Move's ARIA-nominated jazz duo again returns to the studio for their long awaited new album! This recording goes much further in terms of repertoire, and consequently extends the level of energy on the spirited pieces, and the level of expression on the gentler ones.
Of this album, Tony Gould writes
"We are proud of this music. We think it is best described as honest music making, and would also like to think it is artistic, therefore inviting the listener back for years to come."
Peter and Tony were both inspired by the direction of this new recording and we hope you will be too. Not to be missed!
Pianist and composer Tony Gould is one of Australia’s most respected musicians. His career has embraced many styles of music, not least jazz and other improvisatory musics in addition to traditional and contemporary classical musics. He gives many concerts each year and for 50 years he has been involved in an extraordinary number of recording projects both as pianist and composer and has been at the forefront of music education in Australia via various tertiary institutions in Melbourne and throughout Australia.
Peter Petrucci is a unique guitarist/composer, specialising in contemporary jazz and free improvisation.
“Plenty of piano-guitar duets appeal to your heart. This local pair makes it skip a beat and race ahead, with Gould's mix of elegance and emotional honesty combined with Petrucci's blend of lyricism and virtuosity. Improvisation underpinned by a respect for emotion and mood ...” ★★★★
— Leon Gettler, The Age - Green Guide
“this sublime collaboration ... The result: music that at times has its own lyric charm or smoulders with fervour ... a recording of rare quality that should appeal to jazz fans of all persuasions ... Three years since their superb River Story, they have produced an even better album ... This is music from the heart.” ★★★★
— Kevin Jones, Weekend Australian
“tranquil and idyllic ... gentle colours ... a geat deal of serene, reflective moments that focus on space and melody ... this spontaneous exchange of ideas suits them well ...”
— Jay Collins, Cadence USA
“It embodies the mastery of technique, musicianship and highly individualistic imagination these two masters bring to their craft in a concert to be enjoyed often and treasured indefinitely.”
— Michael Foster, Canberra Times
“Often it has the bearing and aura of restrained chamber music, with a warmth at the core as well as a reverential but probing outlook. On the whole it is gentle, absorbing, patient music. But there is variety ... The players balance each other perfectly, making this a deadly collaboration. 8.5/10”
— Shane Nicols, Australian Financial Review
“Here with Tony Gould ... Peter Petrucci produces many colours and melodic textures in touching renditions of jazz standards as well as more avant garde pieces.”
— John Pitt, New Classics, UK
“the pair have an uncanny empathy for each other ... This is intimate chamber jazz at its best.”
— Ian Macgregor, Jazz Guitar Society WA
“The CD offers a great variety of works ... a beautiful meeting of piano and guitar.”
— Rod Ferguson, 4ZZZ
“The menu is a mix of quite new music and lyrical but fresh, improvisatory versions of 'old' pieces ... a really fine duo”
— Doug Spencer, The Planet
“With From Within comes every nuance of feeling that you could imagine ... The piano of Tony Gould is thoughtful and inspiring and Peter Petrucci's guitar is masterly, the two taking this reviewer on a journey she will want to make again and again.”
— Pamela Brow, Adelaide Jazz Scene
“Tony Gould and Peter Petrucci effortlessly deal with the challenges ...The mutual sympathy of these two fine musicians is obvious throughout ... leaves one wishing for more!”
— Ted Nettelbeck, Music Forum
“an even stronger and more satisfying set ... brilliant counterpoint ... Gould's essentially romantic approach finds a perfect complement in Petrucci, whose playing is equally fluent on electric or acoustic guitar.”
— Adrian Jackson, Rhythms
“every bit as good as River Story ... highly recommended.”
— Ian Horbury, 3HOT FM
“There are too many highlights in the set to go through. Suffice to say it is a remarkable collaboration between two fine musicians.”
— Peter Dougherty, ArtStreams
- Have You Met Miss Jones Richard Rodgers Lorenz Hart 4:15
- True Findings Peter Petrucci 6:33
- Peace Horace Silver 6:24
- Quiet Tony Gould 5:53
- You Don't Know What Love Is Don Raye 6:52
- Valse (based on J.S. Bach) Claus Ogerman 3:03
- Different Place, Different Space Peter Petrucci 4:57
- From Within Part I Peter Petrucci Tony Gould 1:59
- From Within Part II Peter Petrucci Tony Gould 2:18
- From Within Part III Peter Petrucci Tony Gould 3:32
- Coral Keith Jarrett 3:05
- Palhaco Egberto Gismonti 3:39
- Bye Bye Baby Jule Styne 1:58
Over the last quarter century, the music of Egberto Gismonti has brought us, with its unique cultural baggage, an uncommon breadth. He draws on resources at once primitive" and "sophisticated," bringing those modes into question and shoring up issues, cultural priorities and biases.
Along with Lalo Schifrin, Ogerman created some of the best arrangements of the "now sound."
Raye was an accomplished dancer as a boy, and won the Virginia State Dancing Championship. From the mid-20s he worked as a singer and dancer in Vaudeville and, later, toured theatres and nightclubs in France and England, while also writing songs for himself and other performers.
Over the past 35 years, Keith Jarrett has come to be recognised as one of the most creative, musicians of our times - universally acclaimed as an improviser of unsurpassed genius and a master of jazz piano. In the past 15 years, he has also gained renown as a classical keyboardist of great depth, concentrating on 18th Century keyboard music for piano and harpsichord, and 20th Century piano music.
With a pianistic and compositional style that draws from black gospel, bebop, Latin and R&B sources, Horace Silver was one of the major musicians of the hard-bop and soul-jazz movements of the '50s and '60s.
With the score of such long-running Broadway classics as High Button Shoe, Gentlemen Prefer Blondes, Peter Pan, Gypsy, Bells Are Ringing, Funny Girl and the Tony-winning Hallelujah Baby! to his credit, composer Jule Styne ranks as one of a handful of undisputed architects of the American musical theater.
More prolific than George Gershwin (who died at 38), more popular than Stephen Sondheim and esteemed among musicians of all genres. Collectively, his catalogue of songs reads like a treasury of classics from American musical theater's golden age.