An outstanding veteran pianist from Spain, Tete Montoliu was born blind. He learned to read music in Braille when he was seven and developed impressive technique on piano. He recorded with Lionel Hampton in 1956, had his first session as a leader in 1958, and played with the touring Roland Kirk in 1963. Through the years, he also worked with such visiting Americans as Kenny Dorham, Dexter Gordon, Ben Webster, Lucky Thompson, and even Anthony Braxton. Tete Montoliu's visits to the U.S. were very infrequent, but his SteepleChase albums (starting in 1971) are generally available; he also cut one date for Contemporary (1979) and recorded for Enja and Soul Note.
This aptly named set was recorded on November 28, 1972, in Barcelona, Spain. Although many of Ben Webster's European sessions suffered when compared to his American ones, this outing is one of the exceptions, due in no small part to the fluid piano work of Tete Montoliu. Supported by a rhythm section of Eric Peter on bass and Peer Wyboris on drums, both Webster and Montoliu have plenty of room to breathe, and the result is a wonderful and pleasant set highlighted by the opening track, "Ben's Blues," and an easy, elegant version of "Sweet Georgia Brown." Webster's trademark breathy tenor sax tone is in full supply here, but the real revelation is Montoliu, who proves to be a marvelous jazz pianist, making Gentle Ben somewhat of an overlooked gem.
Mestre i deixeble s’uneixen per signar una peça única en la discografia jazzística catalana. Tete Montoliu al piano elèctric i Jordi Sabatés a l’acústic culminen un treball intens i controvertit alhora. El disc Vampyria, enregistrat el juliol de 1974, va ser escollit per la revista Jaç núm. 25 ( "Els 100 millors discos del jazz català" ) com el treball que encapçalava una llista valorativa de 100 referències del jazz dels Països Catalans. Vampyria és el resultat de combinar tradició i transgressió amb uns signes d’identitat pròpia absolutament irrefutables.
Reissue with the latest remastering. Features original cover artwork. A set of folk songs, but handled in a way that isn't folksy at all – thanks to the lyrical genius of Spanish pianist Tete Montoliu! The music here has sources in older tunes from Catalonia – as you'd guess from the title – but Tete's handling of the material is all jazz, all the way through – with a rich amount of solo introspection that really moves the tunes past their simple melodies, in ways that are even more expansive than some of the Scandinavian 60s experiments with folk and jazz! The album's also perhaps one of Montoliu's best-remembered of the 70s – a date that circulated strongly, thanks to Tete's incomparable solo performance throughout – very expressive, but never overdone.
Tete Montoliu's fourth CD for Steeplechase is primarily a fun-filled trio date with bassist Niels-Henning Ørsted Pedersen and drummer Albert "Tootie" Heath, frequent collaborators with the blind pianist.
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. Pianist Tete Montoliu gets some Cedar Walton backing here – in a trio with Sam Jones on bass and Billy Higgins on drums – both musicians who really make the record stand out from the pack! Tete himself is at the peak of his powers – able to play with this commanding sense of majesty from the very first note – but with a style that also has plenty of room for more lyrical flourishes, too – although often with these soulful strides that we don't seem to hear that well in other trio sessions of this vintage! We're not going to credit Jones and Higgins with bringing this on – but heck, they sound wonderful here, and really make the whole thing crackle with warm imagination throughout. Titles include "Four", "Stella By Starlight", "Secret Love", and "Confirmation".
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. A stunning setting for this wonderful tenorist – a record that has the great George Coleman blowing with only the piano of Tete Montoliu for accompaniment – with really wonderful results! George has all that full, deep tone we know from his bigger group recordings – and it really seems to set the record on fire from the start, and bring out these bold rhythmic lines from Montoliu, who plays with a blocky sense of power that reminds us of his sublime late 60s album for MPS!
Reissue with the latest remastering. Features original cover artwork. Comes with a descripton in Japanese. That's yellow dolphin street, not "Green Dolphin Street" – a very special place where Tete Montoliu unfurls a beautiful selection of solo piano numbers! Tete's really at the height of his powers here – and spins out wonderfully without any bass or drums, yet with all the complex, fluid feel that you might expect from a trio. The range of tonal colors is wonderful – and always delivered with a rhythmic impulse, even when Montoliu is flying free – on titles that include "Yellow Dolphin Street", "Napoleon", "Where Are You", "Waltz For Nicolien", and "I Hate You".
Reedición del álbum “Per sempre, Tete” grabado en la Jazz Cava de Terrassa el 6 de Marzo de 1997, durante el concierto celebrado dentro del XVI Festival internacional de Jazz de Terrassa con el genio barcelonés Tete Montoliu al piano, Horacio Fumero al contrabajo y Peer Wyboris a la batería. Interpretan dos suites, la primera en memoria de Thelonius Monk bautizada como ‘Monkiana’ y la segunda ‘Pensando en Coltrane’. Presentado en formato de digipack cuadrado desplegable, a modo de mini replica de vinilo, incluyendo un libreto de 12 páginas con textos en español e inglés.
The blind Catalonian pianist Tete Montoliu is in great form on this 1977 session recorded in Spain, accompanied by bassist Eric Peter and drummer Peer Wyboris. He shows off his tremendous chops in a roller coaster treatment of the bittersweet ballad "You've Changed," then switches to a jaunty mood for a brisk treatment of "It Could Happen to You." Wyboris kicks off the thunderous take of Jimmy Heath's "Jimmy's Tempo," a passionate hard bop vehicle. But the primary focus of this CD consists of four original blues penned by the pianist. It seems likely that at least some of them were improvised on the date, though "Blues for Coltrane" seems to draw inspiration from the late tenor saxophonist's rapid-fire live solos that left little open space. "Blues for Myself," the centerpiece of the release, seems closely related to "You've Changed," though the chord progressions do vary. Released by the Spanish label Ensayo, this disc is worth acquiring.