[Excerpt from “Mack The Knife”]
As times advanced and changed, Armstrong’s style was seen as outmoded and outdated. He received criticism for remaining silent on politics and not lending his voice to the fight against racism and for civil rights.
Even when Armstrong did speak up, as in 1957 when he called out President Eisenhower for allowing Governor Orval Faubus to use the National Guard to prevent the Little Rock Nine from integrating Little Rock Central High School, he was met with criticism from whites and Blacks alike – the former for saying anything and the latter for seeming to speak out too late.
Yet and still, Armstrong kept on with doing what he wanted to do musically and defying all odds and at the height of the British invasion of the rock and roll era, he scored a #1 Billboard pop hit in 1964 at the age of 63 with his version of “Hello, Dolly”:
[Excerpt of “Hello, Dolly”]
In 1965, Armstrong started performing the Fats Waller tune “Black and Blue” live again a decade after removing it from his repertoire. He changed a lyric from being “I’m white inside” to “I’m right inside” and turned it into a protest that he would continue to play for the rest of his life:
[1965 version of “Black and Blue” from East Germany]
Three years later however, Armstrong’s version of “What A Wonderful World” did not get the same reception in the United States. But it was a number one hit overseas in England and South Africa in 1967, and after its appearance almost two decades later in the 1986 movie Good Morning, Vietnam, “What a Wonderful World” became a signature tune and perennial favorite of Armstrong’s, known the world over to this day.
[Excerpt of “What a Wonderful World”]
Armstrong’s home in Corona, Queens, which he shared with his fourth wife Lillian from 1943 until his passing in 1971, was declared a National Historic Landmark in in 1977. Today, the house is home to the Louis Armstrong House Museum, which annually receives thousands of visitors from all over the world.
Even though his most famous nickname was “Satchmo” for his “satchel mouth,” New Orleans native Armstrong was more lovingly known among musicians as “Pops,” as he was the father of it all.
You can also watch the 1957 documentary Satchmo the Great which is currently posted on YouTube, Ken Burn’s Jazz miniseries on PBS, and be on the lookout for what Apple Original Films announced last year would be the definitive Louis Armstrong documentary produced by Imagine Entertainment where the story will be told entirely through Armstrong’s own words titled Black & Blues: The Colorful Ballad of Louis Armstrong.
And speaking of Louis Armstrong’s words, let’s hear a bit of him speaking about love and life from an audio clip posted on louisarmstronghouse.org:
[Clip of Louis Armstrong speaking]
This has been a daily drop of Good Black News, written, produced and hosted by me, Lori Lakin Hutcherson.
Intro and outro beats provided by freebeats.io and produced by White Hot.
Excerpts from Louis Armstrong’s music are included under fair use.
If you like these Daily Drops, follow us on Apple, Google Podcasts, RSS.com, Amazon,Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
GBN is pulling a trifecta today — celebrating #MusicMonday, #JazzAppreciationMonth, and dropping in on absolutely one of the best singers past, present — or ever — Ella Fitzgerald!
Born 105 years ago #OnThisDay, through her stunningly timeless gifts (and vast catalog), Ella Fitzgerald is still surprising and delighting music lovers and casual fans alike.
To read about her, read on. To hear about her, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this is Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Monday, April 25th, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Today, we offer a quote from the “First Lady of Song” born 105 years ago on this date, the incomparable Ella Fitzgerald.
“The only thing better than singing is more singing.”
Born in 1917 in Newport News, Virginia, Ella Fitzgerald’s earliest artistic ambitions were to become a dancer.
When the loss of her mother when she was 15 lead to a relocation to Harlem to live with her aunt and stints in an orphanage and a state reformatory school for girls, Fitzgerald hustled to get by on the streets and at 17 took her terpsichorean talents to Amateur Night at the Apollo Theater.
But when she saw two sisters with a dance act go on before her and wow the crowd, Ella didn’t think she could compete so she switched up her talent from dancing to singing and took to the stage to sing “Judy” and “The Object of My Affection” and won first prize in 1934.
