"Resonance" reviewed in the International Trumpet Guild Journal

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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

JoeyPero.com

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!

The Arutunian Experience

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