“I know I have bitterly disappointed all of you,” Woods said. “I have made you question who I am and how I have done the things I did.”
RESONANCE - track 10
Stephanie Cummins; Cello/ Joey Pero; trumpet
Goldberg Variation 1:
Folklore winds a tale of the “Goldberg Variations” that is fanciful and lovely. It is said, that in 1736 while residing in Leipzig as the Polish Royal and Saxon Electoral court Composer, Johann Sebastian Bach would often receive visits from the Russian Ambassador to the Electorate of Saxony Count Keyserlingk, and his court musician, Johann Gottlieb Goldberg. The count was in poor health and would often have Goldberg play harpsichord for him on sleepless nights. One day, the Count asked Bach to write some pieces for Goldberg to play that might uplift his spirits and ease his insomnia. Enter; “The Goldberg Variations.”
Just as the Goldberg Variations were written to help the Count wind down, it also acts as the beginning of the wind down of Resonance. Originally written for keyboard, Joey has once again bridged a gap between old and new while managing to maintain elegance and integrity of the piece by voicing it for trumpet and cello. “The Goldberg Variations” can easily be associated with resonance as there purpose is to act as a cure to insomnia. We would challenge anyone to listen to the Goldberg Variations while trying to sleep; you may not make it past variation 5 before conking out. This is a testament to the power of musical resonance and its ability to penetrate at a biological level. Any and all of Bach’s works could easily have fit on the record we call Resonance. Coincidently, Joey and Stephanie recorded the Goldberg in the same studio that Glenn Gould recorded his iconic 1955 version.
Find out more at;
Purchase a hard copy here;
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Joey
ITG's President, Dr. Kevin E. Eisensmith, (along with myself) would encourage you to click on the “Join ITG” link and become a part of this incredible organization!
We are honored that "Resonance" has been reviewed by Dr. Peter Wood, associate professor of trumpet at the University of South Alabama. This article is featured in the October 2009 edition of the ITG Journal.
Joey Pero--Resonance
Joey Pero, trumpet; Simon Boyar, percussion; Freddie Cole, piano and vocals; Daryl Sherman, piano and vocals; Phoebe Snow, vocals; Jack Antonoff, guitar; Adam Nussbaum, drums; Andy Snitzer, tenor saxophone; Artie Reynolds, bass; Bill Moring, upright bass; Paul Livant, guitar; Peter Fish, piano; Ralph Rolle, drums; Robert Walker, clarinet; Roger Rosenberg, baritone saxiphone; Stephanie Cummins, cello
All arrangements by Pero: The Finest Romance; Partita No. 3, BWV 1006, Preludio; Crazy; Birth, based on Handel's Ode to the Birthday of Queen Ann; Defying Gravity; Excerpts from Arutunian Trumpet Concerto; Wrapt; Looking In; Blue Rondo; Goldberg Variations, BWV 988, Variation I; Palladio, Resonance.
Joey Pero has released a highly exciting, virtuosic, and innovative crossover recording that shows off his great technical, musical, and artistic prowess. The CD includes some straight-ahead jazz, some unaccompanied Bach, and a lot of funk/pop/rock influences--an interesting amalgam of musical syles, a la Adam Rapa. Pero studied with Ray Mase and Mark Gould at Juilliard and with Charles Schlueter at the New England Conservatory before touring with Maynard Ferguson's Big Bop Nouveau Band. He sounds equally comfortable in jazz, classical, pop, and funk settings. The CD includes top NYC musicians and opens with The Finest Romance, a hard-swinging chart with singer Freddy Cole. On it, Pero's double-tongued improvisation with wide intervallic leaps shows right away what he features throughout the album: highly virtuosic playing. The second track is a lightning-fast moto perpetuo on J.S. Bach's "Preludio" from his Partita No. 3 (originally for violin). Pero's flawless cicular breathing technique is awe-inspiring on this very angular transcription (he never pauses to breathe from start to finish). His funk interpretation of G. F. Handel's Ode to the Birthday of Queen Ann is fun, yet elegant and tasty; and it features Phoebe Snow, the legendary singer with a voice similar to Aretha Franklin. One of the highlights of the album is Pero's rendition of excerpts from the Arutunian Concerto, accompanied by--believe it or not--electric guitar. It is a highly unique and interesting version and really does work well. Pero also includes a very cool Malaguena/Flight of the Bumblebee-flavored version of Blue Rondo, as well as the first variation from Bach's Goldberg Variations (with cello), on which the duo produces a fine balance and nice Baroque style. Joey Pero is a great creative artist with truly incredible technique and musicality. He plays with a smooth, warm, pure sound quality; and his intonation is spot-on throughout the recording. Moreover, he possesses and enviable Maynard-esque power and range that sounds free, easy, and full--never pinched. While the packaging is very attractive with original artwork, the liner notes are scant; one is forced to go to Pero's hip web site for information on the players and tunes. This is a very diverse and creative album with much to like. Pero is truly an amazing virtuoso--someone certainly to watch and listen for in the years to come. (Peter Wood, associate professor of trumpet, University of South Alabama, Mobile, AL)
You can read this blog and others on my Myspace page. Become one of my friends and listen to some tunes from "Resonance". See you there!
