Become a member and get exclusive access to articles, live sessions and more!
Start Your Free Trial

Denny Zeitlin: Solo Piano: Remembering Miles (Sunnyside)

A review of the pianist's album featuring the music of Miles Davis

JazzTimes may earn a small commission if you buy something using one of the retail links in our articles. JazzTimes does not accept money for any editorial recommendations. Read more about our policy here. Thanks for supporting JazzTimes.
Denny Zeitlin- Remembering miles
The cover of Solo Piano: Remembering Miles by Denny Zeitlin

Arriving on the jazz scene in the mid-’60s while simultaneously practicing and teaching psychiatry, pianist Denny Zeitlin has consistently conducted his musical career on multiple tracks. He has played postbop as well as free improv, veered between electric and acoustic settings, drawn from classical composition and fusion, and played solo when he wasn’t leading duos, trios, or larges ensembles.

All those influences resonate through the music heard on Remembering Miles. The disc, featuring 13 tracks written by, credited to, and/or associated with Miles Davis, captures Zeitlin’s 2016 solo-piano performance at the Piedmont Piano Company in Oakland. There, for the last five years, he’s annually played residencies saluting individual composers: Wayne Shorter, Thelonious Monk, Billy Strayhorn, George Gershwin.

The program includes tunes from several Miles phases, including a surprising reworking of “Time After Time,” the Cyndi Lauper hit that was an emotional highlight of the trumpeter’s mid-’80s performances—here, pulsating bass notes underpin an upended melody and a reharmonized chord structure. Also from the same era, “Tomaas” (co-written with Marcus Miller) is reborn as a halting, impressionistic oddity.

Opener “Solar,” its melody sneaking out almost unrecognizably as Zeitlin’s left hand thunders down below, is a highlight, as are a swinging, melancholy “Dear Old Stockholm” and an expansive “Flamenco Sketches.” The pianist offers two consecutive approaches to the revered “Milestones”—“1958 version” is modal and hypnotic, while “1947 version” is all bebop energy. And closer “Weirdo” is a hopping blues with a streak of Monk-ish playfulness. It all adds up to an intriguing collection of Miles’ musical stories, familiar but given refreshing new spins.

Preview, buy or download Remembering Miles on Amazon!

Philip Booth

Philip Booth is a longtime arts journalist and bass player based in Florida. Formerly the pop music critic for the Tampa Tribune, he has contributed to many national publications, recently including the Washington PostJazziz, and Relix. His byline also has appeared in DownBeat, Bass Player, Billboard, Variety, Spin, Rolling Stone, and several academic journals. Sharkskin, the second album from his long-running band, Acme Jazz Garage, has aired on radio stations across the U.S.