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Peter teekens dating

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He is a Great artist. He is one of my favorite.

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I have a big collection of him. Please leave your comments here. Cerra, copyright protected; all rights reserved.

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He's a swingin' mother! Great harmonic and melodic ideas and a real nice cat We need more guys like that. Pete has paid attention to the past as well as to the future. I just wanted to deal with the music and develop a relationship with the instrument that came from my hands.

Growing up in a large, extended Italian-American family, the guitar seemed to be everywhere. The sound of guitar during those childhood years was literally "music to my ears. And yet, when I first turned to Jazz, it seemed to be a rare instrument. I once asked Joe Pass, the late master Peter teekens dating guitarist, why there were so few Jazz guitarists compared to those who practiced the art on other instruments. His succinctly put answer was: There are many ironies with my first encounter with guitarist Peter Bernstein not the least of which is that I first experienced his playing on an album with a Hammond B-3 organist and with a drummer who plays in a manner very reminiscent of Philly Joe Jones and Jimmy Cobb — an approach to Jazz drumming that I prefer, immensely.

Bernstein predictably gains the respect of every great musician he works with; Jimmy Cobb first asked Peter to work with him in April '89 when he was all of 21 and the guitarist recently led his own quartet featuring Cobb for a standing-room-only week at the Village Gate.

He's an expressive soloist whose horn-inspired lines draw much of their power, beauty and effectiveness from his soulful time.

Steve Davis, Wycliffe Gordon. Peter teekens dating sampling the music from the above [incomplete] list, the amount of excellent Jazz that Peter has contributed on these recordings over the past 20 years is staggering to consider in terms of the depth and breadth of its scope.

Peter Peter teekens dating studied with guitarists Ted Dunbar and Gene Bertoncini. You know when Peter is soloing because your foot starts bouncing up and down involuntarily. The sound that comes out of his instrument is so beautiful that one is tempted to describe it as the definitive sound of an amplified, Jazz guitar.

Peter Peter teekens dating his first as a leader for Criss Cross in His rhythmic suppleness and clarity Peter teekens dating thought, good blues feeling and ability to pattern solos of melodic grace will be immediately evident on a first playing of this …CD.

It is an unusually brilliant debut, filled with felicities and solo statements that will endure. It provided him the opportunity to listen to musicians on a regular basis who are inspiring and motivating him today. He has been "Peter teekens dating" with them as a trio since the summer of Pete and Larry became the regular Thursday night band at the club using various drummers.

He has a focused musical concept that features a pure tone and singing phrases Horn players have been prominent influences on his singular style. He chooses notes carefully, making each one count in constructing intelligent interesting solos. And if you want Peter teekens dating learn about rhythm, hang out with drummers and bass players.

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It brings forth so many moody dimensions that it wraps the listener in an evocative hush. Peter teekens dating is so much good music on this CD that I guarantee that you will have a difficult time removing it from your CD player.

Each member has amassed an imposing individual resume during this period, yet their collective work has signified something more — a reaffirmation, not of the organ trio as a unit capable of satisfying a temporary fashion for things, but as an instrumentation as perfectly balanced in its way Peter teekens dating the threesome of piano, bass and drums or, in another realm, the string quartet.

A lot could be said about the individual performances. Still, the overriding impression that the music leaves involves group interaction. As Neil Tesser alludes in his insert notes to the disc, the Jazz world almost lost Peter before it had him. Put another way, not too many guitarists growing up in the s made the leap from Jimi Hendrik, B.

Tesser goes on to explain: His playing has a hard-won quality about it, communicating the idea that each note should count — that few if any of them should simply fill up space. The most important thing is the sound, the voice you project. But with all these roots, how does one avoid simply reliving the past? Peter Bernstein manages to make the tradition he upholds sound fresh and true; how does he wriggle out of the neo-classic trap?

But everything is drawing on a tradition. The CD was a point of departure for Peter and, as such, one that we will return to in "Peter teekens dating" second part of the piece, because this disc involves Peter working with horns in the front line — in this case, Eric Alexander on tenor saxophone and Steve Davis on trombone. Typically Peter teekens dating the presence of horns, one might expect the guitar to assume a rhythm section role much like the accompaniment provided by the piano, or to take a turn as a feature soloist.

As Sid Gribetz explains in his liner notes: Choosing instead to do it as a trio version, he renders a lovely interpretation of this beautiful melody. Brad also did the insert notes for the recording. In them, he provides some unique perspectives on Peter and his music — ones that only another musician could Peter teekens dating. For example, Brad points out: With Pete, I always immediately get drawn into the sound he gets from his instrument.

He has this crying tone on his guitar. That voice he has on his instrument compels me to listen. The emotions Pete conveys are wonderfully mixed. Many people would have different ideas about what might constitute a ' New York ' sound, if anything. That ethos doesn't form one specific style of playing; it's more like a collection of deeply felt sentiments about jazz music that form the basis for a broad range of possible styles.

Those musical sentiments would include the importance of melody at all times in whatever you're expressing, which means playing phrases that have a shape to them and not just running licks. That in turn implies a healthy distrust of arbitrariness in general.

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