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(Blues On The Corner) "Peter Zak and his trio have made a fine album that shines new light on a too-often neglected aspect of McCoy Tyner's legacy." - Joel Roberts, All About Jazz New York (Blues On The Corner) "The inventive, poised pianist and composer Peter Zak...creates beguiling passages of flowing melody driven by an assured swing." - Zan Stewart, Newark Star-Ledger Past reviews (Seed Of Sin) "...his fourth strong album for SteepleChase...
Zak invariably comes upon lovely notes you never anticipated.
“Shala” has a heartfelt melodic inevitability that, in a more perfect world,
would make its composer famous." - Thomas Conrad, Jazz Times, November 2008 "...vibrant and singular....he and his trio simply opt for conciseness and clarity, a hallmark of all fine composing and playing (Peter Zak Trio) - Terrell Holmes, All About Jazz, New York "...a young artist worthy of attention. Here making his first CD on an international jazz label, (Peter Zak Trio) Zak plays splendidly with bass powerhouse Paul Gill and the protean drummer Al Foster. It's an exceptional trio. With influences ranging from Bill Evans and to Bud Powell, Zak favors melodically rich playing with harmonic depth and supple rhythm." - Zan Stewart, Newark Star-Ledger "Peter Zak...has put together a nice mainstream style mixing melodic class with easy-riding cool. His work on his own compositions, “Laughing With RZ” and “Better Late Than Never” is bright and engaging while he brings an unusual waltzing grace to Monk’s “Ugly Beauty.” He’s sassy on Joe Henderson’s “Mamacita” and honors a certain prominent pianist known for African-based melodies with a rolling African rhythm on “Tyner’s Corner.” - Cadence Magazine "one of the most polished, intelligent, swinging piano trios in New York or anywhere else...For Tomorrow gets better every time you play it." - Thomas Conrad, Jazz Times One of the 10 best of 2006 (For Tomorrow) - Nancy Barell, Jazz Journalists Association "Zak demonstrates his ace style (For Tomorrow)...clean, warm sound, and crisp, on-the-money ideas that swing--often with a provocative verve...three and one-half stars out of four." - Zan Stewart, Newark Star-Ledger “For Tomorrow” is chameleonic to the point of being startling. It is organic and tight, with no loose chords and no loose strings. It’s the sort of satisfaction for pure spontaneity that setting your iPod on shuffle would never justly accomplish. You find yourself tapping your foot long after the last note is played and the resonance is as striking as the music." - Karla Cornejo, All About Jazz, New York "Zak's imaginative studio session (My Conception) blends stunning originals with a few overlooked gems...as a composer, comparable to the likes of Bill Evans, Denny Zeitlin, Fred Hersch, or any solo pianist you can name...a flawless record date. Four and one-half stars out of five" - Ken Dryden, All Music Guide "...a bouquet of self-assured solo piano performances (My Conception)" - Nate Chinen, New York Times "Peter Zak has now made three albums as a leader, all for SteepleChase of Denmark. The first two were piano-trio dates, the most recent of which, For Tomorrow, was one of 2006’s sleepers. My Conception, a solo album, is better. The 12 pieces on this album feel less like calculated performances than one private, unbroken contemplation on which the listener is allowed to eavesdrop... Zak plays a varied program: originals like “Mahmoud’s Memory,” with harmonies that suggest Arabia over a written bass figure; hard-bop classics like the title track by Sonny Clark; standards like “Witchcraft.” But even when he does a snapping calypso for trumpet by Blue Mitchell, “Fungii Mama,” never before heard as a piano solo, the rapt atmosphere is sustained. The best piece is “With a Song in My Heart,” with new changes, an unusual dead-slow tempo, and fragments repeated and communed over, as if in wonder." - Thomas Conrad, Jazz Times (Seed Of Sin) NYC pianist Peter Zak, a spirited bebop-and-beyond stylist, again offers a beguiling mix of distinctive originals