Music of Elmo Hope and Gigi Gryce - Noal Cohen's Jazz History Website

I’d like to bring to your attention a new digital album that combines the music of two musicians from the 1950s that are of great interest to me and I hope to you also: pianist Elmo Hope (1923-1967) and saxophonist Gigi Gryce (1925-1983). Both were important instrumentalists and also fine composers. Their music remains worthy of further exploration and this album, featuring three young players from Buenos Aires, Argentina, is a good example of why that is.

Tomás Martínez is a jazz saxophonist known for his vibrant bebop style and personal voice. He has studied with jazz legends including Charles McPherson, Bob Mover, Grant Stewart and Chris Byars and has sat in with artists like George Coleman and Bruce Harris. He’s played in international jazz festivals in Buenos Aires as well as clubs in Argentina, Mexico, Paris and the Netherlands. He did his undergraduate studies at Conservatorio Superior Manuel de Falla (BA) and then was awarded a scholarship to attend the Tribeca Jazz Institute (NYC) were he was mentored by Pasquale Grasso, Harry Allen, David Wong, and others. Rooted in the rich tradition of jazz, Tomás continues to seek out his own unique sound while honoring the legacy of the music’s greatest masters.

Teo Pérez is a drummer who graduated (jazz drums major) from the Manuel de Falla Conservatory where he took lessons with Eloy Michelini and Sergio Verdinelli. He traveled to New York where he took private drum lessons with Kenny Washington, Keith Balla, Carl Allen, Pete Van Nostrand, Phil Stewart, Ari Hoenig, Victor Lewis and Charles Goold. He also took ensemble classes with Grant Stewart, David Wong, Michael Weiss, Ari Roland, Harry Allen, Willie Jones III, Chris Byars, Lucy Yeghizarian, Pasquale Grasso, Bruce Harris, Greg Ruggiero, Eric Alexander, Vincent Herring, Tardo Hammer, David Hazeltine, among others. Currently, Teo lives and works in Buenos Aires, occasionally traveling to New York City to continue his training in jazz.

Federico Avaca is an Argentine double bass player and composer. He began his musical journey in high school, playing clarinet in a youth orchestra, then furthered his studies at the School of Contemporary Music, where he took up jazz bass. During this period, he started his professional career as a member of Latin Konection, a band composed of musicians from El Salvador, Colombia, and Peru. He also traveled to Barranquilla, Colombia, with the band’s drummer to teach at Universidad del Norte. After participating in numerous jam sessions in Argentina and pursuing private studies, he enrolled at Manuel de Falla. Federico has composed two albums, “Orden Caotico” and “Kansha,” and has led both a septet and a quartet. In addition to performing at jazz clubs like Prez and Thelonious, Federico has also played in other Argentine provinces, including La Pampa, Cordoba, Misiones, and Jujuy.

Despite the absence of a chord instrument, this talented trio makes the most of the alto sax-bass-drums instrumentation incorporating introductions and shout choruses to set off the fine solos. The album is far more than a jam session.

Three pieces from the pen of each composer form the subject matter here beginning with Gryce’s most well-known and frequently recorded composition, “Minority.” This seemingly simple 16-bar tune was first recorded in 1953 and over the years has become one of those challenges that aspiring players have to master in order to be taken seriously. Martinez certainly has done his homework offering 6 choruses of a fluent and well-constructed solo at a brisk tempo.

Vogue L.D. 175 (10 in. LP); First recording of “Minority” – Paris, 8 October 1953

Dating back to a recording in 1956 by trumpeter Art Farmer, Gryce’s haunting ballad “Reminiscing” is given a moving interpretation with arco bass underscoring the lovely melody. The final Gryce contribution is “Nica’s Tempo,” the composer’s tribute to the baroness Pannonica De Koenigswarter (Nica), a patron of the arts and close friend and supporter of many jazz musicians of the 1950s. This is one of Gryce’s most interesting pieces having an unusual 44-bar form and its first recording took place in 1955 by a quartet led by the composer with the legendary Thelonious Monk on piano. Seventy years later, the Argentine trio’s version features Martinez and drummer Pérez.

Art Farmer Quintet: Farmer’s Market, New Jazz NJLP 8203 (12 in. LP); first instrumental recording of “Reminiscing” – Hackensack, NJ, 23 November 1956

Gigi Gryce Quartet, Signal S 1201 (12 in. LP); first recording of Nica’s Tempo; Hackensack, NJ, 15 October 1955

All three of the Elmo Hope compositions included in this album debuted in 1953 on two sessions recorded for the Blue Note label. From the June 9 quintet session led by trumpeter Clifford Brown and alto saxophonist Lou Donaldson come both “Carving the Rock” (co-composed by Hope and saxophonist Sonny Rollins) and “De-Dah” while the fast-paced “Mo Is On” was first heard on the Hope trio session of June 18.

Lou Donaldson-Clifford Brown Quintet: New Faces New Sounds, Blue Note 5030 (10 in. LP); first recordings of “De-Dah” and “Carving the Rock,” New York City, 9 June 1953

Elmo Hope Trio: New Faces New Sounds, Blue Note 5029 (10 in. LP); first recording of “Mo Is On,” New York City, 18 June 1953

Martinez is the only soloist on “Carving the Rock,’ deftly navigating the unusual 36-bar structure for two choruses. Pérez introduces “De-Dah” followed by Martinez who also engages in 4-bar trades with the drummer. Pérez has a more extensive outing on “Mo Is On” along with a swiftly walking chorus by Avaca.

This album is highly recommended and I strongly suspect we will be hearing more from these talented players. The music on it is unique, under-appreciated and it is a pleasure to enjoy these compositions again. I am impressed with the maturity and historical awareness the three band members demonstrate. It is available on Spotify, Apple Music, Amazon, iHeart, Pandora and YouTube Music.

Discographical Details:

Recording Date: December 2024
Location: Estudio Kier, Buenos Aires, Argentina
Label: [private recording]
Argentine Trio Tribute to Gigi Gryce and Elmo Hope

Federico Avaca, Tomás Martinez, Teo Pérez (ldr), Tomás Martinez (as), Federico Avaca (b), Teo Pérez (d)

Minority (Gigi Gryce) – 4:20
Carving the Rock (Elmo Hope, Sonny Rollins) – 3:02
De-Dah (Kevin) (Elmo Hope) – 3:42
Reminiscing (Gigi Gryce) – 5:29
Mo Is On (Elmo Hope) – 4:20
Nica’s Tempo (Gigi Gryce) – 3:48

All titles on: [private recording] Digital Files: UPC 8447352476350 — The Music of Elmo Hope & Gigi Gryce (2025)

Solos:
1 – Tomás Martinez (as) 4-bar break + 96 bars (6 choruses); Teo Pérez (d) 32 bars (2 choruses) call and response breaks; Tomás Martinez (as) coda to fadeout
2 – Tomás Martinez (as) 72 bars (2 choruses)
3 – Teo Pérez (d) 8-bar intro; Tomás Martinez (as) 64 bars (2 choruses); Tomás Martinez (as) 32 bars (1 chorus) 4-bar exchanges with Pérez
4 – Tomás Martinez (as) 16 bars
5 – Tomás Martinez (as) 8 bars bridge; Tomás Martinez (as) 96 bars (3 choruses); Teo Pérez (d) 64 bars (2 choruses); Federico Avaca (b) 32 bars (1 chorus) walking; Tomás Martinez (as) 8 bars bridge; Tomás Martinez (as) cadenza
6 – Tomás Martinez (as) 88 bars (2 choruses); Teo Pérez (d) 44 bars (1 chorus) call and response breaks