Peace Vibes by Ted Piltzecker

Ted Piltzecker

Peace Vibes

Format: CD
Label: OA2 Records
UPC: 0805552224320
Catnr: OA2 22243
Release date: 01 May 2026
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Label
OA2 Records

UPC
0805552224320

Catalogue number
OA2 22243

Release date
01 May 2026

Album

Artist(s)

Composer(s)

About the album

New York vibraphonist Ted Piltzecker returns to Denver for a follow-up of his 2023 release, Vibes on a Breath, this time though in an open quartet setting with his vibes brought to the front, adding inspired interplay with virtuoso trumpeter Brad Goode while also supplying the group’s harmonic palette through his 4-mallet comping and counterpoint. Along with drummer Paul Romaine and bassist Gonzalo Teppa, Piltzecker brought in percussionists Vinicius Barros and Hugo Alcazar from Brazil and Peru, providing surprising rhythmic textures to classic jazz standards such as “I Remember Clifford” and a Latin-tinged, “In a Sentimental Mood.” Piltzecker's work transports to an alluring musical world where every note is infused with a personal touch.

Artist(s)

Ted Piltzecker (vibraphone)

Vibraphonist/Composer Ted Piltzecker has eclectic musical interests. He has performed throughout the United States and around the globe, and his seven albums as a leader have been influential in both the percussion and jazz worlds. Ted’s debut album, Destinations, climbed to number eight in national jazz airplay, and his second release, Unicycle Man remained on the Gavin Jazz Chart for months. Jazz writer and critic, the late Nat Hentoff praised the album as “a lyrical, thoughtful, relaxing meeting of mutually appreciative improvisers whose time is timeless.” All About Jazz reports that in his solo vibraphone album, Standing Alone, “He fills the 43 minutes with expressive grace, maintaining interest throughout,” and cites his release Steppe Forward as “an upbeat, joyous and uplifting album, from beginning to end.” Ted's 2018 album entitled Brindica is a reflection of his four-month venture around the world. "Piltzecker writes and arranges tunes that draw on tango, second-line, Afro-Cuban, South African, and even carnatic influences, always in an organic, fun, and respectful way. The result is a stylistic kaleidoscope of an album that reveals new combinations of rhythm and harmony at every turn and always sparkes with wit and good humor." (CDHotList) His latest release Vibes On A Breath, a septet with four horns, vibes, bass, and drums, was released on August 18, 2023. “The intimacy of the approach along with the addition of bass clarinet and flugelhorn doubles adds an extra layer of richness and color to the already mesmerizing arrangements. Piltzecker's work transports to an alluring musical world where every note is infused with a personal touch." (Jazz Weekly) Ted has performed with many of the great names in jazz in New York (guitarists Jack Wilkins, Gene Burtoncini and Vic Juris, bassists Mike Richmond, Rufus Reid and Todd Coolman, drummers Lewis Nash, Dennis Mackrel, and Clarence Penn, Marty Morell, pianists Jim McNeeley, John Hicks, Donald Vega, and BillCharlap, and with saxophonists Chris Potter, Ralph Lalama, and Javon Jackson), and while directing the jazz program at the Aspen Music Festival (Jimmy Heath, Joe Williams, Clark Terry, Mel Torme, Ernie Watts, Hubert Laws, Slide Hampton, Toshiko Akiyoshi, and many more). He has toured internationally as a member of the famed George Shearing Quintet, and has led many of his own unique ensembles including Pendulum, a duo with Canadian pianist Jim Hodgkinson. Ted’s diverse musical interests have also included tours with the Kenny Endo Taiko Ensemble, national TV spots with the Nitty Gritty Dirt Band’s John McEuen, appearances at the Cathedral of St. John the Divine in New York with organist Dorothy Papadakos, and chamber music concerts with classical cellists, Yehuda Hanani and Julia Lichten, violinists, Ruben Gonzales and Calvin Wiersma, clarinetists Ayako Oshima and Dick Waller, harpists Nancy Allen and Emily Mitchell, bandoneónist, Hector Del Curto, table player Jagannath Dhaugoda, and gadulka player (Bulgarian violin) Nikolay Kolev.
Ted Piltzecker has received composition awards from the National Endowment for the Arts, the New York State Council on the Arts, the New Jersey State Council on the Arts, The Lincoln Center Institute, and the ASCAP Foundation. His works have been aired on National Public Radio’s "Performance Today" and the Canadian Broadcasting Company’s "Arts National" and have been performed by the Philadelphia Orchestra Chamber Ensemble at the Kimmel Center for the Performing Arts. As a guest of the People’s Republic of China, he premiered new works for percussion at the Conservatories in Beijing and Wuhan in the summer of 2013. In the summer of 2014 he premiered two new works, one for wind ensemble and one for large jazz ensemble, at the Conservatório de Tatuí in Brazil. His orchestral work Precarious Indifference was premiered in 2016 at the Purchase Conservatory of Music, State University of New York where he is a professor emeritus of music composition. A new setting for his composition Tango For An Elegant Man for vibraphone, marimba and full orchestra was premiered in July 2023 in Argentina. Ted Piltzecker is a graduate of the Eastman and Manhattan Schools of Music, and continues to teach at the University of Hartford (Hartt School) in Connecticut. He also serves as a pilot with the US Coast Guard Auxiliary. Additional information, including recordings and videos, may be found at TedVibes.com.

