Memories of Mussel Cove
Dimensions in Jazz
"Careless Grooves" was inspired by the late George MIchael's "Careless Whispers", for which I have had the sheet music for decades. After I wrote the introduction, I alternated the Careless Whispers chord changes with a 2 chord vamp over a samba groove. The 4 part "fugue" near the end was very tough for me to write, probably taking more time that all the other sections put together.
The intro and outro also include a few measures from Stevie Wonder's "All Is Fair in Love".
The intro and outro also include a few measures from Stevie Wonder's "All Is Fair in Love".
Quintessence
Click on image to listen to tracks, and purchase |
“Gay brings in classical music lovers through her intelligent yet rhythmic classical music; and they stay for her irresistible covers of jazz standards.
Similarly, jazz lovers can really appreciate her solid and thoughtful covers of standards, and stay to have their horizons broadened with her approachable and swinging classical music. Thus, her concerts have a kind a broad appeal extremely unusual in the world of art music today.“ -Gregory Hall |
Interview conducted at CTN Portland in December 2016 as part of the broadcast of "Quintessence" on CTN
Goin' Home
GOIN’ HOME… A RETROSPECTIVE is pianist and composer Gay Pearson’s second release on Big Round Records. The album is a live recording of her most recent annual chamber-jazz concert, featuring an eclectic ensemble with Gay Pearson on piano, John Lockwood on bass, Phil McGowan on drums, Tracy McMullen on saxophone, Lea Pearson on flute, and Shannon Allen on cello. This varied ensemble performs a wide variety of music with different instrumental combinations, from Astor Piazzolla to classic tunes of Chick Corea, Harold Arlen and Jerome Kern, to more contemporary original compositions by Pearson herself.
Gay Pearson, recorded on her retrospective album "Goin 'Home":
http://radio.hrt.hr/treci-program/ep/americana/204736/
"In collaboration with the record company Parma Recordings, we present chamber music jazz pianists and composers Gay Pearson, recorded on her retrospective album "Goin 'Home", released last year. This is a recording featured with its own accompanying composition called Gay Pearson's Eclectic Ensemble.
Really enjoyable and intriguing, this CD of Big Round, starring the pianist and composer Gay Pearson at the wheel of an ensemble that includes sax, piano, bass, drums, and sometimes flute and cello. The repertoire ranges from songs of the same Pearson to classicChick Corea , Jerome Kern , Michel Camilo , until you get to new interpretations of famous songs of Carole King and Sigmund Romberg . Both in original compositions as in interpretations of other people's songs, we feel the search for a balance between spontaneity and intentionality: the improvisations are not in fact ever overflowing, but always channeled into the flow of melodic variations, modulations of harmonic, or rhythmic progressions overwhelming. Just the fluidity of phrasing seems to be the distinctive feature of Pearson and her faithful and extremely well together traveling companions, able to satisfy both the lyricism marked certain passages, as the vibrant energy charge of others. A balance (also in the instruments) which is synonymous with vitality, and never fails to surprise and fascinate."
-Filippo Focosi, http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=6357
(August 2016)
Goin’ Home… by Gay Pearson
"Ms. Pearson can turn the delicate strum of a cello into the sound of waves gently lapping against the side of a sail boat. The harmonies of contentment abound in this piece, with underlying tension one would find while sailing in (smooth) but windy waters. I’m not a professional musician but my ear is choosy and my Mother tuned pianos. I love to hear complex chords that don’t get all tangled in the middle of a piece. Contrast, but not clash. The flute in this composition takes on an insistent role in drawing the other instruments to a gentle landing. The piano, cello and flute all take a turn at the helm of the melody, perfectly balancing intensity and collaboration."
-Cathy Nichols, writer
Gay Pearson, recorded on her retrospective album "Goin 'Home":
http://radio.hrt.hr/treci-program/ep/americana/204736/
"In collaboration with the record company Parma Recordings, we present chamber music jazz pianists and composers Gay Pearson, recorded on her retrospective album "Goin 'Home", released last year. This is a recording featured with its own accompanying composition called Gay Pearson's Eclectic Ensemble.
