Jack Petersen | |
---|---|
Birth name | Jack Leroy Petersen |
Born | Elk City, Oklahoma, U.S. | October 25, 1933
Genres | Jazz |
Occupation(s) | Musician, composer, educator |
Instrument(s) | Guitar |
Jack Leroy Petersen (born October 25, 1933) is an American jazz guitarist and educator. He was a pedagogical architect for jazz guitar and jazz improvisation at Berklee College of Music, University of North Texas College of Music, and University of North Florida.
His father, Harold Petersen, worked for LTV and his mother, Effie, worked at Russel-Newman Manufacturing Company. When Jack Petersen was five years old, his family moved to Denton, Texas. He began playing guitar when he was 16 under the influence of Western swing.
He won a course in guitar from a radio contest. The teacher was Bob Hames, a former soldier who was attending University of North Texas. Hames introduced Petersen the music of Charlie Christian, Herb Ellis, Tal Farlow, Barry Galbraith, Barney Kessel, Carl Kress, Oscar Moore, Remo Palmieri, Chuck Wayne. While in high school he and his friend Dick Crockett listened to North Texas Lab Bands and the small groups that performed on campus, and developed their playing style. Petersen graduated from Denton High School 1951. [1]
In 1955, he enlisted in the Army to perform with the 8th US Army Band in Seoul, Korea. While in Seoul, Petersen met many musicians and played eleven gigs a week. [2] After leaving the Army, he attended the University of North Texas to study music. He played cello and double bass in the orchestra and guitar and piano in the jazz ensemble where he collaborated with faculty members Gene Hall and Floyd Graham.
Petersen was proficient on double bass, cello, and piano. This gave him sight-reading skills, an advantage for guitarists of the day who were earning money in recording studios and dance orchestras. Sight-reading and maneuvering jazz progressions (beyond blues, pentatonic, and classic rock) made him a popular guitarist in recording studios, with big bands, and musicians who had little time to teach parts to their sidemen.
He has worked with Dave Brubeck, Randy Brecker, Dallas Symphony Orchestra, Buddy DeFranco, Herb Ellis, Fort Worth Symphony Orchestra, Milt Hinton, Lena Horne, Stan Kenton, Peggy Lee, Michel Legrand, Henry Mancini, Lou Marini, Ellis Marsalis Jr., Rich Matteson, Matteson-Phillips Tubajazz Consort, Rufus Reid, Doc Severinsen, Billy Taylor, Clark Terry, and Nancy Wilson.
His students include John Abercrombie, Morris Acevedo, James Chirillo, Corey Christiansen, Vincent Gardner, Mick Goodrick, Jerry McGeorge, Marcus Printup, Richard Smith, John Tropea, Cynthia Nielsen, Clint Strong, Rick Peckham, Bruce Saunders and Doug Wamble.
While at Berklee, Petersen introduced a guitar lab concept that transformed guitar education, particularly jazz guitar, with respect to sight reading and with respect to accommodating large numbers of guitar students. He created a big band composed of 12 guitars in three units of four – one unit would cover the woodwinds of a big band, one would cover the trombones, and one would cover the trumpets. The guitar players read single notes, just like horn players — no chords. [2] Later, Petersen helped his colleague at North Texas, Rich Matteson, develop a similar concept for low brass, creating a big band composed solely of low brass instruments. The Matteson-Phillips Tubajazz Consort was composed mostly of renowned professional artists and educators.
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