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Brad Goode (trumpet)

A multi-instrumentalist and composer who performs on trumpet, bass and drums, Brad Goode is recognized as a unique stylist with a highly creative approach to improvisation. He has recorded on dozens of jazz albums, including 18 as a leader for the Delmark, Sunlight, SteepleChase and Origin labels. He is a dedicated educator, with many of his students enjoying successful music careers.
Brad began playing violin at age 4, switching to rock guitar at age 8. He later earned a BM degree in classical trumpet at the University of Kentucky, and an MM degree in bass at DePaul University. His trumpet teachers include Vincent DiMartino, Byron Baxter, Clark Terry, Chris Gekker and William Adam. He studied bass with Larry Gray, Donald "Rafael" Garrett, Carroll Crouch, and Eddie DeHaas.
Brad learned Jazz through the time-honored system of apprenticeship. His participation in this tradition was extensive, lasting well into his thirties. During his apprenticeship years, he toured and recorded with the bands of Von Freeman, Red Rodney, Eddie Harris, Ira Sullivan, Curtis Fuller, Jack DeJohnette, Ernie Krivda, Eddie Johnson, Rosemary Clooney, Barrett Deems and the Woody Herman Orchestra, among others. Brad led his own combo in Chicago from 1985 until 1998, including a twelve-year stint as leader of the house band at the Green Mill. As a Cultural Ambassador for Mayor Richard Daley of Chicago, he led jazz groups on tours of Asia and the Middle East. He was named one of the most influential Chicagoans of the 1980s by the Chicago Tribune, who credited him as a “major catalyst in the revitalization of the Chicago jazz scene.” Brad’s work as a musician has taken many forms. As a freelance musician, he has performed extensively as a first trumpeter for big bands, salsa groups, symphony orchestras, musical theatre productions, and commercial recordings. As a soloist, he is equally comfortable playing Traditional Jazz, Swing, Bebop, Fusion, Free Jazz, Klezmer, Pop, and Classical, possessing a memorized repertoire of hundreds of songs in each genre. He is active as a bassist as well, in a variety of contexts. Brad currently tours with the bands of Canadian vocalist Matt Dusk and West African drummer Paa Kow, and with his own quintet featuring legendary saxophonist Ernie Watts. As an educator, Brad’s desire to help musicians succeed is his primary focus. He combines experience as a seasoned performer with a passion for study and research, and he offers a thoughtful perspective to his classes and private students. He is recognized as a master teacher of brass technique, and is an authority on rehabilitation and recovery from injury in brass players. He teaches jazz history to performers from the perspective of a performer, utilizing in-depth musical analysis. Brad’s philosophy on the teaching of improvisation is unique, formed by his own learning experiences outside of academia. He has presented lectures internationally on the need for a reconsideration of jazz pedagogy methods, and teaches courses on jazz pedagogy to graduate students and educators. He believes in the value of jam sessions as learning environments, and runs weekly sessions for students to learn by playing with pros.
.Brad Goode has served on the faculties of The American Conservatory of Music, New Trier High School, Cuyahoga Community College, The University of Cincinnati College Conservatory of Music, The Colorado Conservatory for the Jazz Arts and The University of Colorado, where he is currently Associate Professor of Jazz Studies, and serves as the Musical Director for the Conference on World Affairs.
Brad makes frequent appearances as a soloist and clinician at colleges and high schools. He is an artist for XO Brass Instruments, for whom he is currently designing an Artist Model trumpet.

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Gonzalo Teppa (bass)

Paul Romaine (drums)

Composer(s)

Duke Ellington

Duke Ellington influenced millions of people both around the world and at home. He gave American music its own sound for the first time. In his fifty year career, he played over 20,000 performances in Europe, Latin America, the Middle East as well as Asia. Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onand will endure for generations to come. Winton Marsalis said it best when he said 'His music sounds like America.' Because of the unmatched artistic heights to which he soared, no one deserved the phrase “beyond category” more than Ellington, for it aptly describes his life as well. He was...

Simply put, Ellington transcends boundaries and fills the world with a treasure trove of music that renews itself through every generation of fans and music-lovers. His legacy continues to live onand will endure for generations to come. Winton Marsalis said it best when he said "His music sounds like America." Because of the unmatched artistic heights to which he soared, no one deserved the phrase “beyond category” more than Ellington, for it aptly describes his life as well. He was most certainly one of a kind that maintained a llifestyle with universal appeal which transcended countless boundaries.