Although she didn’t record either at the time, in 1968 Ella gave “The Object of My Affection” another onstage go when she sang it for her Live At Chautauqua, Volume1 LP:
[Excerpt from “The Object of My Affection”]
Ella’s Amateur night win lead to an audition with Chick Webb to become the girl singer in his orchestra, and one of the best collaborations between bandleader and singer in the swing era.
Webb and Ella had hits with “Love and Kisses,” “(If You Can’t Sing It) You’ll Have to Swing It (Mr. Paganini)” and the classic turn on a nursery rhyme co-written by Ella that become of the best-selling songs in it’s decade, “A Tisket, A Tasket”:
[Excerpt from “A Tisket, A Tasket”]
Even as Chick Webb took the young Ella under his wing, his serious health challenges ended his life way too soon in 1939.
Ella stepped up and lead and toured with the orchestra for a few more years until she went solo as jazz turned increasingly towards the newer sounds of bebop.
It was around this time, while working with Dizzy Gillespie and his band, Ella developed her scat singing style, lauded on songs such as “Oh, Lady Be Good” and “Flying Home”:
[Excerpt from “Flying Home”]
Ella not only navigated and interpreted jazz standards with dazzling dexterity and clarity, during her heyday, she, like her quote implied, sang and sang and sang some more.
Ella took on several of America’s most popular composers with her unparalleled series of “songbooks,” where she devoted entire albums to covering the songs of Cole Porter, George Gershwin, Duke Ellington, Rodgers and Hart, Johnny Mercer, Jerome Kern and Irving Berlin.
You can’t go wrong with any of these incredible recordings, so I’ll share a personal favorite from Ella Sings Gershwin – Ella’s plaintively tender version of “Someone to Watch Over Me”:
[Excerpt of “Someone to Watch Over Me”]
Ella also paired up with jazz royalty, recording an album with Count Basie, three with Louis Armstrong, four with guitarist Joe Pass and four with Duke Ellington, one which included her version of – I can’t think of any better word than “banging” because Ella just goes so hard in “It Don’t Mean a Thing If It Ain’t Got That Swing”:
[Excerpt of “It Don’t Mean a Thing If It Ain’t Got That Swing”]
From big band to bebop to Broadway, standards, pop and R&B, throughout her career, Ella Fitzgerald recorded over 200 albums and 2,000 songs.
Because frankly, with a voice like hers, the only thing better than Ella singing was more Ella singing. I’m going to put a link to a much longer Ella playlist in the show notes, but let’s hear from her one more time, in 1977, when one of her biggest fans, Stevie Wonder, lovingly sings her praises right before she helps him sing his song:
And of course, buy or stream as much of her music as you can. Links to these sources and more are provided in today’s show notes and in the episodes full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, written, produced and hosted by me, Lori Lakin Hutcherson.
Intro and outro beats provided by freebeats.io and produced by White Hot.
All excerpts of Ella Fitzgerald’s music are included under Fair Use.
If you like these Daily Drops, follow us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Happy #JazzAppreciationMonth, good people! For most the word “Jazz” conjures up images of the giants like Charlie Parker, Ella Fitzgerald, John Coltrane, Miles Davis, Sarah Vaughan, and Louis Armstrong.
Though this collection, “Ear Food: A New Jazz Playlist“ features a new school of Jazz artists re-imagining and reinventing Jazz for today:
They are staying true to the game while infusing a spectrum of R&B, Hip-Hop and other influences.
Many will recognize names like Kamasi Washington, Robert Glasper, Meshell Ndegeocello, Esperanza Spalding, and the late Roy Hargrove, but this collection features some new talents that are not as well-known.
I hope you’ll dig artists like: Ezra Collective, Al Strong, Steam Down, Somi, Nubya Garcia, Tom Misch, and Moses Boyd, too.
