Pianist Peter Martin has taken an innovative approach to his latest project. He recorded the album live with his band, saxophonist Sarah Hanahan, bassist Reuben Rogers and drummer Gregory Hutchinson, in a studio in St. Louis, and the album was live-streamed across the world to an international audience of jazz lovers. Though I didn’t see the stream, there is no doubt upon listening to the album that Martin has successfully merged the authenticity of live jazz with the accessibility provided by modern technology.

The recording is pristine, as it should be for a studio recording, but it also has the vibrant immediacy of a live show. At several points, during particularly compelling solos, you can hear shouts of encouragement from the accompanying band members.

Martin is, of course, no stranger to New Orleans. He has performed numerous times in the city and taught at local institutions. Rogers and Hutchinson are highly respected, talented players who form a formidable rhythm section. Hanahan is the wild card—a relatively new face on the scene—and a player I had never even heard of before.

She plays alto sax and was recently named one of NPR Jazz Night in America’s 30 under 30 Youngbloods. In this setting, she shines as a soloist with dexterous control of her instrument and a stunning ability to both roar and whisper. Though everyone solos, Hanahan essentially steals the show from her veteran accompanists. Keep an eye out; she is clearly a killer musician.

Martin leads the band with his characteristic understated aplomb. He allows ample space for each instrument to speak, while at the same time charging ahead on each of the eight originals on the album.

The end result is a highly original document of a specific time and place. The four musicians cohere as an ensemble and demonstrate Martin’s fully mature compositions fleshed out by players highly attuned to each other. The “S” stands for “swing.”
—Jay Mazza

Peter Martin, who folks in New Orleans remember as heavy on the jazz scene and as an educator at Tulane University, the University of New Orleans (UNO), and the New Orleans Center for the Creative Arts (NOCCA), returned to his hometown of St. Louis, Missouri and furthered his profile as a nationally-renowned pianist and composer. Considering his latest release, the vibrant, self-titled Peter Martin + Generation S, it’s no wonder that he’s hailed for his myriad of accomplishments.

The album, recorded live at Open Studio, of which he was a founder, takes flight on the soaring “Generation S.” Somehow Martin’s piano achieves a sound of profound wisdom as he and longtime jazz soulmates—drummer Gregory Hutchinson and bassist Reuban Rogers—engage in, well, the fun of celebrating the music. Bam, goes Hutchinson’s drums on the tune—written by Martin, as are all of the selections—as one appreciates the group’s return to the memorable melody. Like a good joke, it’s worth retelling. Say, yeah, after this one.

Hats off to saxophonist Sarah Hanahan, a rising star, for her outstanding ability to not only keep up with these veteran compadres but to enhance the energy. She struts her stuff on the rhythmically staggered “Groove Echo Chamber,” another thriller that’s all push, humor and and let’s go. The dynamics between Martin and drummer Hutchinson again just kill and Hanahan gets her two cents in there too.

The “S” in the band’s name stands for swing and the group does just that on the toe-tapping, “That’s What’s Up,” on which bassist Rogers, whose instrument’s round sound is just perfection, gets the toe-tapping started. He takes center stage in this tune, at once stating and expounding on a classic approach.

Peter Martin & Generation S is a release of great appeal, and certainly benefits from the duality of being obviously recorded live: we hear the drummer counting off the start of “Alfred T”—and although it’s a studio session, it has excellent sound. Thoughtfully-considered programming—full out, sentimental ballads—make it complete.
—Geraldine Wyckoff