#Michel petrucciani blues transcription archive
#Michel petrucciani blues transcription full

I can believe the blurb’s story of the pianist asking for and repeatedly listening to a tape of the music, now issued by the company from a celebration of a sort with which it enhances Paris jazz festivals.

#Michel petrucciani blues transcription full

After he’s laid it down, Miller has a beautifully light string-bass way of complementing Petrucciani’s very full piano. The opening duet between Petrucciani’s piano and the bass clarinet Miller picks up from time to time has considerable effect. The second title, Miller’s “The King Is Gone”, is basically straight-up jazz of a sort never to be taken for funk. I suppose the men who’d done “Tutu” a fair number of times had no anxieties over it, and the entirely new company on this pretty much scratch session gave something of a boost. Any new one may be an event, just as the five-hour concert by a string of artists was an event - with this set its climax and conclusionĪfter an arresting opening by the others here, Petrucciani - having comprehensively taken in the music so far - integrates a major orchestrating contribution to what becomes something else.

#Michel petrucciani blues transcription archive

The bone disease which restricted his physical size and cut short his life has left the Dreyfus company as our alternative to a medium with access to the other side - so say the notes, with reference to a considerable varied tape archive and a considered policy of producing discs sparingly from it.

What’s especially notable is Petrucciani’s contribution.

On “Tutu”, the jazz is of a funk flavour, with the sometime Django Reinhardt heir Bireli Lagrene in the blues guitar mode that is somewhere in the middle of his musical repertoire. These 20 minutes were far from wasted, 16-and-a-half of them comprising a duly extended performance of “Tutu” written for late period Miles Davis by Kenny Garrett, and here reminding me of some George Russell performances of “So What” (though without Russell’s transcription of a full Miles Davis trumpet solo, we have instead a nursery rhyme doodle which used to crop up on Davis performances from his later years as a visually rock act). After years of complaints that the electric combines badly with full-blooded-and-bodied piano playing, and 20 minutes where the question really doesn’t arise, the perfect marriage happens, but of course between two people very right for each other. This, to be wholly candid, is the real article, genuine thing, damnfine splendid.