Trumpet phenom Joey Pero rocked the casbah last night at the ultra-elegant Feinstein's in New York. And, judging from the packed-full house that was there, he probably rocked the cash bar, as well. This was a spectacular - yet truly fun - virtuoso performance by a brilliant young trumpet artist.
In one exciting extended set (which included a deja vu double performance of "Crazy," displaying Pero's vocal skills) the group offered up selections from Pero's widely acclaimed CD, Resonance. Covering an incredibly wide range of tune types from straight ahead jazz ("A Fine Romance"), brilliantly performed classical trumpet literature (the Arutunian Trumpet Concerto and Bach's Goldberg Variations) to Broadway (Wicked's "Defying Gravity"), Pero and Team simply electrified the audience.
Pero's mature-beyond-his-years display of trumpet skill spewed sparks from his trumpets. He has the scream chops of Maynard Ferguson, the technical wizardry of an Allen Vizzutti, and the jazz-tech chops of Clifford Brown (displayed in a near-flawless rendition note-for-note of Clifford's classic solo on "Cherokee"). Pero's rhythmic energy and dynamic subtleties mirror Wynton Marsalis (who gifted Pero with one of his magnificent Monette trumpets). Pero's fine comp skills as witnessed by his original "Wrapt" lead me to believe that there are probably more in the hopper - or should be.
Joey's boyishly engaging onstage persona (almost Elvis-like with tux and scarf donned, spit curls draped over forehead) seems to add nicely to the entire Resonanceconcept (which Pero discussed between tunes).
Pero was supported by a fine quartet of young musicians (Jon Ware, Piano; Pete Abazia, Drums Jeff Little, Bass) including marimba performer Simon Boyar, whose technical and rhythmic skills on the instrument were show-stopping stroboscopic. Wow!
I had the pleasure of being introduced to Joey's parents and some Family who attended. They surely must have been wet-eyed proud of this terrific young man and player whose future has got to be white-hot bright. As I mentioned to them after the wonderful show, "Mr. and Mrs. Pero, I think you can be incredibly proud of Joey. This kid is truly an honest-to-goodness 'American Idol.'"
And he really is, too.
The performance is on Thursday, September 17th in NYC at the Metropolitan Room. We will begin promptly at 9:30pm. Tell your friends, the more the better!
Please make sure to buy tickets online at www.metropolitanroom.com or call 212 206 0440 to make your reservations.
Looking forward to seeing you all!
Much love,
Joey
A dear friend of mine shared an experience she had at a Jazz club in Boston in the early 70’s. On the bandstand was the masterful Duke Ellington billed together with the illustrious Count Basie. True to form, the duo came together resonantly, creating an awe-inspiring show for the packed house. What set this particular show apart was the presence of legends Mel Torme’ and Ella Fitzgerald, who had come to watch. Towards the end of the show, the Velvet Fog and the first Lady of song were invited up to share their word. What followed was a barrage of musical and technical prowess completed with the trading of fast lyrical scat lines. “At that moment” my friend said, “it was abundantly clear that every one in the room had been privy to deep and powerful music moment.” When the stars align and incredible music happens, you know it! You don’t have to have aficionado status to understand the waves of experience, talent, knowledge, heart and catharsis that the artists send to the listener.
The recording of “Resonance” added several peek experiences to the list of wonderful moments in my career. Among these moments, was the recording of Alexander Arutunian’s trumpet concerto with friend and guitarist extraordinaire, Jack Antonoff. Jack is a founding member of the break out classic rock band Steel Train. Steel Train (who are signed by Drive Thru Records) has made many waves throughout their ten-year existence, including a rigorous national tours and appearances on “Late Night with Conan O’Brian.”
The original sketch of “Resonance” included my vision of a restyling of Arutunian’s popular Trumpet Concerto. This proved to be one of the only tunes to remain a solid contender on the list of music that was to be recorded. Through the process, of planning a record, tunes are added, subtracted, and added again as part of the trial period for maximum expression. Although of Armenia descent, Arutunian’s trumpet concerto always whispered sounds of a diverse ethnic spectrum. I immediately gravitated towards the simple yet edgy voicing of electric guitar and trumpet. Producer/arranger Peter Fish and I worked together to make salable cuts and reduce (the reduction) of Arutunian’s flashy work.