Duke Ellington is best remembered for the over 3000 songs that he composed during his lifetime. His best known titles include; "It Don't Mean a Thing if It Ain't Got That Swing", "Sophisticated Lady", "Mood Indigo", “Solitude", "In a Mellotone",and "Satin Doll". The most amazing part about Ellington was the most creative while he was on the road. It was during this time when he wrote his most famous piece, "Mood Indigo"which brought him world wide fame.

When asked what inspired him to write, Ellington replied, "My men and my race are the inspiration of my work. I try to catch the character and mood and feeling of my people".

Duke Ellington's popular compositions set the bar for generations of brilliant jazz, pop, theatre and soundtrack composers to come. While these compositions guarantee his greatness, whatmakes Duke an iconoclastic genius, and an unparalleled visionary, what has granted him immortality are his extended suites. From 1943's Black, Brown and Beige to 1972's The Uwis Suite, Duke used the suite format to give his jazz songs a far more empowering meaning, resonance and purpose: to exalt, mythologize and re-contextualize the African-American experience on a grand scale.

Duke Ellington was partial to giving brief verbal accounts of the moods his songs captured. Reading those accounts is like looking deep into the background of an old photo of New York and noticing the lost and almost unaccountable details that gave the city its character during Ellington's heyday, which began in 1927 when his band made the Cotton Club its home.''The memory of things gone,'' Ellington once said, ''is important to a jazz musician,'' and the stories he sometimes told about his songs are the record of those things gone. But what is gone returns, its pulse kicking, when Ellington's music plays, and never mind what past it is, for the music itself still carries us forward today.

Duke Ellington was awarded the Grammy Lifetime Achievement Award in 1966. He was later awarded several other prizes, the Presidential Medal of Freedom in 1969, and the Legion of Honor by France in 1973, the highest civilian honors in each country. He died of lung cancer and pneumonia on May 24, 1974, a month after his 75th birthday, and is buried in theBronx, in New York City. At his funeral attendedby over 12,000 people at the Cathedral of St. John the Divine, Ella Fitzgerald summed up the occasion, "It's a very sad day...A genius has passed."

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Miles Davis

Dave Brubeck

Benny Golson

Benny Golson (b. 1929, Philadelphia) has been a major tenor-saxophonist and composer for over a half-century. He began his career playing with the r&b band of Bull Moose Jackson in 1951 and with other local groups in Philadelphia. Golson worked with Tadd Dameron in 1953, the Lionel Hampton Big Band, Johnny Hodges and Earl Bostic. His Stablemates was recorded by Miles Davis in 1955.
Golson, whose tenor playing during the era was influenced by Don Byas and Lucky Thompson, gained his first fame as a member of the Dizzy Gillespie big band of 1956-58. He helped to make Art Blakey's Jazz Messengers into an important jazz institution through his professionalism and compositions during 1958-59, and during 1960-62 he co-led the Jazztet with Art Farmer. During that era he wrote such standards as Killer Joe, I Remember Clifford, Whisper Not, Blues March and Along Came Betty.
After his long period in the studios, Golson emerged in 1977 with a freer style and a different tone, resuming his role as a prolific musician. He has led his own quartet ever since and is still active today at 81.

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Horace Silver

Horace Ward Martin Tavares Silver (September 2, 1928 – June 18, 2014) was an American jazz pianist, composer, and arranger, particularly in the hard bop style that he helped pioneer in the 1950s. After playing tenor saxophone and piano at school in Connecticut, Silver got his break on piano when his trio was recruited by Stan Getz in 1950. Silver soon moved to New York City, where he developed a reputation as a composer and for his bluesy playing. Frequent sideman recordings in the mid-1950s helped further, but it was his work with the Jazz Messengers, co-led by Art Blakey, that brought both his writing and playing most attention. Their Horace Silver and the Jazz Messengers album contained Silver's first hit, "The Preacher". After leaving Blakey in 1956, Silver formed his own quintet, with what became the standard small group line-up of tenor saxophone, trumpet, piano, bass, and drums. Their public performances and frequent recordings for Blue Note Records increased Silver's popularity, even through changes of personnel. His most successful album was Song for My Father, made with two iterations of the quintet in 1963 and 1964. Several changes occurred in the early 1970s: Silver disbanded his group to spend more time with his wife and to concentrate on composing; he included lyrics in his recordings; and his interest in spiritualism developed. The last two of these were often combined, resulting in commercially unsuccessful releases such as The United States of Mind series. Silver left Blue Note after 28 years, founded his own record label, and scaled back his touring in the 1980s, relying in part on royalties from his compositions for income. In 1993, he returned to major record labels, releasing five albums before gradually withdrawing from public view because of health problems. As a player, Silver transitioned from bebop to hard bop by stressing melody rather than complex harmony, and combined clean and often humorous right-hand lines with darker notes and chords in a near-perpetual left-hand rumble. His compositions similarly emphasized catchy melodies, but often also contained dissonant harmonies. Many of his varied repertoire of songs became jazz standards that are still widely played. His considerable legacy encompasses his influence on other pianists and composers, and the development of young jazz talents who appeared in his bands over the course of four decades.

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