These two jazz guitar giants make it look easy, and leave their audiences convinced that it must be genetics—or perhaps something in the New Jersey water—which allows such great talent to bloom in one family. The pair will be performing in St.
Louis at Jazz at the Bistro on December 18 to 21, with two sets each night at and Last week, John made time in his busy schedule to talk with us about performing with Bucky, his recent and current projects, and of course, his favorite St.
Louis eateries. Pizzarelli, a jazz guitarist and crooner, and Ms. Molaskey, a hybrid of Broadway and jazz baby whose penetrating psychological radar locates the truth of a song lyric wherever it leads, have been married for 15 years and recently renewed their vows. Although the revised ensemble has more percussive edge, what is lost is considerable.
Fuller and Ray Kennedy, his predecessor on piano, brought a high polish and astonishing technical virtuosity to arrangements that showcased the group as world-class musical unit. Their replacements, though competent, are far from the best of the best. Although Mr. Pizzarelli is happiest scatting in unison with his jet-propelled guitar, his quiet crooning in duets with Ms.
Molaskey brings out an undertone of dreaminess in this supreme musical extrovert. Molaskey is an expert at outfitting tricky tunes by the jazz pianist Horace Silver with smart, complicated lyrics that use the staccato, multisyllable language of bebop as a platform for witty, emotionally charged streams of consciousness. A running theme of all their shows is the delight and sometimes the anxiety of seeing yourself through the eyes of your partner.
Guitarist, vocalist, songwriter and bandleader John Pizzarellihas played the Montreal International Jazz Festival many times. So it seemed the natural thing to ask him about his relationship with the city.
Watch it then read on to find out what Pizzarelli thinks about bagels, his command of French and which movie star Montreal most resembles, among other things. A: Well, the first night, the first time at the Club Soda was amazing. Twenty years ago. It was so unexpected. I think the other two would be the Beatles concert and the bossa nova concert.
They were all amazing. The energy of the Place des Arts is incredible. I got to meet Pat Metheny in at The Spectrum and he said he had heard how well we were doing at the Club Soda before I got to say anything to him. That was pretty crazy.
A: My French is very high school, if you will. Ou est Sylvie? Claude est la? Non, il est au zoo. I do have a few concert-ready phrases, but nothing terrific. A: Are there any bagels other than N. I have an extra day [at the festival] this year, which means an extra morning, and will let Montreal make its case for their bagels, OK? A: The easy winners are Le Latini and Gibbys.
Guitar World. Future plc. Discography Jazz Portal. Hidden categories: CS1 maint: others Articles with short description Short description is different from Wikidata Articles with hAudio microformats Album articles lacking alt text for covers.
Namespaces Article Talk. Exact Audio Copy V1. Riv4-] found Submit result: J4H. Broken Links. Be the first to leave a comment on this publication. Users of Guests are not allowed to comment this publication. It sets itself up to be a great little rhythmic tune. I sent it to Michael McDonald and he sang the whole thing, sent it back to us and it was just a matter of plugging myself in.
My wife asked to take it down; the high stuff is too high — you have to be aware of that. If you played it at a club, you could say 'that came out in ' and it would be believable. King-ish instrumental or even Wes Montgomery meets the blues. Then Don Sebesky put the horns on there and made it happen.
We cut it slower, then put Harry Allen and my father on it. It's a brilliant song. People gravitate toward what he's doing. He said, jokingly, 'Have you heard from Sir Paul lately? I play a Sondheimian figure — the chords are the same, but we add a little more life to it with that figure. There really wasn't a lot to do harmony-wise. The next step is introducing the solo work of Paul McCartney to his audience through his September 11, release on Concord Records, Midnight McCartney, and on stages around the world.
The challenge, Pizzarelli says, is lining up the lesser-known McCartney songs alongside the works of Gershwin, Berlin and Rodgers.Midnight McCartney, which was suggested to Pizzarelli by Sir Paul himself (Pizzarelli and his near-nonagenarian father, veteran guitarist Bucky Pizzarelli, both appeared on McCartney's album Kisses On the Bottom), the singer/guitarist repeats his success with the Beatles catalogue by applying his artistry to Sir Paul's post-Fab Four output/5(69).