Pedro Jústiz, better known as Peruchín (January 31, 1913 – December 24, 1977), was , according to one critic,
the greatest pianist in Cuban music. . . . [W]hat Peruchín could do in one phrase was without equal. And what he did harmonically, rhythmically, was so modern. He was 30, 40 years ahead of his time. Every important Latin pianist I know … has copied or been influenced by him.
Peruchín’s style was characterized by the frequent use of block chords, influencing, among others, George Shearing.
Here are two tunes, “La Mulata Rumbera” and “Laura” from the album The Incendiary Piano of Peruchín (1963 GNP Crescendo Records). It’s interesting how they hyped it by noting that it’s “with Exciting Afro-Cuban Rhythm.” Another thing that is interesting is how he can put a Latin feel on a standard and then morph it into a full-blown descarga (jam session). Enjoy!
Not really a record, but a wonderful video of Bill Evans and Eddie Gomez (and a young Alex Riel) setting up and rehearsing for a recording in 1966. Terrific insight into the interaction between the musicians and Evans’ personality:
Original is from a Danish website that also has a dozen or so other videos (Oscar Peterson, Bud Powell, and more): Bonanza | Jazz i sort/hvid
Thanks for sharing, @gregb. I’d seen bits of this before but not the whole take. I can’t imagine how nervous the “new guy” must have felt during this session.
A while back, I came across Tete Montoliu (28 March 1933 – 24 August 1997) a jazz pianist from Catalonia, Spain. Born blind, he learnt Braille music at age seven. His styles varied from hard bop, through afro-cuban, world fusion, to post bop. He recorded with Lionel Hampton in 1956 and played with saxophonist Roland Kirk in 1963. He also worked with leading American jazz musicians who toured in, or relocated to Europe including Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and Anthony Braxton.
Here are a couple of tunes–his take on “Girl from Ipanema” and a blues tune. Always nice to find fine players. Enjoy!
I’ve been listening to bits and pieces of the “Live from Emmett’s Place” series since it began over a year ago with the advent of the pandemic. It’s always great. But this one just brought a smile–just felt good. So I thought I’d share. I actually listened to the entire session–something I’ve never done before. It’s a session that merits a full listen!
This one features the great guitarist Peter Bernstein. I’ve been listening to his recordings for some time, mainly as a part of a trio with Larry Goldings. They’ve played together off and on for over 30 years.
Around 40 minutes in, there’s a brief dialogue that’s well worth a listen. At around 42, you get a bar or two of montuno. Also, at around 1:14 there’s another great exchange. Some great keys here, as always.
At any rate, give this one a listen and see what you think. Enjoy!
Love the rhythm thing he’s got going with the percussion, bass, and guitar. It is pretty wild, sort of horn heavy. Check out Ackmoor’s Homage to Cuba. It’s “wild” with an Afro-Cuban feel. And if you really want “wild” horns, check out Coltrane’s last album, Kulu Sé Mama (Verve 1965). The players include McCoy Tyner, Elvin Jones, and Pharoah Sanders.
I just came across this fascinating take on “Someday, My Prince Will Come.” It’s by Tigran Hamasyan, an Armenian jazz pianist (b. 1987). He plays mostly original compositions, which are strongly influenced by the Armenian folk tradition, often using its scales and modalities. . . . [H]is improvisations often contain embellishments based on scales from Middle Eastern/South Western Asian traditions. Some of his later stuff is sort of prog/jazz like Keith Emerson’s prog/rock. Enjoy!
In my live seminar today we are exploring the tune “Body & Soul”, and we will be analysing Beegie Adair’s rendition of the tune. I thought it would be nice to post the recording here for reference:
The transcription doesn’t include everything she plays, but it should be helpful nonetheless to understand the progression and chord colours that she is playing around with for her intro.
Definitely use your ears to pick out some of the finer details and nuances of her intro.
Also check out the full seminar here for a more in-depth discussion and demonstration of the voicings and playing style.
Just got around to listening to this. It’s a style that I like very much. If you check the Virtual pianos on offer, most have a setting for Cinematic or something like that that is very much like this. Thanks for sharing, @Hayden!
Listening to the Kosenko piece, I remembered a couple of tunes by Ruslan Sirota that
I thought you might like. He’s showcasing a new piano by the same folks that brought us the Ravenscroft 275, the Modern U, considered by some to be the best upright library. It has some interesting sounds. I’ve more or less worked through a transcription of “A Lifetime Away.” Enjoy!
Love this song! Thanks Scott for sharing…such passion and connection to this tune he wrote. I actually contacted him about this song to get a copy of the score