Really enjoyable and intriguing, this CD of Big Round, starring the pianist and composer Gay Pearson at the wheel of an ensemble that includes sax, piano, bass, drums, and sometimes flute and cello. The repertoire ranges from songs of the same Pearson to classicChick Corea , Jerome Kern , Michel Camilo , until you get to new interpretations of famous songs of Carole King and Sigmund Romberg . Both in original compositions as in interpretations of other people's songs, we feel the search for a balance between spontaneity and intentionality: the improvisations are not in fact ever overflowing, but always channeled into the flow of melodic variations, modulations of harmonic, or rhythmic progressions overwhelming. Just the fluidity of phrasing seems to be the distinctive feature of Pearson and her faithful and extremely well together traveling companions, able to satisfy both the lyricism marked certain passages, as the vibrant energy charge of others. A balance (also in the instruments) which is synonymous with vitality, and never fails to surprise and fascinate."
-Filippo Focosi, http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=6357
(August 2016)
Goin’ Home… by Gay Pearson
"Ms. Pearson can turn the delicate strum of a cello into the sound of waves gently lapping against the side of a sail boat. The harmonies of contentment abound in this piece, with underlying tension one would find while sailing in (smooth) but windy waters. I’m not a professional musician but my ear is choosy and my Mother tuned pianos. I love to hear complex chords that don’t get all tangled in the middle of a piece. Contrast, but not clash. The flute in this composition takes on an insistent role in drawing the other instruments to a gentle landing. The piano, cello and flute all take a turn at the helm of the melody, perfectly balancing intensity and collaboration."
-Cathy Nichols, writer
Recording may be purchased at:
A Sinister Endeavor
On her debut Big Round Records release, A SINISTER ENDEAVOR, composer and pianist Gay Pearson presents a collection of works that highlight her eclectic quintet - consisting of piano, bass, drums, flute, and cello - and their colorful, introspective, and energetic performances. Recorded live in Newburyport MA, this album presents original works by Pearson, including Zonal and Meridional Flow, with its classical counterpoint and 4-part polyphony; the energetic solo piano piece Cirrus High; and An Ionian Emitter, which uses complex rhythms and syncopation.
Pearson and her quintet display their melancholy and poignant side with ballads such as Joseph's Kosma's Autumn Leaves, Blue Moment, and Barry Manilow's When October Goes. Sally Lutyens' Evening Song is a mysterious and romantic promenade-like piece that is given an emotive and yearning interpretation by Pearson, flutist Lea Pearson, and cellist Shannon Allen. These live performances capture the technical and passionate presence of Pearson and her quintet, showing their abilities in settings of improvisation, classical structures, and jazz gestures.
Gay Pearson, piano; Lea Pearson, flute & vocals; Shannon Allen, cello; Jim Lyden, bass;
Phil McGowan, drums; Ray Wilson, narrator
A Sinister Endeavor…The Gay Pearson Quintet
"I could drive all the way from Maine to Maryland listening to (Gay Pearson's) compositions. A Sinister Endeavor is not a sinister piece by any means. It lifts you up and around wisps of melody and made me want to shimmy like a person much thinner than I. The energy in the piece is continuous, a happy pace, not frantic like some jazz that has been forced upon me in my past. The flautist is given the wheel when the harmony gets deliberately ominous, and maneuvers beautifully with the rest of the ensemble to a satisfying finale."
-Cathy Nichols, writer
Pearson and her quintet display their melancholy and poignant side with ballads such as Joseph's Kosma's Autumn Leaves, Blue Moment, and Barry Manilow's When October Goes. Sally Lutyens' Evening Song is a mysterious and romantic promenade-like piece that is given an emotive and yearning interpretation by Pearson, flutist Lea Pearson, and cellist Shannon Allen. These live performances capture the technical and passionate presence of Pearson and her quintet, showing their abilities in settings of improvisation, classical structures, and jazz gestures.
Gay Pearson, piano; Lea Pearson, flute & vocals; Shannon Allen, cello; Jim Lyden, bass;
Phil McGowan, drums; Ray Wilson, narrator
A Sinister Endeavor…The Gay Pearson Quintet
"I could drive all the way from Maine to Maryland listening to (Gay Pearson's) compositions. A Sinister Endeavor is not a sinister piece by any means. It lifts you up and around wisps of melody and made me want to shimmy like a person much thinner than I. The energy in the piece is continuous, a happy pace, not frantic like some jazz that has been forced upon me in my past. The flautist is given the wheel when the harmony gets deliberately ominous, and maneuvers beautifully with the rest of the ensemble to a satisfying finale."
