At 15, Austin Peralta was recording with Ron Carter; at 22 he was dead—leaving behind almost no trace of his greatness. I look back on my dealings with this ill-fated artist.
I only ran across the music of young Austin and - wow - probably the greatest musical talent between Chick Corea and Jacob Collier. To imagine how far he came musically only to pass away at the age of 22. I can only imagine the heights he might have reached. He had the unique combination of virtuoso technical skills with an incredible musical understanding.
Thank you, Ted - for this beautiful reflection on Austin’s amazing but brief time on earth. I spent a lot of time - touring with him in his final years and he was certainly beyond special, regardless of his artistic gifts. He was like a little brother and I miss him everyday.
I went to New School at the same time as Austin, but unfortunately I have no interesting stories to share - I only ran into him occasionally, maybe bumped into him in the hallway between practice rooms and never heard him play (otherwise I would have remembered!). What I do remember is the sense of shock and grief from a few of my classmates who knew Austin after the tragic news. Everyone who knew him knew he was an incredible talent and people said he was a great kid as well.
Wondering if you've heard the absolutely haunting track 'Austin' by Marcin Wasilewski. There's the studio version, and an even better one on the Trio Live album.
On the topic of child prodigies, I know you did say 'jazz child prodigies', but have you checked out any of the many recordings of a young U Srinivas? He had soul and depth and poetry in his playing at a ridiculously young age.
Rama Sreerama is a beautiful recording by U Srinivas. I was blessed to see Mandolin Srinivas with John McLaughlin and Zakir Hussein around 2001 for a Shakti gig in London. He was incredible.
“Austin” is a gorgeous eulogy for Austin Peralta (1990–2012), the Los Angeles pianist and composer who recorded with Ron Carter at age 16 and later worked with Flying Lotus. “He was like my younger brother,” Wasilewski said. “I was so proud of him.”
I tend to think that child prodigies flourish more in fields that are more codified. That's why areas like math and chess are conducive to prodigies. Everything is laid out in a structured manner, allowing step-by-step learning. By the same token, I tend to believe that classical music is better for music prodigies—because it is much more codified and systematized than jazz. It's a curious fact, that in the early days of jazz, when there were no method books or systematic teaching systems, there were very few youngsters who played the music at a high level. I don't think that's coincidence. The transformation of jazz into a tightly structured quasi-academic subject has allowed for youngsters to advance more rapidly—so that there are more jazz prodigies in 2021 than in, say, 1931 or 1951.
My exact feelings about child prodigies as well. But of course, the obvious/enormous (only?) exception to the rule is Tony Williams, who appeared on the scene just before codification of jazz education. It would be very interesting to explore in depth why this was the case (we all have our theories…). A very intriguing biography is waiting to be written…
Ditto on Sun Ra. It seems in theory I would love his stuff but I couldn't connect. But then a fellow music fiend, my 17 year old kid, played a track in the car one day, he's always turning me onto new stuff or something I've somehow missed, and I asked who he was playing and it was Sun Ra. The track was Languidity. It kinda broke my ears open to Sun Ra. I've been taking small bites since from his massive output, and I've been digging most of it. You might give Languidity a shot. I hope it works for you.
Sun Ra is the place to start with Afrofuturist music. You should really try out a few of his albums, to get a sense of his vision. For fun, here's a link to my Afrofuturist image board—which may give you some sense of the aesthetics of this movement. https://www.pinterest.com/tedgioia/afrofuturism/
I have tried many times to listen to Sun Ra. Nothing has grabbed me. African music Angola, South Africa, Congolese Rumba, Soukous, The Gambia, Cameroonian et al is another story.
Sun Ra embodies an enormous swath of the jazz æsthetic, and in navigating over 100 recordings from 1956 to the present (his spirit lives on under the guidance of 90+ year old Marshall Allen…)it's difficult to seize what he's about in just a few recordings. I have to admit that personally, I have trouble with some of his electric piano/synthesizer dominant music of the 1970s, but if one is patient, it's possible to find chefs d'œuvres in all periods of his discography. Perhaps start with his early recordings from the 1950s (although that is normally what I would suggest for someone who has a straight ahead Jazz background.). I hear a strong Tadd Dameron influence but the space component is already present. "Sound of Joy" is highly recommended. "Magic City" from 1964 (65?) is completely different and along with "Free Jazz" by Ornette and "Ascension" by Coltrane is one of the early large ensemble free jazz masterpieces.
