My new CD, "Outside the Line'" will be released on Positone records on April 15th.
The CD features Rich Perry on tenor, Peter Evans on trumpet and Vinnie Sperrazza on drums. It contains nine new original compostions plus three covers. We'll be
doing a CD release concert at Cornelia Street Cafe on April 15th, which also happens to be my birthday! Please stop by if you're free.
My duo album , "The Angle Below", with guitar legend John Abercrombie will be released later this week on Steeplechase Records. The album features 10 original compositions (7 of mine as well as 3 of John's) as well as the Gordon Jenkins standard "Goodbye". This has been a long time coming, and I'm thrilled that the CD is coming out. You can find links to purchase the CD here. It's also available on iTunes as well as any brick and mortar record shops that are still standing.
We'll be doing a CD release show at the "Carengie Room" in Nyack on Friday, September 27th.
Thanks for reading!
I'm really looking forward to premiering a bunch of new music with my quartet this Tuesday, Noveber 27th at the Cornelia Street Cafe. Hope to see you there!
Peter returned to school from 2002-2004 and earned his Masters in Music from the prestigious Manhattan School of Music. While at the Manhattan School of Music, Peter studied with famed bassist, Jay Anderson, as well as other musical luminaries such as Dave Liebman, Garry Dial, and Phil Markowitz. Peter balanced his academic work with an increasingly demanding performing and recording schedule. In the fifteen years that Peter has been in New York, he has made numerous sideman appearances on various recordings of all styles. He has also performed at several world famous venues in New York, and throughout the country including The Blue Note, Birdland, Smalls Jazz Club, The Jazz Standard, Sweet Rhythm, The Kennedy Center and the 55 Bar. Peter has also perfromed throughout Europe and in Russia. He has performed and/or recorded with artists such as John Abercrombie, Rich Perry, Victor Lewis, Barry Altschul, Darren Barrett, Jeff Hirshfield, Frank Kimbrough and Jon Irabagon. Peter also maintains an active career performing and recording on electric bass. In addition to his sideman credits, Peter has also record three albums as a leader/co-leader: "The Angle Below" (Steeplechase), "Outside the Line" (Posi-Tone), and the soon to be released "Message in Motion" (Posi-Tone).
Brendler’s got a lot of other noteworthy sideman appearances (including an album co-led with guitar legend John Abercrombie just last year), but not nearly enough as the sole leader, because his debut Outside the Line(April 15, 2104, Posi-Tone Records) brings forward the daring and elasticity found in much of his session work. That, and some imaginative composing/interpretations to boot.
For his first album, the bassist goes without a piano, guitar or any other chordal instrument, creating more space that his bass can occupy. He’s put a tenor sax (Rich Perry) and trumpet (Peter Evans) in front of him and Vinnie Sperrazza’s drums alongside his acoustic bass.
Outside the Line implies “outside jazz,” but aside from the relatively brief free jazz exercise “Openhanded,” the album doesn’t explicitly venture into the abyss for more than a segment within a song (such as, the fantastic, well-attuned four-way improvisation found on “Indelible Mark”). This isn’t to state that there aren’t chances being taken all over the LP, because there’s plenty of that going on.
It gets going right away with a succinct, impish rendering of Chet Baker’s “Freeway.” Evans is on a muted trumpet playing a high-pitched contrast to Perry’s tenor. Both seem to be keenly aware that they have a short time to make an impression and make the most of it, with great back and forth between the two. Brendler’s got the underlying harmony locked down so well you don’t even notice the missing piano, and that’s how it goes for the rest of the record.
Brendler’s original “Lawn Darts” is in the classic style bop theme but it wobbles and yet never falls down. The rhythm section vacillates effortlessly between blues walk and swing, giving the horns a shifting platform to operate on, and they respond vigorously to the challenge. Brendler often comes up with bass figures that set the groundwork for the development of a song, and “Drop The Mittens” is one a tune built on his funky repeating figure. Sperrazza’s rhythm is festive even as the song is in a dark key. Well into the performance, Brendler unexpectedly switches over to a new figure to signal the changing of the soloing duties from Perry to Evans and the song slows down for a coda composed of yet another motif.
“Una Mas Bonita” is an Ornette Coleman cover that Brendler introduces on his own, setting down the guideposts for the horn players. Just as Evans takes over for Perry, the song is off to the races and the trumpeters tears off lightning fast runs until the song returns its unhurried pace. Lou Reed’s “Walk On The Wild Side” has that iconic blues vamp that is so jazzy, it makes you wonder why this song isn’t covered more by the jazz community. Evans undertakes a vulnerable lyrical lead, and Perry harmonizes with Brendler until it’s time for him to play his more soulful solo.
By at once going inside and outside, as well as respecting tradition and racing toward the frontier, Peter Brendler makes his long overdue first album well worth waiting for.
Normally it’s bad news for a leader-composer when the covers are all better than the originals. But here it is less a problem with the new material and more the virtue of Brendler’s shrewd choices and the quartet’s inspired renditions. Chet Baker’s “Freeway,” most notably performed with the Gerry Mulligan Quartet, was one of the more frenetic songs in the cool-jazz school, and Brendler’s similarly instrumented group embarks on a spirited ride with tenor saxophonist Rich Perry and trumpeter Peter Evans pushing the pace both solo and in tandem. The moment you hear Brendler plunk out the iconic bassline of Lou Reed’s “Walk on the Wild Side” against the brushed shuffle-beats from drummer Vinnie Sperrazza, you wonder why the piece isn’t a jazz standard by now. Evans and Perry both take pleasant rubato turns with the melody and refrain. Last but never least is the foursquare boldness of Ornette Coleman’s “Una Muy Bonita,” with the strutting horns and strumming rhythm section at high alert on parallel planes.
Brendler’s nine originals provide a fair bit of variety against the challenge of writing for a chordless ensemble. They range from the vintage, Bird-esque bebop of “Pharmacology” to the splayed semi-free improvisations comprising “Openhanded.” In the end, Outside the Line may not be as daring as its title implies, but there is a hunger and diligence that keeps the music taut.
As a Leader
The Peter Brendler Quartet
My regular quartet for several years. We mostly perform my original compositions . The band features Rich Perry (saxophone), Peter Evans (trumpet ) Vinnie Sperrazza (drums), and lately, Ben Monder (guitar).
The Peter Brendler/John Abercrombie Duo
Look for the new album on Steeplechase Records in September of 2013!
As a Sideman
The Jon Irabagon Group
Jon’s straight aheadish group w/a rotating cast of pianists and drummers.
The John Abercrombie Trio
John Abercrombie-guitar, Peter Brendler-acoustic bass & Bob Meyer-drums