Leslie Pinkchik: True North

Pintch Hard Records
By Ric Bang
Buy CD: True North

This is the third album I’ve reviewed by this talented pianist, and she just gets better and better.

Pintchik was a teaching assistant in English literature at Columbia University — where she received a master’s degree in philosophy — before she discovered that her future lay in the field of jazz, as a pianist and composer. “Discovering” her took longer because, as with many musicians, she performs mostly in the area where she grew up and resides. Her territory is in and around New York and New Jersey.

She initially performed in trios and quartets; as time passed, she added instrumentalists. This album features a sextet; she’s joined by Steve Wilson on soprano and also sax; Ron Horton on trumpet and flugelhorn; Scott Hardy on bass; Michael Sarin on drums; and Satoshi Takeishi on additional percussion.

Pintchik composed six of the 10 charts; the remaining tracks are arrangements of John Lennon’s “Imagine,” Hollander and Lerner’s “Falling in Love Again,” Mancini and Mercer’s “Charade,” and a live performance of Coots and Lewis’ “For All We Know.”

Most of the arrangements are soft, swinging tempos, with rhythmic lines that include waltz, samba, bossa nova, straight-four and even R&B feelings. The exception — and my favorite track — is “Crooked as a Dog’s Hind Leg,” which is a tricky, bluesy, up-tempo tune that changes chords for each soloist. It’s guaranteed to get your fingers snapping and toes tapping.

All the musicians are superb. Pintchik’s piano is tasty, thoughtful, reserved but joyful; as I’ve mentioned previously, she’s on a level with Bill Evans. Wilson and Horton are inventive; they play off each other — and Pintchik — wonderfully. Hardy, Sarin and Takeishi not only provide a solid background, but nicely enhance the interactions among the other instrumentalists.

They’re a first-class jazz group, and this is a first-class album.

Leslie Pintchik: In the Nature of Things

Pinch Hard Music
By Ric Bang
Buy CD: In the Nature of Things

I was introduced to this performer while reviewing an earlier album — We’re Here to Listen — about three years ago. She was good then, and she’s better now. 

Pintchik began as a literature teacher at Columbia University, then became a jazz pianist and composer; I described her style at that time as “genteel jazz.” Well, she’s less genteel now, and swings a lot more.

This album features a sextet: Pintchik is backed by an alto and soprano saxophonist, trumpet/flugelhornist, bassist, drummer and another percussionist. Eight of the nine tracks are her own; the only standard is Lerner & Lowe’s “I’ve Grown Accustomed to Her Face.” That tune is done as a ballad, as are many of her originals; the remaining up-tempo swingers demonstrate how far she has moved into a style that truly burns. She has left the Marion McPartland approach behind, currently resides Bill Carrothers’ neighborhood, and is approaching early Bill Evans. 

Pintchik has a delicate touch on the keyboard, a characteristic that’s particularly effective on the tempos she seems to favor. She also has a style that intermixes single-note melodic lines with chords played with both hands, following the same lines she initially established with that expressive right hand. It’s a technique that forces a listener’s attention; you always want to hear what she’s going to play next.

Her previous albums have utilized smaller groups (trios and quartets). She has increased the instrumentation to include reed and brass horns on this release; that expands the complexity of her compositions and arrangements, which I find quite pleasing. 

So far, she limits her performances to New York City and closely surrounding areas. Tell you what: I promise to go back to school, for a remedial course in English literature, if she’ll broaden her arena to include some venues on the West Coast!

Leslie Pintchik: We're Here to Listen

Pintch Hard Records
By Ric Bang
Buy CD: We're Here to Listen

Not many musicians started out as lit teachers at New York’s Columbia University, then decided to become jazz pianists and composers. Well, Pintchik did just that. She has become well known in and around that city, playing with a trio or quartet. Her usual format is piano/bass/drums, sometimes another percussionist. The latter combination is featured on this, her third release.

Six of these 10 tracks are her own compositions; the rest are covers. Her style is “genteel jazz”; she isn’t a hard swinger, but the music is quite appealing. She reminds me of Marion McPartland, or Vince Guaraldi in his later years – during his “Peanuts phase” – but she doesn’t have his touch. Pintchik tends to elongate notes, by keeping the piano keys depressed a bit longer, or by use of the foot pedal; that produces a “broader” sound, but it’s harder to groove with that technique.

Her sidemen are excellent. Bassist Scott Hardy is particularly noteworthy; he keeps a moving beat, and his solo work is exceptional.

This group doesn’t have any trouble finding jobs at up-scale lounges and clubs around New York City. I just wish she’d tour occasionally, so the rest of the world could be exposed to her music.