- Fantasy Warehouse Clearance Sale product may be specifically marked for one-way sale
- Released: September 14, 2004
- Label: Concord Records
JazzTimes - p.107
"[I]ncreasingly assured and interesting....[I]t proves that Peter the pianist has as bright a future as Peter the singer."
- 1.St. Louis Blues
- 2.Some Kind of Wonderful
- 3.I Love Paris
- 4.On the Moon
- 5.Bali Ha'i
- 6.He's Watching
- 7.Raise the Roof
- 8.The Girl for Me Tonight
- 9.You Don't Know Me
- 10.I'd Rather Be With You
- 11.Up on the Roof
Personnel: Peter Cincotti (vocals, piano); Peter Cincotti (keyboards); Gary Smulyan (baritone saxophone, trombone); Sam Yahel (Hammond b-3 organ); Barak Mori (bass instrument); Jeff Mironov (guitar); William Galison (harmonica); Brad Leali (alto saxophone, tenor saxophone); Scott Kreitzer (tenor saxophone); Barry Danielian (trumpet); Wycliffe Gordon (trombone); Mark McLean (drums, percussion); Kenny Washington (drums); Bashiri Johnson (percussion).
Audio Mixer: Dave O'Donnell .
Recording information: Right Track Studios, New York, NY; The Shire Studio, NY.
Photographers: Cynthia Cincotti; Neil Katz; Bruce Weber.
Arrangers: Peter Cincotti; Mark McLean .
As a teenage piano-and-vocal prodigy, Peter Cincotti was, predictably, subject to criticisms of being nothing more than a pale imitation of his influences. On his second full-length album, ON THE MOON, however, the New York City native exhibits the type of quiet confidence that normally takes decades to develop. Unlike many talented youngsters, Cincotti is neither rebel nor revivalist. Rather, he combines a bit of the bluesy New Orleans raunch of his mentor Harry Connick, Jr. with a distinctly Big Apple sophistication that's as much Brill Building as it is Blue Note. The result is something at once fresh and accessible, based in classic forms yet quite contemporary.
Phil Ramone's clean, dry production insures that the focus is always placed squarely on Cincotti's vocals, even on the title track and Gerry Goffin & Carole King's classic "Some Kind of Wonderful," both of which seem aimed directly at the Norah Jones-primed pop market. If the lyrics on Cincotti's originals aren't quite on par with those of Cole Porter and the other masters whose songs he tackles, his piano chops are first rate, as a jaunty and character-filled album-closing romp through "Cherokee" makes abundantly clear.