-Cathy Nichols, writer
Recording may be purchased at:
Chamber Jazz Concert II: Floating On Waves
I usually improvise over harmonies from the written portion of the piece, ranging from conventional progressions and voicings to more contemporary sounds using sequences , vamps and pedal points with a variety of grooves and meters often within one piece.
Chamber Jazz Concert I: Original Compositions
To purchase DVDs, go to contact page
The Gay Pearson Trio-Live!
Sea Journey-So Far Away
A traditional jazz combo with a unique blend of classic and contemporary standards, including samba, funk, and pop tune with a neo Baroque arrangement of "So Far Away", all with the ravishing rich bass sounds of the renowned Tyrone Brown of Philadelphia.
"Old Stomping Grounds" is the thrust of this album which represents my next step: Back to my Roots. Now in my sixth decade, I feel a sense of urgency to really find my niche . However, I plan to maintain my physical strength and stamina for a good 30 years, much of which I can attribute to my new found passion of tennis. To relive my roots in my own way this time around I will release my suppressed spirit of adventure in a part of the world dear to my soul: the coast of Maine and Massachusetts. You will find me exploring the islands of Casco Bay which were the haunts of my father who cruised the Maine coastline most of his life.
While at the helm of a friend's brother's 24 foot cabin sloop in Castine Harbor, I rediscovered what an old salt and seasoned sailor I am and how much I missed it; that's where I feel most at home with more sense of autonomy. I look forward to the luxury of steaming lobsters and clams fresh off the docks, and the elemental brine scent , which for me more than anything captures the flavor and spirit of the coastal locale. Last but not least I hope to be able to apply my meteorological background to my nauticals skills, allowing for more intelligent decision making when sailing for an extended period of time.
"Pianist GAY PEARSON takes her audience on an eclectic Modern Jazz journey with bassist Tyrone Brown and drummer Mike Shumila on SEA JOURNEY - SO FAR AWAY (GP 97004). Her program includes pieces by contemporary artists who represent vastly different goals: Chick Corea, Carole King, Barry Manilow, Wayne Shorter, Randy Weston, Stevie Wonder, Joe Sample, and Herbie Hancock. Her straight-ahead piano trio ties the ends together, however, and Pearson's self-produced album gives her audience a warm glow. The two title tracks represent a vacation trip, but from two different points of view. The trio interprets Corea's "Sea Journey" as an exotic outing with dramatic intensity, while King's "So Far Away" lolls gently on a distant, summer breeze. Pearson's decision to include pop songs on the album serves more than a mere nostalgic look back; they also represent the gentler side of Modern Jazz. Her arrangement of "Autumn Leaves" swings easily in the familiar style that this veteran pianist has espoused for decades. Chopin's "Fantasie-Impromptu" is offered as an a cappella piece, and represents a deeper look back in time. Better are the trio's adventures with contemporary pieces. They're relaxed and loose. Pearson gives her audience a double barrel of swinging excitement that's married with a love for the lyrical melody."
-Jim Santella, reviewer (October 2004)
"Old Stomping Grounds" is the thrust of this album which represents my next step: Back to my Roots. Now in my sixth decade, I feel a sense of urgency to really find my niche . However, I plan to maintain my physical strength and stamina for a good 30 years, much of which I can attribute to my new found passion of tennis. To relive my roots in my own way this time around I will release my suppressed spirit of adventure in a part of the world dear to my soul: the coast of Maine and Massachusetts. You will find me exploring the islands of Casco Bay which were the haunts of my father who cruised the Maine coastline most of his life.
While at the helm of a friend's brother's 24 foot cabin sloop in Castine Harbor, I rediscovered what an old salt and seasoned sailor I am and how much I missed it; that's where I feel most at home with more sense of autonomy. I look forward to the luxury of steaming lobsters and clams fresh off the docks, and the elemental brine scent , which for me more than anything captures the flavor and spirit of the coastal locale. Last but not least I hope to be able to apply my meteorological background to my nauticals skills, allowing for more intelligent decision making when sailing for an extended period of time.
