“Blues, Preludes & Feuds is a brilliant amalgamation of classical, folk, stride, bebop, gospel, boogie-woogie, free jazz, offering beautiful melodies and just plain genius flowing from one man sitting at the piano.” Geannine Reid, All About Jazz
Some Recent Videos…
The first one is a trailer for the live version of Blues, Preludes & Feuds. The plan is to make this into a full-length video some time in 2017. Stay tuned…
And so will this one—eventually. Give it some time, though.
But welcome back . . . or just welcome.
This is the third iteration of petersaltzman.com. I purchased the domain name back in 2000 or so, just to make sure none of my namesakes lurking around the World Wide Web—as we proudly called it back then—didn’t grab it first.read more
Sign Up Now and Never Miss the LatestNews about events, new releases, new stories, and news about news!
My doctor wears a mask in public. Not a surgical mask, but what he calls his “regular guy” mask. I own the same model. More often than not, I wear it in public.
It’s apparently quite popular among us creative types and can’t be found at any costume store. Unfortunately, our masks are becoming too loose from wear—or too tight from fear. At the slightest provocation, they may fall off, revealing the true person behind the mask.read more
I was with either my ex-girlfriend or my dad when I first went to a Keith Jarrett concert. Either way, she was there, which may be the reason why it was also the last. I should go again.
I was 15—beginning my sophomore year in high school—and had several of Jarrett’s records in my collection: “The Köln Concert” (solo), a few with his classic quartet (Dewey Redman on sax), and another with his more avant-garde experimental works for various ensembles. In general, I loved his work. True, even then I found it to be sometimes indulgent, particularly the solo work. But the playing was always beautiful, expressing a profound sense of joy in making music.read more
I’ve been trying to fold words into music (and vice versa) ever since I began putting lyrics to my tunes in my early 20s. Songwriting is, of course, just that: the art of making words get along with melody, harmony, rhythm, and musical form.
My newly released app—”Blues, Preludes & Feuds”—attempts something like that. But, at least in this initial release, there are no lyrics, no vocals, no songs to be sung.read more
From the Archives...(samples of my music from the past that I still like)
“Free Yourself From Yourself” comes from my first record, “Songs from Two States”, 1988. It may surprise you that is was a straight ahead pop record—but it shouldn’t. Pop music, or at least songwriting, has always been a part of my creative life. Commercial success in that medium? Well that’s another story…
I composed a lot of chamber and orchestral music in the mid-to-late 1990s. I mean, like reams of it. Here’s an example: the 2nd movement from my third String Quartet, performed live in 1999 by the Revolution Ensemble String Quartet (a subset of my group, The Revolution Ensemble.)
Avant Garde Jewish Blueish
The culmination of the intense period of composing referred to in the blurb to the left was no doubt “Kabbalah Blues/Quantum Funk”. I wrote it in 1999 (commissioned by the Chicago Humanities Festival) and recorded it in 2000. It combines all of my jazz, classical, and pop experience into one extended riff on Kabbalah and quantum physics. What?!!!? Just listen…