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Take Five With Bob Albanese
Bob Albanese was born in Newark, N.J. in 1957. Growing up and the Jersey shore, he began practicing the piano at age 8. At age 15, he won top honors in the Garden State Talent Expo which culminated in a solo performance at the Garden State Arts Center in Holmdel, N.J. This was the beginning of his professional career. Graduating Neptune High School (Neptune, N.J.) he moved to Boston where he studied at Berklee college of Music for approximately 3 years, while playing in various bands employed in the greater Boston area. From there his career has taken many turns; from Cape May, N.J. where he played steady solo gigs, to a brief stop in Atlantic and a final move New York City where he has been based since 1981. He performed as alternating Latin and jazz house pianist at the Rainbow Room for a number of years with bandleader Mauricio Smith. His musical sojourns have taken him all over the world. Having played with artists ranging from 
Buddy Rich
drums1917 - 1987
Anita O'Day
vocals1919 - 2006
Warne Marsh
saxophone, tenor1927 - 1987
Ben Vereen
vocalsb.1946
Freddie Hubbard
trumpet1938 - 2008
He has recorded with many artist as a sideman. His debut recording as leader is called One Way/Detour, recorded in January of 2008 and distributed worldwide by the Zoho music label, featuring Tom Kennedy on bass and Willard Dyson on drums with special guest artist, legendary multi-instrumentalist Ira Sullivan.
Instrument(s):
Piano, Hammond organ, synthesizer, melodian.
Teachers and/or influences?
Teachers include:
Morris Nanton, 
Harold Danko
piano
b.1947
Dennis Sandole
b.1913
Herb Pomeroy
trumpet
1930 - 2007
Michael Gibbs
trombone
b.1937Warne Marsh
saxophone, tenor
1927 - 1987
Garry Dial
piano
b.1954
Kenny Barron
piano
b.1943
Clare Fischer
piano
1928 - 2012
Influences:
Louis Armstrong
trumpet and vocals
1901 - 1971
The Beatles
band / ensemble / orchestra
Burt Bacharach
composer / conductor
1928 - 2023
Jimmy Smith
organ, Hammond B3
1925 - 2005
Poncho Sanchez
bongos
b.1951
Alan Broadbent
piano
b.1947
Claus Ogerman
composer / conductor
1930 - 2016
Michel Legrand
piano
1932 - 2019
Marian McPartland
piano
1918 - 2013Jack Six
b.1930
Ronnie Mathews
piano
1935 - 2008Kenny Barron
piano
b.1943
Hank Jones
piano
1918 - 2010Harold Danko
piano
b.1947
Bill Evans
piano
1929 - 1980
Stevie Wonder
vocals
b.1950
Charlie Parker
saxophone, alto
1920 - 1955
Dizzy Gillespie
trumpet
1917 - 1993Clare Fischer
piano
1928 - 2012
Thelonious Monk
piano
1917 - 1982
Bud Powell
piano
1924 - 1966Noro Morales
composer / conductor
b.1911
Vince Guaraldi
piano
1928 - 1976
Miles Davis
trumpet
1926 - 1991
Dexter Gordon
saxophone, tenor
1923 - 1990
Eddie Palmieri
piano
1936 - 2025Freddie Hubbard
trumpet
1938 - 2008
Bob Mintzer
saxophone
b.1953
Michael Brecker
saxophone, tenor
1949 - 2007
Don Grolnick
piano
1947 - 1996
Herbie Hancock
piano
b.1940
Chick Corea
piano
1941 - 2021
Keith Jarrett
piano
b.1945
Oscar Peterson
piano
1925 - 2007
Art Tatum
piano
1909 - 1956Zimbo Trio
band / ensemble / orchestra
Jimmy Durante
piano
1893 - 1980
I knew I wanted to be a musician when...
As far back as I can remember.
Your sound and approach to music:
I play what I hear. The music I love is reflected in what I improvise within the context of the jazz tradition. I am always absorbing and seeking further understanding of music, as per the respected traditions, but I am a non-traditionalist in my playing and composing for the most part. However, I believe that the styles of Bill Evans, Clare Fischer, Chick Corea, Keith Jarrett and Herbie Hancock (to note strongest influences) are evident in my musical approach.
Your teaching approach:
I try my best to allow the students individuality to blossom. I offer theoretical information (the perennial language of music) as it pertains to their individual needs. I demonstrate the applications of this information in spontaneous improvisations as well as myriad Jazz and Classical references. I write etudes for students when I feel it will benefit and help to advance their goals. I use technology, i.e. music notation programs (Sibelius), via the Internet, file transfer, video conference, YouTube et al.