Watching Jack perform is an incredible experience. His electric stage presence exceeded only by his remarkable musicianship and ease on the guitar, is simply viral! Due to his heavy schedule, we had small “spots” of rehearsal time to prepare for our recording date. With arrangement and trumpet in hand, I walked into our first rehearsal. It was immediately clear that Jack’s learning style is incredibly organic. His amazing style and agility, aid in his quick response to musical comprehension; he can pick anything up by ear. We slowly worked through the once traditional concerto with much excitement, as new sounds emerged. We’d rehearsed three times throughout several months, gaining momentum each time. Partially by design but mostly by accident, our rehearsals led up to “peeking” at the recording session. What happened for me at the session was irreproducible. Jack and I played off each other as if we'd been playing the piece for years. I vividly remember our takes of the slow section; we had honed into each other on a wavelength that happens only on rare occasions. The focus and delicate intensity reeled in everyone present. The colors emoting from Jack’s guitar painted a whole new picture and interaction. Listening to the play back, the stage is set on a hot summer day in a small village in a Mediterranean land. A small group of friends sit and gaze at a calm, dreamy sunset. One listener remarked, “It sounds like Quentin Tarantino meets the trumpet.” The majority of “Resonance’s” sixth track (Arutunian) ended up being our first takes. The magic of this experience resonated as vividly as my friend’s experience at the Jazz club in Boston. These emotions can supersede any unwanted criticism or outside influence, truth lies at a core level within each of us. I encourage everyone to reach for truth within you, and feel the empowerment and perpetuated energy that follows. Best wishes on your journey.
Sincerely yours,
Joey
A long over due greeting to all readers! I’m sorry it’s been such a long time since I’ve blogged. It has been a very exciting time for us, and things are moving forward at a blinding pace. Below are a few quotes (with links) to recent reviews of “Resonance.” I’d like to put a public thank you out there to the gentlemen below who took the time to listen and review the record. With so many sounds waves passing through their ears, we were so happy they took the time to listen. These latest reviews found “Resonance” to be exemplary.
As most of you know, the process of artistry is all we have. I’ve been hitting the shed pretty heavily lately, the main reason being that I’ve received inspiration to write several original songs for our next record. For my process, writing down the vivid bursts of songs and melodies that come to me proves to be the easy part. One step further for me, means recreating the sounds and instruments as they occur naturally. Incorporating what we have available to us in order to give the artistic sub-conscious stream justice. I will continue to work toward my goals (as I hope you all do) and keep in communication. Keep following your dreams!
Joey
“Pero follows in the footsteps of trumpeters such as Wynton Marsalis, who are equally at home with the classics or jazz.”
John Henry – Audiophile
Read the rest of John's review here:
“Consider Wynton Marsalis; talented trumpeter, equally adept at playing classical and jazz music. Grammy award winner in both categories and a household name. Now consider Joey Pero. Talented trumpeter, equally adept at playing classical and jazz music. Relatively unknown. For now.”
“This is his debut CD, and it’s an impressive one.”
Jeffery Siegel – Straight No Chaser jazz blog
“Listeners simply need to tighten their seat belts and settle in for a wild ride.”
William Ruhlmann – allmusic.com
And just because... here's a horse that can really boogie! Enjoy.
I will be the first to admit that I’ve never been likened to anything remotely athletic, let alone an Olympic athlete. Nick Mondello of www.allaboutjazz.com wrote a powerful review of “Resonance” on the highly esteemed jazz site, stating “Citius, Altius, Fortius-faster, higher, stronger. That is the Olympic motto representing the philosophical and performance goals of its participating athletes. Incredible, fascinating and tremendous are not only the goals, but the results of phenom trumpeter Joey Pero’s Resonance. This is a bravura musical performance of incredible musicianship, “virtu-artistry” and superior production values.” I’d like to send a very special thanks to Mr. Mondello and the All About Jazz staff for the fabulous words and humbling review. We will continue to strive for excellence, and creation for your enjoyment!
www.allaboutjazz.com was founded in 1995 by Mr. Michael Ricci and has over 100,000 pages of content. It is an advocacy site and aims to raise the awareness of jazz music, its history and its players. All About Jazz has been awarded “The Best Web-Site concentrating on Jazz” seven times by the Jazz Journalist Association. Once you visit the site, its no surprise why AAJ is a tour de force among jazz aficionados worldwide.
Buy a hard copy of “Resonance” at: www.JoeyPero.com
Download “Resonance” on Itunes.
Visit me on MySpace.
Hey friends,
I just posted new videos with information and tips on some of my favorite orchestral excerpts. Visit our YouTube page for a full list of videos. We will continue to post videos and blogs for your viewing/reading pleasure, stay tuned!
Greetings to all,
I just wanted to write a quick note letting you all know that some tracks from "Resonance" will be played on Jazz 91 FM out of Toronto Canada. Visit http://www.jazz.fm/ between 1-1:30PM for live streaming radio or tune in if it's in your FM reach. If you like what you hear, please let them know what you think. Every bit helps!
All the very best to you, and as always, thank you for the support.
More to come,
Joey