"Pianist GAY PEARSON takes her audience on an eclectic Modern Jazz journey with bassist Tyrone Brown and drummer Mike Shumila on SEA JOURNEY - SO FAR AWAY (GP 97004). Her program includes pieces by contemporary artists who represent vastly different goals: Chick Corea, Carole King, Barry Manilow, Wayne Shorter, Randy Weston, Stevie Wonder, Joe Sample, and Herbie Hancock. Her straight-ahead piano trio ties the ends together, however, and Pearson's self-produced album gives her audience a warm glow. The two title tracks represent a vacation trip, but from two different points of view. The trio interprets Corea's "Sea Journey" as an exotic outing with dramatic intensity, while King's "So Far Away" lolls gently on a distant, summer breeze. Pearson's decision to include pop songs on the album serves more than a mere nostalgic look back; they also represent the gentler side of Modern Jazz. Her arrangement of "Autumn Leaves" swings easily in the familiar style that this veteran pianist has espoused for decades. Chopin's "Fantasie-Impromptu" is offered as an a cappella piece, and represents a deeper look back in time. Better are the trio's adventures with contemporary pieces. They're relaxed and loose. Pearson gives her audience a double barrel of swinging excitement that's married with a love for the lyrical melody."
-Jim Santella, reviewer (October 2004)
Gay Pearson: Piano and Violin. Tyrone Brown: Bass. Al Jackson: Drums. Special Guests: John Blake: Violin. Trish V. Johnson: Baritone Sax. Beth Dzwil: Viola. Denise Montana: Vocals.
"Mainstream jazz sometimes involves risk-taking. Trade fours with the drummer, turn the bassist loose on almost every number, and concentrate on what you want to say with the piano. But each artist stretches as he sees fit. Let’s have a round of applause for the bassist, Tyrone Brown!
Gay Pearson’s piano trio resembles the group you’ll find at most local jazz clubs and lounges. On this, her third CD, they perform with a quaint manner that you’d love, either in person or on compact disc. Complete information may be found at Gay Pearson’s web site .
Pearson is at her best with Herbie Hancock’s "Maiden Voyage," where she pushes hard and allows creativity to take over. Her guests provide contrasting variety while keeping the session in the mainstream. For "Last Night When We Were Young," John Blake "croons" with a weepy-eyed opening alongside bowed bass and piano before changing-up to a bouncier middle section. The light-hearted nature of the tune makes for a good time. That mood rolls over to "Precious and Playful Baby Blues," which incorporates sampled bird calls from Pearson’s pet parakeet to compete with singer Denise Montana’s natural song styling. The leader’s solo piano performance of John Coltrane’s "Giant Steps" takes on a strong, carefully laid out European classical form, while Pearson’s lounge music piano trio arrangements of "When Lights Are Low," "Second Time Around" and "Whisper Not" loosen up the scene and make you feel like you’re right there sipping your drink in the room, nodding your head, and tapping your toes. Trish V. Johnson plays the baritone saxophone with a fluid Gerry Mulligan approach that works wonders alongside the piano trio with guest conguero Ray C. Williams. Her composition "Easy Does It" reflects a light Caribbean flavor and moves the pianist into a powerful, contrasting interlude that lights a fire to the piece. A similar occurrence in "When Lights Are Low" ignites the session. Recommended, Pearson’s straight-ahead album offers variety while keeping the mainstream fires burning."
-Jim Santella, All About Jazz (March 2000)
"Mainstream jazz sometimes involves risk-taking. Trade fours with the drummer, turn the bassist loose on almost every number, and concentrate on what you want to say with the piano. But each artist stretches as he sees fit. Let’s have a round of applause for the bassist, Tyrone Brown!
Gay Pearson’s piano trio resembles the group you’ll find at most local jazz clubs and lounges. On this, her third CD, they perform with a quaint manner that you’d love, either in person or on compact disc. Complete information may be found at Gay Pearson’s web site .