and jazz repertoire items both well-known and not-so. This is A-1 modern mainstream trio jazz, swinging with spark. Strayhorn’s typically terrific “All Day Long” exemplifies the trio’s smooth interplay – and Zak’s way of delivering flowing lines, condensed punches, dancing chords and more seemingly without effort. He’s buoyed by bassist Paul Gill’s muscular walking notes and drummer Quincy Davis’ crackling accents and swaying ride beat; he adds zesty solo thoughts as well. Shorter’s title track is a groover with twists in the theme. Zak’s solo comprises one smart package after another, Gill’s his ability to assemble statements of profound melodic and rhythmic juice. Blake’s “Memories of You” is a moving ballad, Hancock’s “King Cobra” an upbeat romp, suffused with lyricism, through challenging musical terrain. The leader’s “Propinquity” is an enchanting bossa, his Horace Silver tribute, “Horace’s Dream,” a minor-keyed throbber." – Zan Stewart, Newark Star-Ledger (Seed Of Sin) "Peter Zak's fourth release for Steeplechase finds him returning to a trio, with his regular bassist Paul Gill and Quincy Davis taking over on drums. Zak covers a number of jazz styles during this wide-ranging session. His buoyant, swinging treatment of Billy Strayhorn's lesser known "All Day Long" and lyrical setting of Eubie Blake's "Memories of You" have great appeal. Gill is featured extensively in the opening to Charlie Parker's "Perhaps," accompanied sparsely by Davis' brushes with minimal backing by the leader until he takes over. The trio devours Jackie McLean's intense hard bop vehicle "Minor Apprehension," showcasing Davis extensively early on. Harold Land's "Poor People's March" is another lost gem polished by the trio, a driving post-bop vehicle. Zak dives head first into Herbie Hancock's intriguing, constantly evolving "King Cobra." The pianist's compositions are just as strong. Horace's Dream quickly reveals its inspiration with the catchy rhythm favored by Horace Silver. The brisk bossa nova "Propinquity" and the melodic "Shala" (the latter introduced with a bit of free improvisation) are also signs of Peter Zak's gifts as a composer." - Ken Dryden, All Music Guide (Seed Of Sin) "...another strong entry in (Peter Zak's) burgeoning catalog. Bassist Paul Gill is back for another round and this time the capable Quincy Davis...fills the drum chair. Zak responds to earlier observations of his affinity for other pianists by opening the program up to tunes borrowed from saxophonists. Additionally, he doesn’t go for the well known, preferring instead to pull dusty but promising heirlooms like Harold Land’s “Poor People’s March” and the Wayne Shorter-penned title piece. His approach to the keys offers an intriguing blend of detail and propulsion. Each keystroke is audible even at blistering tempos and it’s that precision that sustains interest even when Zak’s improvisations limn stock territory. Zak’s own pianistic pantheon is audible in shards and slivers. On Jackie McLean’s “Minor Apprehension” he filters in piquant flavors of Bud Powell and George Wallington, favoring a breakneck delivery of complex stacked chords. The original “Horace’s Dream” also carries heavy Bud overtones in its darting harmonic progression, even moreso than the obvious Silverian dedicatee named by the title...All but three of the tracks time in at over six minutes, but only the leader-scripted bossa nova “Propinquity” feels over-long at nine-plus. Herbie Hancock’s “King Cobra” makes for an inspired outro, its layered modal structure effectively creating a mood anticipatory of the Zak’s next recording move. Access to the results may not be that far off as consumers appear more than willing to take those extra necessary steps to the terminus of the brick and mortar jazz racks." - Derek Taylor, Bagatellen
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Latest news My new CD, "The Decider", just out! A quartet recording with Walt Weiskopf, Ugonna Okegwo, Billy Drummond. Check out recordings page for clips, and link to buy. Copyright © Peter Zak 2006 Site design by orderxaos |
