By popular demand, dozens of his earlier vinyl recordings have been re-issued on CD all available on iTunes and Amazon. Hailed as one of the premier interpreters of Gershwin, Mr. Among Mr. Nero with its prestigious Lincoln Award as part of its Lincoln Birthday anniversary celebration. The Award is given to persons of distinction who, through their actions, have significantly contributed to the United States of America.
Peter Nero is an active supporter of many important causes, including the funding of school music programs, fundraising for the building of new arts centers across the country, as well as research for cancer, dystonia, and autism. When not touring the world, Peter Nero makes his home in the Philadelphia area. Peter Goes Pop. Disco, Dance and Love Themes of the 70's. Plays Songs You Won't Forget. I've Gotta Be Me. Stylings By Nero. The Keys of Cool. New York City Jazz. Stage and Screen. Gary Williams.
Joe Pass: Deep Dive! But he went one step further and bookended his mash-up with a bit of Maurice Ravel. Barnett was playing an electric double bass, which almost seems like an oxymoron, but the tone of his instrument was very deep and wooden, and not at all metallic like normal electric basses produce.
The Hylton Performing Arts Center is a gorgeous new concert hall that is beautifully designed and has very crisp acoustics. On Saturday night for a brief moment I felt like I was back as my 11 year-old self at the Academy of Music, but only this time it was Peter Nero who left me mesmerized. For future events, visit their calendar of upcoming events.
Original Article. Lawrence, Inc. The mission of the Foundation is to provide dollars towards delivering quality healthcare for uninsured patients and indigent residents at St.
Lawrence Rehabilitation Center and Morris Hall. It also provides medical equipment for patients and residents that is not reimbursed by healthcare insurance. The Foundation promotes safety education and injury prevention programs in the community for children and caretakers. It is entirely possible that somewhere, somehow, there is a jazz joint Peter Nero never played, a TV show or variety hour on which he did not banter, a belter or hoofer with whom he never shared the stage, or a pops orchestra he failed to lead.
On that feat, some perspective: In the same 34 years, the Philadelphia Orchestra changed conductors six times — and it has had only nine leaders in its history. But not for much longer. He was recently picked up by CAMI, the powerful booking agency, which has put in place a crowded roster of dates across the country for the pianist and conductor, who, at nearly 79, is still working like a kid who very much needs to prove his worth.
Did Philadelphia take him for granted, or did it return his loyalty in kind? Some of each, to be sure. To see tears in the eyes of listeners grateful to reconnect with the soundtrack of their youth, to sense the bloom of patriotism he could stir in a room of 2, — or on a grassy lawn of 10, — well, for many performers that would be career satisfaction enough. But Nero, the man as well as the artist, is restless. Pugnacious, garrulous, hard to manage, and demanding, too. Can a jazz pianist do that?
More doubtful than whether Nero was fully appreciated here is the question of whether he has had handlers who knew how to fully exploit his enormous and sometimes unwieldy talent.
Nero has never projected a lack of confidence or ego. Nero was a canny careerist, both in terms of recognizing people who could be helpful to him, and, more interesting, by quickly jumping aboard cultural change.
Particularly smart was his switch from cocktail lounge to concert stage — just as the pops format nationally was transforming from light classics to time machine. At about the same time, he toured with the New York Philharmonic. Few violated the boldly drawn borders of the music world the way he did, as anyone who attended early Philly Pops concerts could attest. Critics sometimes winced. Audiences adored him for it. With RCA Victor and Columbia, Nero recorded dozens of albums — most often featuring him with a doe-eyed brunette at his shoulder, or sometimes more.
There seemed hardly a cause, cultural movement, or celebration to which Nero was unwilling to apply his talents. He wrote a brass fanfare for the Constitution bicentennial. Rather, it came from a sense that all shades of musical fashion could be donned simultaneously without fear of clashing patterns and colors. On the surface, anyone could have followed the same template. But Nero alone has the qualities to hear the full potential.
Was it art? Now the verdict of music history seems to be coming down on his side. Music is music, labels not so useful after all. Read more.
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