Peter Martin is an acclaimed jazz pianist, composer, arranger, educator and entrepreneur.
His touring career has taken him to six continents, and Peter has played at the White House by invitation from former President Obama two times.
Peter Martin performed on and arranged Dianne Reeves’ Grammy-winning release A Little Moonlight and appeared in George Clooney’s 2005 film Good Night, and Good Luck, as well as being the featured pianist and an arranger on the Grammy-winning soundtrack. Peter has also performed, toured, and recorded with Wynton Marsalis, Chris Botti, Betty Carter, Christian McBride, and Joshua Redman, as well as the Berlin Philharmonic, Chicago Symphony Orchestra and the New York Philharmonic.
Haha just the best solo piano performance of this Stevie classic that I could imagine! Mostly know Peter Martin from his lecture/podcast-style videos on Open Studio/You’ll hear it, but he’s an incredible musician
Wow. This is a life time of decication, study, and practice of the craft. Not only the crazy hand independence, or insane multitude of left hand techinques, but also the simultaneous beautiful improvisation of blues and jazz lines/ideas at SUCH a high speed and agility, there is SO much here to unpack- I mean combined with the video topic of the "groove" this is just top tier stuff. Honestly Peter it would be awesome if you got this transcribed or had the sheet music in the background like you guys do in some open studio shorts. I can totally echo the previous comments, some of us listen to you and are so baffled by even the tiniest components, and have to slow down to .25/.50 speed to try and spend days deciphering a 3 second line you played. Just a thought. All to say, you're freakin amazing and thanks for the content. Changing lives out here <3
One thing that did not occur to me when I started learning alternative scales is that you can still play chromatic passage note or enclosures. Originally it seemed to kill the whole idea of a scale, but the idea is to play these passage notes on off beats. Peter does it aroun 1:32 where he does a C-B-A to enclose Bb, but B is not in the diminished scale.
Just finished transcribing and analyzing this solo... The beauty I found in it is that Peter is INTENTIONALLY choosing unusual paths from a to b and navigating them like its nothing new..
You go too fast when you play. Could you show slowlier some patterns with triades and 4ths, or may be write them down in a score ? Please. Thanks in advance. Btw: you play the Cm pentatonic all over the 2-5-1 in Bb ?
The "algorithm" isn't doing you justice on this one- what an awesome rendition. I'll certainly be spending time trying to break down all the awesome voicings and subs. You know you heard something great when your first thought is "wow!" immediately followed by "time to hit the shed."
Where can I find that bracket? It is almost essential for using mics like those you use, otherwise the mics remain too close to the strings. Please let me know. Thank you