Of course, there is no 'direct' reference in Sun Ra's music to the specific African musics that you cited above. Just remember that the 'futurist' part of the label is just as important as "Afro". And as an aside, I'm somewhat disappointed that you didn't include any "Mandingue" music (and specifically that of Mali) in your list of important African musics. Also, if Ted Gioia is listening, I'd be enormously interested in his list of the "10 Most Important Sun Ra Recordings"
I do have some music from Mali in my collection: Oumou Sangaré, Ali Farka Touré, Salif Keita, Issa Bagayogo et al. Africa is a huge continent and the music is diverse beyond description. I have been collecting since the 80's. It's just that LusAfrican music happens to be my favorite followed by South African, Sierra Leone Highlife, Nigerian, Guinean and on and on. Some rhythms grab me more than others. I am not a big fan of mbalax from Senegal though I enjoy some of it. Life is short. One can't like everything.
Other than Mali being my favorite country in Africa for music (Toumani Diabate, Ballaké Sissoko, Bassakou Kouyaté and the great vocalists -O Sangaré and others), I feel that it's also the closest to the African American free jazz æsthetic which I couldn't help noticing when you mentioned your difficulty with Sun Ra's music. Malian music, like any amanating from Africa, is about the groove too, but there is so much more than that in Malian music (In comparison with urban Congolese music for example). I mean, it's not by chance that Julius Hemphill named his tune "Dogon A.D."…
My tastes in jazz are pretty mainstream straight ahead that doesn't stray too far from the blues. I do not enjoy free experimental jazz at all. I don't mind some outside, but for the most part I prefer rhythm and melody. Some Lus-African artists worth checking out Paulo Flores, Carlos Lamartine, Carlos Burity, Tito Paris, Cabo Verde Show, Boy Ge Mendes, Cesaria Evora, Eduardo Paim and many others. Don't get me started on the music from Haiti, French Guiana, Guadeloupe and Martinique!
I only ran across the music of young Austin and - wow - probably the greatest musical talent between Chick Corea and Jacob Collier. To imagine how far he came musically only to pass away at the age of 22. I can only imagine the heights he might have reached. He had the unique combination of virtuoso technical skills with an incredible musical understanding.
Thank you, Ted - for this beautiful reflection on Austin’s amazing but brief time on earth. I spent a lot of time - touring with him in his final years and he was certainly beyond special, regardless of his artistic gifts. He was like a little brother and I miss him everyday.
LD Brown (Grey Reverend)
p.s Jondy forever!!
I saw him playing in São Paulo in September 2012 and it was one of the most insane concerts I've ever seen. He made me start liking jazz. <3
I've learned some interesting things about Austin Peralta since publishing this article. One of the most surprising is his appearance in a documentary on philosopher Martin Heidegger. Check out the linked video at the 38 minute mark— for some hot piano playing and words of wisdom. https://philosophydebate.wordpress.com/2018/08/17/documentary-being-in-the-world/?fbclid=IwAR3RkXm60W1Yf0lMzPhO79d-NU4D_1v5oYFiQPlzeKWm-UckEzEG2BwxQ7s
I went to New School at the same time as Austin, but unfortunately I have no interesting stories to share - I only ran into him occasionally, maybe bumped into him in the hallway between practice rooms and never heard him play (otherwise I would have remembered!). What I do remember is the sense of shock and grief from a few of my classmates who knew Austin after the tragic news. Everyone who knew him knew he was an incredible talent and people said he was a great kid as well.
Thanks for sharing this.
Lovely piece, thanks.
Wondering if you've heard the absolutely haunting track 'Austin' by Marcin Wasilewski. There's the studio version, and an even better one on the Trio Live album.
On the topic of child prodigies, I know you did say 'jazz child prodigies', but have you checked out any of the many recordings of a young U Srinivas? He had soul and depth and poetry in his playing at a ridiculously young age.
Rama Sreerama is a beautiful recording by U Srinivas. I was blessed to see Mandolin Srinivas with John McLaughlin and Zakir Hussein around 2001 for a Shakti gig in London. He was incredible.
The version on the Trio Live album is remarkably lovely and moving. Wow.
I know this track, but always assumed it refers to the city of Austin - are you saying this was in tribute to Austin the musician?
Yup.
“Austin” is a gorgeous eulogy for Austin Peralta (1990–2012), the Los Angeles pianist and composer who recorded with Ron Carter at age 16 and later worked with Flying Lotus. “He was like my younger brother,” Wasilewski said. “I was so proud of him.”
https://downbeat.com/news/detail/marcin-wasilewski-trio-unique-interactions
Thanks, great to know!
