Peter Cincotti Interview (cont'd)

PETER CINCOTTI INTERVIEW (Continued)

MIB: You’re obviously interested in writing. Is that something you see expanding in the future?

PC: Definitely. It’s something I want to continue to develop and work on. I’d like to keep writing music for myself, maybe instrumental music, maybe music for other singers…I just want to explore all the different options there are.

MIB: I guess a lot of the music you perform is not the popular music of your generation, or even mine. What in particular made you want to sing and interpret jazz and classic pop?

PC: I don’t know what made me want to do it. I think part of it is that I was exposed to a lot of it from an early age. Another part of it is that I was born and raised in Manhattan where a lot of different kinds of music are at your fingertips, you know. My mother constantly took me and my sister to jazz clubs, Broadway shows, rock concerts, a lot of different things, and I was fortunate enough to have been exposed to that kind of thing. Another thing is that I think people are attracted to things because they’re attracted to them. There’s really no rhyme or reason. So it’s a mix, I think, of all of those components.

MIB: Do you think that it’s possible for younger listeners to be drawn to music that’s more melodically and lyrically complex than they’re used to?

PC: Yeah, I do, because I think that what I’ve found, at least, with kids my age…a lot of them would come to see my show, and they’d go out humming songs that have been around for 70 years, thinking that my rendition is the first version. And it’s a fascinating concept, because I’ve been constantly hearing all the different versions that have been around, and like I said, I was worried about “Aint’ Misbehavin’” because I’ve heard so many people do it, but then when I think about it, nobody my age really knows it. My sister gave my CD to one of her friends, and her friend said “Oh, I really love that song your brother wrote, ‘Ain’t Misbehavin’’”, and my sister said, “He didn’t write that.” She was humming it all day, so it’s not that they don’t like this kind of music, it’s just that they haven’t been exposed to it, you know.

MIB: That’s true. Tell me a little bit about your band.

PC: They are incredible. The bass player, David Finck…he’s on the record, Kenny Washington is the drummer, and Scott Kreitzer is the tenor player. And David, the bass player, has kind of been a mentor to me in a lot of ways. He’s introduced me to a lot of different jazz musicians and he’s taught me a lot, he’s come up to the house and practiced with me. I’ve known him for a number of years and he’s kind of helped me develop in a lot of ways, and told me what not to do and what to do; what was good and what wasn’t. He’s been an incredible mentor and a great person to learn from. But every time I play with them it’s like a music lesson, constantly asking everyone in the band, you know, what records to go out and buy…they’re always giving me help and advice.

MIB: Are these guys from around Manhattan as well?

PC: Yes.

MIB: What was the recording experience like on your album?

PC: Number one, it was a new experience. I never recorded, really, before I made my first record. And it was, looking back on it, really a great first experience. Part of it was having Phil Ramone in the studio with me, was a great thing. He was a real helpful producer, and he showed me the ropes and made me very comfortable in a lot of ways. He was very supportive of my ideas, and he was a real nice person as well as a great producer.

MIB: You stuck to pretty much a jazz trio sound on this, you know, with the tenor. Was there ever any thought about using a larger group or “big” arrangements?

PC: No, I wanted to have it was a trio, because that’s the context in which I’m performing, at this point in my life, and some of my biggest influences and people that I listen to all the time, are in that same musical context of the trio. So I really wanted to make my record a trio record too, because the people who have all influenced me have the trio setting, like the Bill Evans trio, Oscar Peterson trio, Shirley Horn trio, Nat King Cole trio…all these big influences happen to be with a trio, so I knew I wanted to make my first record in this context.

MIB: Are you going to touring and playing jazz fests now that the album’s out?

PC: Yes, I think so.

MIB: And is that a new experience for you also?

PC: Yes, all of it is. I mean the last three summers I was at the Montreux Jazz Festival, but other than that a lot of it is very new to me.

MIB: Do you think the travel is something you’ll enjoy?

PC: I think so…I’ve done a little bit up until now that I think I’m enjoying. Maybe you should ask me that again in five years or something. (Laughs) Right now, it’s fun.

MIB: Just out of curiosity, what are your favorite academic subjects?

PC: I don’t know…I think all of them are valuable. I wanted to go to Columbia to try and learn, get a well-rounded education and learn about everything. I don’t have any particular favorites, I’m absorbed in just learning everything that I can. And I think that with jazz music it’s very valuable to learn about other things, other than music. I think that philosophy, and history, and science, and math, and everything to some extent will enhance one’s piano playing, or any kind of musical instrument. ‘Cause, you know, I feel that the more you expand your mind and the more knowledge you have, the more vocabulary you’ll have to create something at your instrument, or try to say something new. I think with jazz…that’s what jazz is all about. It’s important to learn as much as you can, because it’s not only about each individual subject, I think it’s all related to the music.

MIB: I think that’s true. A lot of the best jazz performers have certainly been interested in a lot of things and can relate it back to the music. So what’s next for you in terms of recording and performing?

PC: I have a lot of things coming up…I’m so overwhelmed I don’t even know. A lot of my tour dates will be posted on the Concord Records website.

MIB: How did you end up at Concord?

PC: They were one of the labels that came and saw me play when I was playing in the city…almost about a year and a half ago. And Phil Ramone felt strongly about Concord in a lot of ways, and when I went out to L.A. I got a chance to sit down with them and meet them. They’re such an artist-friendly label, and they have been incredible and I’m so glad that I’m with them, for so many reasons. They’ve been great to work with. But it kind of just naturally happened, it just felt like the right move.

MIB: I’m glad to hear that, because they’ve always seemed like such a great label…

PC: Yeah, they really are.

MIB: I want to congratulate you on the album and wish you the best of luck.

PC: Thanks. Thank you very much.

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