PETER MARTIN
In The P.M.

MaxJazz

Peter Martin was raised in St. Louis but became a fixture on the New Orleans jazz scene, studying with that city’s musical father, Ellis Marsalis. He’s also put in time as a sideman with some jazz heavyweights, including Joshua Redman and Dianne Reeves. In 2001 he released the CD Something Unexpected, a well-received set that found him in the company of New Orleans trumpeter Nicholas Payton. He also made his presence known on bassist Roland Guerin’s album You Don’t Have to See It to Believe It. In short, Martin has amassed an impressive resume and is known as a musician’s musician (and arranger). His latest, In The P.M., a MaxJazz Piano Series release, will only further cement his reputation.

Martin has been influenced by McCoy Tyner, among others, and this influence shows right away on the opener, “Never Let Me Go.” Martin bristles with energy and offers lush chord voicings that deepen the tone of his playing. It’s like a robust morning cup of coffee, whetting the listener’s appetite for what’s to come. Martin follows that up with a reading of Stevie Wonder’s “If It’s Magic” that owes some of its attitude to Bill Evans, lilting along in its romantic way. Martin shows that he has the chops to hang with the big guys, but in a purely musical context. That’s the mark of a mature player, and it seems like second nature to Martin. Bassist Rueben Rogers also gets in some nice solo time on this number, while Martin plays Fender Rhodes behind him.

“You’d Be So Nice to Come Home To” is on of three numbers (the other two—“The Nearness fo You” and “It Could Happen to You”—are duets with Martin that close the album) featuring St. Louis vocalist Erin Bode. Unfortunately, all are plagued with the same difficulties that arose on Bode’s own MaxJazz release Don’t Take Your Time. Bode’s inguenue-like delivery just doesn’t really cut it for me. However, “You’d Be So Nice to Come Home To” is an upbeat arrangement that Martin and the trio are really able to sink their teeth into. Drummer Greg Hutchinson really cuts loose backing Martin’s solo on this one.

“Come Rain or Come Shine” is a Martin solo number, and he offers up some Oscar Peterson-style swing as well as some great walking bass left hand. It’s a solid performance that helps place Martin among the group of top-notch pianists working in jazz today. Martin presents two of his own tunes on this disc. The first is “Modern Cacophany,” a post-bop showcase that is anything but cacophonic. “The Answer” again echoes with the soul of McCoy Tyner. Sandwhiched between these numbers is a supremely lyrical rendition of Jessie Davis’ “Only In A Dream.” Martin also offers JJ Johnson’s gorgeous melody “Lament” and bassist Reuben Rogers’ bluesy, piledriving “’Ting For Ray,” a tribute to the late bass great Ray Brown.

In the P.M. continues the MaxJazz Piano Series in the manner to which listeners have become accustomed, providing a solid program of music that not only bears repeated listening, but welcomes and rewards it.