I tend to think that child prodigies flourish more in fields that are more codified. That's why areas like math and chess are conducive to prodigies. Everything is laid out in a structured manner, allowing step-by-step learning. By the same token, I tend to believe that classical music is better for music prodigies—because it is much more codified and systematized than jazz. It's a curious fact, that in the early days of jazz, when there were no method books or systematic teaching systems, there were very few youngsters who played the music at a high level. I don't think that's coincidence. The transformation of jazz into a tightly structured quasi-academic subject has allowed for youngsters to advance more rapidly—so that there are more jazz prodigies in 2021 than in, say, 1931 or 1951.
My exact feelings about child prodigies as well. But of course, the obvious/enormous (only?) exception to the rule is Tony Williams, who appeared on the scene just before codification of jazz education. It would be very interesting to explore in depth why this was the case (we all have our theories…). A very intriguing biography is waiting to be written…
Great Piece, thanks!
That was superb. And moving and sad.
What a terrific piece of writing. Bravo.
As a fan of African music, could you please give me some examples (artists and albums) of Afro-futurist music? Thx
Ditto on Sun Ra. It seems in theory I would love his stuff but I couldn't connect. But then a fellow music fiend, my 17 year old kid, played a track in the car one day, he's always turning me onto new stuff or something I've somehow missed, and I asked who he was playing and it was Sun Ra. The track was Languidity. It kinda broke my ears open to Sun Ra. I've been taking small bites since from his massive output, and I've been digging most of it. You might give Languidity a shot. I hope it works for you.
Sun Ra is the place to start with Afrofuturist music. You should really try out a few of his albums, to get a sense of his vision. For fun, here's a link to my Afrofuturist image board—which may give you some sense of the aesthetics of this movement. https://www.pinterest.com/tedgioia/afrofuturism/
Forgot to mention that Parliament-Funkadelic is a favorite too. There's nothing like the funk motherlode.
I have tried many times to listen to Sun Ra. Nothing has grabbed me. African music Angola, South Africa, Congolese Rumba, Soukous, The Gambia, Cameroonian et al is another story.
Sun Ra embodies an enormous swath of the jazz æsthetic, and in navigating over 100 recordings from 1956 to the present (his spirit lives on under the guidance of 90+ year old Marshall Allen…)it's difficult to seize what he's about in just a few recordings. I have to admit that personally, I have trouble with some of his electric piano/synthesizer dominant music of the 1970s, but if one is patient, it's possible to find chefs d'œuvres in all periods of his discography. Perhaps start with his early recordings from the 1950s (although that is normally what I would suggest for someone who has a straight ahead Jazz background.). I hear a strong Tadd Dameron influence but the space component is already present. "Sound of Joy" is highly recommended. "Magic City" from 1964 (65?) is completely different and along with "Free Jazz" by Ornette and "Ascension" by Coltrane is one of the early large ensemble free jazz masterpieces.
Of course, there is no 'direct' reference in Sun Ra's music to the specific African musics that you cited above. Just remember that the 'futurist' part of the label is just as important as "Afro". And as an aside, I'm somewhat disappointed that you didn't include any "Mandingue" music (and specifically that of Mali) in your list of important African musics. Also, if Ted Gioia is listening, I'd be enormously interested in his list of the "10 Most Important Sun Ra Recordings"
I do have some music from Mali in my collection: Oumou Sangaré, Ali Farka Touré, Salif Keita, Issa Bagayogo et al. Africa is a huge continent and the music is diverse beyond description. I have been collecting since the 80's. It's just that LusAfrican music happens to be my favorite followed by South African, Sierra Leone Highlife, Nigerian, Guinean and on and on. Some rhythms grab me more than others. I am not a big fan of mbalax from Senegal though I enjoy some of it. Life is short. One can't like everything.
Other than Mali being my favorite country in Africa for music (Toumani Diabate, Ballaké Sissoko, Bassakou Kouyaté and the great vocalists -O Sangaré and others), I feel that it's also the closest to the African American free jazz æsthetic which I couldn't help noticing when you mentioned your difficulty with Sun Ra's music. Malian music, like any amanating from Africa, is about the groove too, but there is so much more than that in Malian music (In comparison with urban Congolese music for example). I mean, it's not by chance that Julius Hemphill named his tune "Dogon A.D."…
My tastes in jazz are pretty mainstream straight ahead that doesn't stray too far from the blues. I do not enjoy free experimental jazz at all. I don't mind some outside, but for the most part I prefer rhythm and melody. Some Lus-African artists worth checking out Paulo Flores, Carlos Lamartine, Carlos Burity, Tito Paris, Cabo Verde Show, Boy Ge Mendes, Cesaria Evora, Eduardo Paim and many others. Don't get me started on the music from Haiti, French Guiana, Guadeloupe and Martinique!
Thanks