A Tribute to Petrucciani’s Triumphant Spirit

Anyone who ever saw Michel Petrucciani perform is unlikely to forget the experience. Barely 3 feet tall, his body distorted by the Osteogenesis imperfecta (glass bone disease) he was afflicted with at birth, he was by any standard an implausible jazz musician.

But anyone who ever saw the French-born Petrucciani is also likely to recall how quickly the inevitable fascination with his appearance was set aside as soon as he began to play the piano. Yes, it was remarkable to see the large, powerful hands on his small arms executing passages bursting with strength and energy. And, yes, it was hard to overlook the manner in which he was carried on to the stage by an associate, or the extensions he was obliged to use to reach the foot pedals.

When the music began to flow, however, when he set up an instantaneous groove in a rendering of Miles Davis’ “So What” or romped through the blues on “Billie’s Bounce,” Petrucciani’s true reality became clear. Performers often speak of themselves as conduits, as vehicles for the transmission of artistic--even spiritual--impulses that pass through them. In Petrucciani’s case, the concept made perfect sense, as gorgeous, touching, hard-swinging music flowed through the fingers of his small and twisted body.

But it would be unfair and inaccurate to think of him solely as a creative channel. Petrucciani was a thoughtful, intelligent, intensely involved musician, as well--one who worked hard at his craft and respected the connections he made with his listeners.

A few years ago, an audience gathered at Catalina Bar & Grill for one of his occasional Los Angeles bookings. When his flight was delayed, the crowd didn’t budge, waiting patiently while pianist Mike Garson--in the room as a listener--filled in as a spontaneous substitute. And when Petrucciani finally arrived, he made a few jokes at his own expense, thanked his audience and rewarded them for their long wait with a set of white-hot improvisations.

When Petrucciani died last week, a few days after he turned 36, many jazz fans were surprised that he lasted as long as he did, given his physical fragility. But there was never anything frail about Petrucciani’s music, and the many recordings that survive will clearly identify him as a giant of contemporary jazz.

Definitely Pat: Is it jazz, or rock or pop? Maybe all three. Guitarist Pat Metheny has accomplished what no one has ever done before: received nominations in three separate divisions for the 1999 Grammy Awards.

“Imaginary Day,” his debut album for Warner Bros., has been named in the pop, rock and contemporary jazz genres, the first time any artist has done so in the same year, via selections from the same recording. The album was nominated in the best contemporary jazz performance category; the tune “Follow Me” was nominated for best pop instrumental performance; and another tune, “The Roots of Coincidence,” was named in the best rock instrumental performance category. Winners will be announced Feb. 24.

“It seems like we’ve managed to confuse the jazz world for the last 20 years,” Metheny said after receiving news of the nominations, “and now we’re working on the rest of the population.

“In the case of this particular record, we’re kind of excited about what’s happened, because one of the ideals of our band right from the get-go has been to illuminate

the full range of the musical philosophies that we believe in.”

But Metheny recognizes that albums with a full range of musical philosophies don’t usually obtain the kind of acknowledgment he’s just received.

“It’s true,” he said, “and that’s sort of been a problem for the album. It’s like people say, ‘What is it?’ And in a way, receiving the nominations in these different categories illustrates that problem.”

Then, with a hearty chuckle, he added, “But it’s also kind of cool, as well.”

Cyberspace Down Beat: Down Beat has been considered the periodical of record for most jazz musicians almost since it came into existence in 1934, and a planned move onto the World Wide Web in February will extend its reach considerably beyond the current circulation of 300,000.

The magazine’s Web site (https://www.downbeatjazz.com) is being constructed in a joint venture with JAMTV Corp., which describes itself as the Web’s leading music network. It will join Rolling Stone Network, TheSource.com and Tunes.com as part of JAMTV’s music hub.

Under the multiyear partnership, the site will include updated music news, columns, feature stories, record reviews, artist bios and photos. There will also be interactive chat rooms, message boards, concert/tour updates, and opportunities to purchase CDs, merchandise and concert tickets.

Jazz Ed: The Los Angeles Jazz Society will be celebrating Black History Month in February with an extensive series of jazz appreciation concerts in 30 area elementary schools--a program that has continued for more than 10 years. Two groups will be featured, led by Washington Rucker and Ernie Fields Jr., performing a program specially developed to retain the attention of young children. Scheduling information for the programs, which range across the city and into the San Fernando Valley, can be obtained from the Jazz Society at (213) 469-6800 or (818) 347-3046.