A Nyc Tribute

For the past two decades pianist Aaron Goldberg has crisscrossed the globe, spreading his music and absorbing local knowledge along the way. True to the jazz mentality, he learned to embrace serendipity as an artistic muse. Five years ago this month, in an historic chateau at the exact geographic center of France, Goldberg was reunited with an early influence. Soon a new project began to take shape. Goldberg’s latest recording, At The Edge of The World, documents this recent collaboration with drummer and percussionist Leon Parker, a brilliant innovator and performer, in a new trio along with the gifted bassist Matt Penman.

Growing up in Venado Tuerto, a small town in central Argentina, drummer/composer Juan Chiavassa was introduced to music at an early age by his father, a fusion fanatic who switched him on to the sounds of The Yellowjackets, Mike Stern, Jack DeJohnette, Wayne Shorter and many others. After winning a scholarship to Berklee College Of Music, where he was taught by the legendary saxophonist George Garzone, Juan's talent shone through brightly enough to attract the attention of the cream of the New York scene, and his dreams came true when he was chosen for the drum chair in the Mike Stern band, alongside the very musicians whose recordings his father had played to him so many years before.

Peter Zak - Blues on the Corner: The Music of McCoy Tyner (2007) {SteepleChase SCCD-31672}
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© 2007 SteepleChase | SCCD-31672
Jazz / Post Bop / Straight-Ahead Jazz / Jazz Piano Trio

With his previous releases, pianist Peter Zak has focused on standards and works by a variety of jazz greats. This time around he focuses on McCoy Tyner, a veteran who has written a formidable array of compositions during his long career, though he has rarely, if ever, been the focus of a recorded tribute. Zak makes up for that oversight with this rewarding session, joined by his working trio consisting of longtime bassist Paul Gill and drummer Quincy Davis (the latter also appeared on Seed of Sin). Zak puts his own stamp on each piece, not merely trying to copy Tyner's style (which would be pointless), opening with a snappy take of "Blues on the Corner" that also features his sidemen.