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Peter Delano - Peter Delano (Eac Single Flac Cue)
Artist: Peter Delano
Title: Peter Delano
Audio CD (August 17, 1993)
Original Release Date: March 1993
Number of Discs: 1
Label: Verve 314 519 602-2
Genre Jazz
Styles Post Bop, Hard Bop
Extractor: EAC 0.99 prebeta 4
Read mode : Secure
Utilize accurate stream : Yes
Defeat audio cache : Yes
Make use of C2 pointers : No
Codec: Flac 1.2.1; Level 8
Single File.flac, Eac.log,
File.cue (Noncompliant)
None of the tracks are present
in the AccurateRip database
Size Torrent: 381 Mb
Artwork Incluse
Personnel:
Peter Delano – Piano
Michael Brecker – Tenor Saxophone (Tracks 01, 05 & 12)
Gary Bartz – Alto & Soprano Saxophones)
Tim Hagans – Trumpet
Ira Coleman – Bass (Tracks 01, 03, 05, 08 & 10)
Jay Anderson – Bass (Tracks 02, 04, 09 & 11)
Lewis Nash – Drums
Tracklist:
1 Elephants in the Sky Delano 6:02
2 Experiencing Change Delano 6:00
3 Gesticulations Delano 5:12
4 Entranced Delano 6:01
5 Miles' Mode Coltrane 6:24
6 Piano Improvisation 1 Delano 2:21
7 I Remember Clifford Golson 6:24
8 Say Uncle Delano 6:58
9 Central Park Waltz Delano 5:48
10 Anicca Delano 5:40
11 Autumn Leaves Kosma, Mercer, Prevert 5:02
12 Reminiscence Delano 6:20
Listen to Samples
http://www.amazon.com/gp/recsradio/radio/B0000046QJ/ref=pd_krex_dp_a/190-1021189-9798524
bio
Born in New York City on September 28, 1976, Peter Delano began playing the piano at six. By the time he was nine he
had discovered blues progressions and was on his way to becoming a piano prodigy. At 12 he was the youngest student
admitted to the already prestigious, two-year-old New School Jazz Program.
I met Peter Delano through trumpeter Red Rodney, a longtime friend of mine. When professional musicians talk more than
casually about new talent my ears perk up. I remember Philly Joe Jones making a point to tell me about Clifford Brown.
When Red pulled my coat to Peter I knew there was something worth listening to in the offing. I can’t recall whether I
first heard him on tape or in person but I was duly impressed. I was not completely surprised because of Red’s words
but I was in the sense that Peter was even better than imagined. One night, quite a while after I had been listening
to him, I was given a Blindfold Test. The pianist was blowing dynamic bebop, clearly inspired by Bud Powell. I didn’t
even hazard a guess. It was Peter—at 12.
I was asked to write the notes for his first CD, Peter Delano, in ’93. Impressed by his performance alongside some of
the Apple’s elite—Gary Bartz, Michael Brecker and Lewis Nash--I was even more taken with the maturity of his excellent
compositions, having heretofore not been exposed to that side of him. It was easy to add my positive comments to those
of Brecker: “There was instant chemistry from the moment Peter and I started playing together. He is a player/writer of
immense talent and intensity, and I had a great time working with him”; and Bartz: “I can’t remember hearing anyone of
his age that well developed…plus that ear, that technique.”
His second release, Bite of the Apple, recorded at the end of ’93 and the beginning of ’94, in collaboration with an
even greater variety of top New York musicians, was tailored to those diverse talents in different combinations through
nine Delano pieces and Richard Rodgers’ “The Sweetest Sounds.” The Chicago Sun Times noted: “Throughout his playing is
as lucid and revealing as it is spirited and sure.” Keyboard chimed in: “From moody solo reflections to bracing
ensemble pieces, Delano writes and blows with astonishing precocity.”
About that time in 1994 Delano entered Columbia University. Throughout his years there, until graduation in 2000, he
managed to sandwich his academic studies in between live performances which circled the globe and ranged from repeat
engagements at major European jazz festivals such as North Sea; a solo recital at Montreux; and an appearance at New
York’s Blue Note where he opened, solo, for the trio of Herbie Hancock. A particular highlight of those years was
Delano’s tribute to Oscar Peterson as a part of Verve’s 50th Anniversary spectacular at Carnegie Hall. New York Newsday
reported: “The unexpected high point of the proceedings came when piano prodigy Peter Delano set loose a polychromatic
rendition of ‘Tangerine.’ ”
After graduation Delano toured with guitarist Mark Whitfield’s group, did considerable studio work on piano and
keyboards and appeared quite a few times on television’s Black Entertainment Network. Some of his compositions were
used as soundtrack material for a few documentaries. He also scored some short, independent films and commercials
during this period.
Delano also began studying with two highly regarded teachers, broadening his approach to piano with Sophia Rosoff, and
expanding his compositional abilities in Classical Orchestration with composer Marc Consoli. He also delved into
teaching Jazz Theory and Piano and amassed a substantial body of private students.
In 2004, at the height of his creative potential, Delano sustained a severe back injury that left his foot paralyzed
and rendered him absolutely unable to sit at the piano without experiencing excruciating pain. It was determined that
he required emergency spinal surgery. As it turned out, the spinal surgery knocked him for a loop, eventually causing
him to remove himself from all things musical lest they painfully remind him of his severed relationship to music which
each day seemed to be getting worse and worse.
Finally, at the beginning of 2007, Delano began regaining his physical ability to play and compose, and his passion and
motivation for music. The summer marked his return to physical, mental and creative health and his full return to the
world of music.
Heralding this is Delano’s third CD, named For Dewey, in tribute to Dewey Redman, the late legendary saxophonist who is
importantly present on several tracks recorded earlier with Peter. Just listening to the sheer energy, joy and overall
mastery of For Dewey, makes one more than half-past ready for Peter's re-entry in the new millennium.
review
Only 17 years of age, acoustic jazz pianist Delano shows a remarkably resilient melodic sensibility on this, his debut
recording.
A student of Garry Dial, Delano is also fond of McCoy Tyner, Keith Jarrett, Thelonious Monk, Chick Corea, and other
modern bop/neo-bop icons.
His playing does not blatantly reflect these influences, though; he strives to present something fresh, and is
generally successful.
Most of the 12 pieces are Delano originals, and feature an ensemble consisting of saxophonists Gary Bartz and Michael
Brecker, trumpeter Tim Hagans, bassists Ira Coleman and Jay Anderson, and drummer Lewis Nash.
Delano is an impressive pianist. His solo piano selections, "Piano Improvisation 1" and "I Remember Clifford," are
hymnlike.
There are two trio pieces: "Autumn Leaves" and the breezy "Central Park Waltz." The larger group pieces all have modern
mainstream themes. "Elephants in the Sky" and "Experiencing Change" emphasize darker shadings, with the former
featuring a modally complex head and the latter finding Bartz and Delano lockstep in mezzo piano unison.
A very elastic line featuring Bartz's stirred soprano pulls "Say Uncle," and a version of Coltrane's "Miles Mode"
cleverly jumps back and forth between different keys with the help of a truly inspired tenor from Brecker and tried and
true Tyner-isms from Delano.
The quirky melody of "Gesticulations" bounces around like a superball, while Hagans' muted trumpet and Bartz's soprano
push a shuffle swing during "Annica."
Brecker and Delano duet on the somber "Reminiscence."
It's hard to determine whether Delano is a better performer or writer, but both sides show great promise on this fine debut. |