It’s great to see and hear a new generation adopt and reinvent the sound of a timeless genre, proving that Jazz not only still lives, but thrives.
While I’ve generally moved to monthly offerings, I’ll be back during this month devoted to Jazz appreciation with another collection next week.
In continued celebration of #JazzAppreciationMonth, today we drop in on virtuoso pianist Oscar Peterson, who hailed from Canada, composed the de facto Civil Rights Movement anthem “Hymn to Freedom,” and was dubbed the “Maharaja of the Keyboard” by none other than fellow piano master Duke Ellington.
To read about Peterson, read on. To hear about him, press PLAY:
[You can follow or subscribe to the Good Black News Daily Drop Podcast through Apple Podcasts, Spotify, Google Podcasts, rss.comor create your own RSS Feed. Or just check it out every day here on the main website. Full transcript below]:
Hey, this Lori Lakin Hutcherson, founder and editor in chief of goodblacknews.org, here to share with you a daily drop of Good Black News for Monday, April 11, 2022, based on the “A Year of Good Black News Page-A-Day Calendar” published by Workman Publishing.
Being called the “Maharaja of the Keyboard” by Duke Ellington was a lot for Canadian-born jazz pianist Oscar Peterson to live up to – and he did.
In a career spanning over six decades, the classically trained Peterson showed off his virtuosity and dexterity in his compositions such as 1964’s Canadiana Suiteand 1962’s “Hymn to Freedom,” which was embraced by people around the world as the anthem of the Civil Rights Movement:
[Excerpt from “Hymn to Freedom”]
Peterson also excelled as accompanist to greats like Billie Holiday, Ella Fitzgerald, Dizzy Gillespie and Louis Armstrong, and as front man of his world-renowned Oscar Peterson Trio in the 1950s, who recorded such treasures such as “Quiet Nights of Quiet Stars”:
[Excerpt of “Quiet Nights of Quiet Stars”]
“Something’s Coming” from West Side Story:
[Excerpt of “Something’s Coming”]
and “C Jam Blues”:
[Excerpt of “C Jam Blues”]
Peterson won eight Grammy awards and was inducted into the Canadian Music Hall of Fame in 1978 and the International Jazz Hall of Fame in 1997.
Later this month over the April 22nd weekend, the Oscar Peterson International Jazz Festivalwill be held in Toronto, Canada and feature contemporary jazz artists Joshua Redman, Christian McBride, Brad Mehldau and Brian Blade, among others.
And, of course, buy or stream as much of Oscar Peterson’s music as you can, including the latest 2021 posthumous release, A Time For Love, a recording of Peterson’s quartet live concert in Helsinki in 1987, which you can get on 180 gram blue vinyl if you’re into that through oscarpeterson.com.
Links to these sources and more are provided in today’s show notes and the episode’s full transcript posted on goodblacknews.org.
This has been a daily drop of Good Black News, based on the “A Year of Good Black News Page-A-Day Calendar for 2022,” published by Workman Publishing.
Intro and outro provided by freebeats.io and produced by White Hot.
All excerpts of Oscar Peterson’s music included are permitted under Fair Use.
If you like these Daily Drops, please consider following us on Apple, Google Podcasts, RSS.com, Amazon, Spotify or wherever you get your podcasts. Leave a rating or review, share links to your favorite episodes, or go old school and tell a friend.
For more Good Black News, check out goodblacknews.org or search and follow @goodblacknews anywhere on social.
Armstrong also began recording with his studio band – first the Hot Five and then Hot Sevens – even though they weren’t who he played with for live performances.
As Armstrong’s reputation grew, he toured in Europe, began recording hit songs of the day and appeared in Hollywood movies such as Pennies From Heaven and High Society with Bing Crosby, The Glenn Miller Story with Jimmy Stewart and New Orleans with Billie Holiday. Armstrong also recorded with a smaller six-piece combo, the All Stars.
Watch incredible clips of her on YouTube performing with 
To learn more about Oscar Peterson, read his 2002 autobiography