Pearson is at her best with Herbie Hancock’s "Maiden Voyage," where she pushes hard and allows creativity to take over. Her guests provide contrasting variety while keeping the session in the mainstream. For "Last Night When We Were Young," John Blake "croons" with a weepy-eyed opening alongside bowed bass and piano before changing-up to a bouncier middle section. The light-hearted nature of the tune makes for a good time. That mood rolls over to "Precious and Playful Baby Blues," which incorporates sampled bird calls from Pearson’s pet parakeet to compete with singer Denise Montana’s natural song styling. The leader’s solo piano performance of John Coltrane’s "Giant Steps" takes on a strong, carefully laid out European classical form, while Pearson’s lounge music piano trio arrangements of "When Lights Are Low," "Second Time Around" and "Whisper Not" loosen up the scene and make you feel like you’re right there sipping your drink in the room, nodding your head, and tapping your toes. Trish V. Johnson plays the baritone saxophone with a fluid Gerry Mulligan approach that works wonders alongside the piano trio with guest conguero Ray C. Williams. Her composition "Easy Does It" reflects a light Caribbean flavor and moves the pianist into a powerful, contrasting interlude that lights a fire to the piece. A similar occurrence in "When Lights Are Low" ignites the session. Recommended, Pearson’s straight-ahead album offers variety while keeping the mainstream fires burning."
-Jim Santella, All About Jazz (March 2000)
What Are You Doing New Year's Eve 1999.987654321.?
Alone, Independent and Unresolved
Gay Pearson: Piano. Tyrone Brown: Acoustic and Electric Upright Bass. Jim Miller: Drums. Special Guests: Lea Pearson: Flute. Loren Pearson: Viola. Beth Pearson: Cello.
"I was first introduced to Gay Pearson with her svelte string sextet arrangement of "Softly, As In A Morning Sunrise" on Tyrone Brown's Song of the Sun. That is actually a reprise on an arrangement of the same piece for Pearson's own release, Alone, Independent and Unresolved. Both arrangements are quite excellent, as is the rest of Alone, Independent and Unresolved.
Pearson plays with a classically trained, deliberate style that is rhythmically sophisticated, idea-rich, and readily accessible. Ahmad Jamal's "Fly Away" is almost a popular music romp with high-wire digitation. Pearson squeezes out one of the freshest "Well, You Needn't" I have heard recently. Her ballad playing is smart and cogent as evidenced by "When sunny Gets Blue" and "Here's That Rainy Day". But it is with "Softly..." that Pearson expresses her talents of composition and arrangement, producing truly provocative and thoughtful music. A coolly educated talent deserving wider recognition."
-C. Michael Bailey, All About Jazz ()
"Pearson, Brown and Miller form a cohesive unit that presents several different aspects of the trio. The music is subtle enough that it does not require a break in the conversation; yet, some attendees would no doubt favor some areas over others. "All Blues" and several other tracks, however, are likely to find most conversations being put on hold because of the excitement Miller, Brown and Pearson create. For listeners who enjoy a touch of the contemporary, the pianist brings in an electric keyboard for "X-EYES", a medley of "Star Eyes" and "Angel Eyes" that begins with an interesting interwoven combination of these two songs with the television theme from "X-FILES". Adding her three sisters to "Softly as in a Morning Sunrise" on flute, viola and cello, Pearson pits a classical string quartet effect against the Jazz piano trio. Pearson's session has much in common with what we perceive as lounge music, but there are enough pleasant surprises and ticklish counterpoint to make most listeners sit up and listen."
-Jim Santella, Cadence (June 1999)
"I first met Gay Pearson around 1982-1983 while I was performing in West Lafayette, Indiana. She was attending Purdue University. The meeting was brief. I was reminded of our first meeting after seeing her again when she came to "Tavern on the Green" earlier this year where I was performing. I must say that I was very flattered and honored when asked by her to speak about her latest CD. She mentioned my being part of a bridge of inspiration in her becoming a jazz artist. There are few artists (if any) more dedicated than Gay Pearson. She truly seems to live in a world of free spirit creativity, have unlimited ideas, and is not afraid to take chances. I feel after reading and listening to the great composers, Mozart, Chopin, etc. that they also improvised but wrote it all down as bridges to beautiful melodies. They were not classical but classic musicians. Gay impresses me as a classic musician also (jazz); achieving a fine balance between the interweaving of early classic and today's classic (jazz) music. I find her fun to listen to; very refreshing and communicative. Gay is a beautiful person with a beautiful musical soul.
