Bernstein Peter

Peter Bernstein Jazz guitarist Peter Bernstein was born September 3, 1967, in New York City. He got his first break while attending the New School when he met Jim Hall, who recruited him for a concert of guitarists as part of the 1990 JVC Jazz Festival in New York. The show was recorded by MusicMasters and issued as Live at Town Hall, Vol. 2. Bernstein quickly began playing with other jazz musicians, notably appearing on albums by Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer. He recorded his first album as a leader, Somethin's Burnin', for Criss Cross in December, 1992, as part of quartet with pianist Brad Mehldau, bassist John Webber, and drummer Jimmy Cobb.

Peter Bernstein Jazz guitarist Peter Bernstein was born September 3, 1967, in New York City. He got his first break while attending the New School when he met Jim Hall, who recruited him for a concert of guitarists as part of the 1990 JVC Jazz Festival in New York. The show was recorded by MusicMasters and issued as Live at Town Hall, Vol. 2. Bernstein quickly began playing with other jazz musicians, notably appearing on albums by Lou Donaldson, Michael Hashim, Larry Goldings, Mel Rhyne, Jesse Davis, and Geoff Keezer. He recorded his first album as a leader, Somethin's Burnin', for Criss Cross in December, 1992, as part of quartet with pianist Brad Mehldau, bassist John Webber, and drummer Jimmy Cobb.

Peter Bernstein and his guitar join together with Brad Mehldau on piano, Larry Genadier on bass and Bill Stewart on drums to complile a 10-track SACD that features Bernstein originals "Venus Blues" and "Just A Thought" as well as jazz staples from Phillip Springer, Harry Warren and many more.

Peter Bernstein and his guitar join together with Brad Mehldau on piano, Larry Genadier on bass and Bill Stewart on drums to complile a 10-track SACD that features Bernstein originals "Venus Blues" and "Just A Thought" as well as jazz staples from Phillip Springer, Harry Warren and many more.

No figure in 20th century American classical music had as prominent or controversial a career – or did more to sell classical music to the general public as something genuinely exciting, and worth getting into a sweat over – than Leonard Bernstein. For more than 30 years, from his assumption of the post of Music Director of the New York Philharmonic in 1958 until the final concerts that he conducted in obviously failing health near the end of his life in 1990, he was the most prominent and widely recognized American-born conductor in the world, and the dominant personality in American classical music as both a conductor and, to a lesser degree, a composer. A flamboyant public figure, he burst three different times on the musical world – twice in classical with a rush of success on Broadway in between – in a blaze of glory, in the space of 15 years; and over a career lasting from the early '40s until the beginning of the '90s, he never lost an opportunity to advance his reputation as well as the cause of music.

No figure in 20th century American classical music had as prominent or controversial a career – or did more to sell classical music to the general public as something genuinely exciting, and worth getting into a sweat over – than Leonard Bernstein. For more than 30 years, from his assumption of the post of Music Director of the New York Philharmonic in 1958 until the final concerts that he conducted in obviously failing health near the end of his life in 1990, he was the most prominent and widely recognized American-born conductor in the world, and the dominant personality in American classical music as both a conductor and, to a lesser degree, a composer. A flamboyant public figure, he burst three different times on the musical world – twice in classical with a rush of success on Broadway in between – in a blaze of glory, in the space of 15 years; and over a career lasting from the early '40s until the beginning of the '90s, he never lost an opportunity to advance his reputation as well as the cause of music.

It would be accurate to say that the quartet that Peter Bernstein has assembled for his remarkable new album is making its debut, but it would also be more than a little misleading. While it’s true that this all-star group – which teams the acclaimed guitarist with pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster – had never played together prior to recording BETTER ANGELS, its members all share deep and long-standing relationships. The result is the best of both worlds: striking interplay that can’t help but thrive on the chemistry generated by the various connections, combined with the high-wire energy derived from delving into the unknown. BETTER ANGELS extends that combination of the comfortable and the unfamiliar to Bernstein’s choice of repertoire, which pairs thoughtfully selected standards with bold new original compositions.

It would be accurate to say that the quartet that Peter Bernstein has assembled for his remarkable new album is making its debut, but it would also be more than a little misleading. While it’s true that this all-star group – which teams the acclaimed guitarist with pianist Brad Mehldau, bassist Vicente Archer, and legendary drummer Al Foster – had never played together prior to recording BETTER ANGELS, its members all share deep and long-standing relationships. The result is the best of both worlds: striking interplay that can’t help but thrive on the chemistry generated by the various connections, combined with the high-wire energy derived from delving into the unknown. BETTER ANGELS extends that combination of the comfortable and the unfamiliar to Bernstein’s choice of repertoire, which pairs thoughtfully selected standards with bold new original compositions.