Published on Feb 27, 2003
What can you say about a nineteen-year-old jazz genius who was
the youngest performer to ever play the Oak Room at the Algonquin
Hotel in New York? In the case of Peter Cincotti, about all you can
say is ‘wow’. Just…wow.
There’s a lot of hype behind this Columbia University
sophomore’s debut release. Phil Ramone, who has produced and worked
with Billy Joel, Tony Bennett, and Stevie Wonder, was brought on
board as producer, and given his lauds for Cincotti’s work one
wonders if he volunteered. A review written by Rex Reed in the New
York Observer said, in part, ‘this much talent, polish, and
virtuosity in a teenager may not even be legal.’ So, the question
becomes — is it worth the hype? In a word, yes.
Cincotti’s voice is smoky, rich, and expressive. He counts Harry
Connick Jr as an influence, and there’s definite coloring there,
but Cincotti’s style is all his own. He embraces lyrics like they
were good friends, his articulation neat and crisp yet smooth and
easy; a perfect jazz voice, immediately invoking smoky bars and
cool lights (bars in which Cincotti couldn’t even drink). His piano
playing is stellar as well; he takes on jazz standards like “Miss
Brown” and jazz interpretations of pop classics like “Spinning
Wheel” with equal, elegant facility.
There are very few miscues on this CD. Cincotti’s version of
Billie Holliday’s “Comes Love” is wistful and poignant; he nails
the bittersweet lyrics with expression and passion. The next track
he suddenly segues into ultra-cool with a Las Vegas take on Dean
Martin’s “Sway.” Other covers include Fats Waller’s “Ain’t
Misbehavin'” and Carmen MacRae’s “Miss Brown,” both excellent. His
own compositions, including the defiant “I Changed The Rules” and
“Lovers, Secrets and Lies,” are great as well. The only miscue —
and it’s a minor one — is, of all things, Cincotti’s take on
“Rainbow Connection,” which lacks passion.
Peter Cincotti is a name to remember — and we’ll have a lot of
time to do so. Get on the bandwagon early.