I sincerely feel that Gay Pearson will make her mark in the Jazz, and music world in general. My warmest and very best wishes to you, Gay Pearson."
-Roy Meriwether, pianist/composer
Gay Pearson: Piano. Tyrone Brown: Acoustic and Electric Upright Bass. Jim Miller: Drums. Special Guests: Lea Pearson: Flute. Loren Pearson: Viola. Beth Pearson: Cello.
"I was first introduced to Gay Pearson with her svelte string sextet arrangement of "Softly, As In A Morning Sunrise" on Tyrone Brown's Song of the Sun. That is actually a reprise on an arrangement of the same piece for Pearson's own release, Alone, Independent and Unresolved. Both arrangements are quite excellent, as is the rest of Alone, Independent and Unresolved.
Pearson plays with a classically trained, deliberate style that is rhythmically sophisticated, idea-rich, and readily accessible. Ahmad Jamal's "Fly Away" is almost a popular music romp with high-wire digitation. Pearson squeezes out one of the freshest "Well, You Needn't" I have heard recently. Her ballad playing is smart and cogent as evidenced by "When sunny Gets Blue" and "Here's That Rainy Day". But it is with "Softly..." that Pearson expresses her talents of composition and arrangement, producing truly provocative and thoughtful music. A coolly educated talent deserving wider recognition."
-C. Michael Bailey, All About Jazz ()
"Pearson, Brown and Miller form a cohesive unit that presents several different aspects of the trio. The music is subtle enough that it does not require a break in the conversation; yet, some attendees would no doubt favor some areas over others. "All Blues" and several other tracks, however, are likely to find most conversations being put on hold because of the excitement Miller, Brown and Pearson create. For listeners who enjoy a touch of the contemporary, the pianist brings in an electric keyboard for "X-EYES", a medley of "Star Eyes" and "Angel Eyes" that begins with an interesting interwoven combination of these two songs with the television theme from "X-FILES". Adding her three sisters to "Softly as in a Morning Sunrise" on flute, viola and cello, Pearson pits a classical string quartet effect against the Jazz piano trio. Pearson's session has much in common with what we perceive as lounge music, but there are enough pleasant surprises and ticklish counterpoint to make most listeners sit up and listen."
-Jim Santella, Cadence (June 1999)
"I first met Gay Pearson around 1982-1983 while I was performing in West Lafayette, Indiana. She was attending Purdue University. The meeting was brief. I was reminded of our first meeting after seeing her again when she came to "Tavern on the Green" earlier this year where I was performing. I must say that I was very flattered and honored when asked by her to speak about her latest CD. She mentioned my being part of a bridge of inspiration in her becoming a jazz artist. There are few artists (if any) more dedicated than Gay Pearson. She truly seems to live in a world of free spirit creativity, have unlimited ideas, and is not afraid to take chances. I feel after reading and listening to the great composers, Mozart, Chopin, etc. that they also improvised but wrote it all down as bridges to beautiful melodies. They were not classical but classic musicians. Gay impresses me as a classic musician also (jazz); achieving a fine balance between the interweaving of early classic and today's classic (jazz) music. I find her fun to listen to; very refreshing and communicative. Gay is a beautiful person with a beautiful musical soul.
I sincerely feel that Gay Pearson will make her mark in the Jazz, and music world in general. My warmest and very best wishes to you, Gay Pearson."
-Roy Meriwether, pianist/composer
Nature Girl
This album, my first, is dedicated to the memory of my father, Dr. Robert W. Pearson, the only family member with whom I could speak and share the language of jazz harmony and theory. My father's retirement from his general surgery and family practice in 1985 coincided with my own transition from purely classical music to jazz. As I studied with various jazz teachers, my father requested copies of lesson notes, handouts and tapes. Although my father was a cellist, and majored in music at Harvard, he had always played piano by ear; mostly Gershwin and Porter. Amidst his own study of jazz harmony books, I helped him learn "hip" voicings. During his retirement, he studied with a Boston area jazz pianist and played in nursing homes in the Newburyport, MA area. By the end of his life, he had accumulated an impressive jazz library, which I treasure.
Piano: Gay Pearson. Bass: Tyrone Brown. Drums: Jim Miller. Alto Saxophone: Richie Cole. Cello: Beth Pearson.
"Pearson plays in a dense piano style with alot of concentration on the lower keys.
She plays in a straight ahead manner, yet she has an element of liberation in her delivery
that elevates the performance several notches. Of the ten tunes, six are performed in the
trio setting with Brown and Miller providing very good rhythmic support. Whether doing ballads,
a samba at double time, or up tempo pieces, she continues with her thick style that gives the performance a richness and fullness. By interjecting her classical approach into the tunes, she is able to bring diversity that meshes well with the standard Jazz format. On Harris's "Freedom Jazz Dance" she gives the well-known song pattern a unique and original overhaul with an elusive and fleeting approach to the melody.
Pearson is capable of interpreting other writers in a unique way and can maintain a melodic framework while varying the structure within the confines of the tunes' changes. She is a strong player who should develop rapidly given the credentials and stylistic variety she brings to the music."
-Frank Rubolino, Cadence (May 1998)
"Pianist-composer-arranger Gay Pearson is a confessed latecomer to the jazz scene, discovering Miles Davis and jazz combos just a decade ago. She exhibits estimable talent on her first album, a trio outing with bassist Tyrone Brown and drummer Jim Miller that delivers creative versions of Ellington’s “Caravan,” Jobim’s “How Insensitive” and Eddie Harris’ “Freedom Jazz Dance.”
Guest Richie Cole adds his capricious alto to “If I Were a Bell” and “I Wish I Knew How It Feels To Be Free,” and sister Beth Pearson’s cello complements “Someone To Watch Over Me.” Especially notable are the gospel-imbued original title track and the pianist’s funky merger of Rachmaninoff’s Second Piano Concerto and Al Jarreau’s “Boogie Down” into “Rachy Boogies Down.” Gay Pearson is a superb addition to the jazz world."
-Patricia Myers, Jazz Times (May 1999)
Piano: Gay Pearson. Bass: Tyrone Brown. Drums: Jim Miller. Alto Saxophone: Richie Cole. Cello: Beth Pearson.
"Pearson plays in a dense piano style with alot of concentration on the lower keys.
She plays in a straight ahead manner, yet she has an element of liberation in her delivery
that elevates the performance several notches. Of the ten tunes, six are performed in the
trio setting with Brown and Miller providing very good rhythmic support. Whether doing ballads,
a samba at double time, or up tempo pieces, she continues with her thick style that gives the performance a richness and fullness. By interjecting her classical approach into the tunes, she is able to bring diversity that meshes well with the standard Jazz format. On Harris's "Freedom Jazz Dance" she gives the well-known song pattern a unique and original overhaul with an elusive and fleeting approach to the melody.
Pearson is capable of interpreting other writers in a unique way and can maintain a melodic framework while varying the structure within the confines of the tunes' changes. She is a strong player who should develop rapidly given the credentials and stylistic variety she brings to the music."
-Frank Rubolino, Cadence (May 1998)
"Pianist-composer-arranger Gay Pearson is a confessed latecomer to the jazz scene, discovering Miles Davis and jazz combos just a decade ago. She exhibits estimable talent on her first album, a trio outing with bassist Tyrone Brown and drummer Jim Miller that delivers creative versions of Ellington’s “Caravan,” Jobim’s “How Insensitive” and Eddie Harris’ “Freedom Jazz Dance.”
Guest Richie Cole adds his capricious alto to “If I Were a Bell” and “I Wish I Knew How It Feels To Be Free,” and sister Beth Pearson’s cello complements “Someone To Watch Over Me.” Especially notable are the gospel-imbued original title track and the pianist’s funky merger of Rachmaninoff’s Second Piano Concerto and Al Jarreau’s “Boogie Down” into “Rachy Boogies Down.” Gay Pearson is a superb addition to the jazz world."
-Patricia Myers, Jazz Times (May 1999)