Your dream band:
My dream band would include my present most versatile trio with 
Tom Kennedy
bass, electric
b.1960
Ira Sullivan
multi-instrumentalist
1931 - 2020
Adam Niewood
saxophone
b.1977
Claudio Roditi
trumpet
1946 - 2020
Frank Wess
saxophone, tenor
1922 - 2013
Lew Tabackin
saxophone, tenor
b.1940
Randy Brecker
trumpet
b.1945Bob Mintzer
saxophone
b.1953
Wayne Shorter
saxophone
1933 - 2023
Steve Slagle
saxophone, alto
b.1951
Bob Mover
saxophone
b.1952
Bob Malach
saxophone, tenor
Dick Oatts
saxophone, alto
b.1953
Kathy Salem
b.1956
Roy Hargrove
trumpet
1969 - 2018
Joe Lovano
drums
b.1952
Tim Hagans
trumpet
b.1954
Paul Meyers
guitar
Esperanza Spalding
bass
b.1984
Gretchen Parlato
vocals
Joe Locke
vibraphone
b.1959
Joe Magnarelli
trumpet
b.1960
Tom Waits
piano and vocals
b.1949
Other favorite bass players:
John Benitez
bass
Ugonna Okegwo
bassRatzo B. Harris
bass
b.1955
Victor Lewis
drums
b.1950
Steve Davis
trombone
b.1967
Joe Ascione
drums
1961 - 2016
Steve Williams
drums
b.1956
Henry Cole
drums
Obed Calvaire
drumsWilliam Clarke
harmonica
1951 - 1996
Mike Clark
drums
b.1946
Steve Berrios
percussion
Robby Ameen
drums
b.1960
Roy Haynes
drums
1926 - 2024
Al Foster
drums
1944 - 2025
Paul Motian
drums
1931 - 2011
Nana Vasconcelos
percussion
1944 - 2016
My ideal big band is an extended eight brass five saxophones 18-piece band with vibes, guitar optional second keyboardist, and multi-percussionist . I like to include tuba and French horn when possible.
My ideal jazz philharmonic includes the large ensemble described above plus full string sections, woodwinds, brass, timpani and harp.
My musical directions follow a jazz aesthetic with leanings toward Latin, Brazilian and ethnic influences, as well as everyday influences of American melting pot (especially NYC).
Road story: Your best or worst experience:
On Buddy Rich
drums
1917 - 1987
Playing with an organ trio on the corner of 42nd and 6th Ave one summer in the '80s, Stevie Wonder walked by with brother Milton and dropped a sizable tip in my top pocket while I played under the hot sun with my shades on.
Playing in Grand Central station on Casio keyboard with Tim Horner on congas in the early '80s, and got a summons for "entertaining the passengers." from a cop named "Officer Nodo."
My best gig to date was the one I did with my trio with Ira Sullivan for my CD release party for One Way Detour, at Smalls Jazz club in Greenwich Village.
Favorite venue:
Smalls (10th St NYC), Oscar Peterson Theatre (Montreal, Canada) Concert Haus, (Berlin, Germany), Newport Jazz Festival, Montreal Jazz Festival, Jazz A Junas, (Junas, France), The Sunset Club (Paris, France), Concert Hall Issi li Moulineau, France. Citi Jazz, Moscow, St. Petersburg, Sweet Basil Tokyo, Japan, Blue Note Club, Fukuoka, Osaka, Japan, Carnegie Hall, Avery Fischer Hall, Dizzy's Club Coca Cola.
Your favorite recording in your discography and why?
One Way/Detour, Bob Albanese trio with Ira Sullivan.
It was a spontaneous session. First and second takes, nice piano, great rhythm section (Tom Kennedy, bass, Willard Dyson, drums) and guest Ira Sullivan, who was 76 at the time of the recording in 2008. It was a simple session without a lot of preparation or preconceived notions. I wanted to document the way I play in write in the moment. Ira Sullivan was one of many great artists that I had the opportunity to play with once. I wanted to make it happen again. By virtue of a gig that I was doing in Palm Beach, Florida with the trio backing singer, dancer, stage and screen star, Ben Vereen, we seized the day(s) on our two days off and went in to a newly found local studio in Jupiter, Florida (instead of relaxing by the pool) and recorded One Way/Detour. I chose the title based on an oxymoronic street sign that me and my father and law spotted in Manhattan previously. The One Way going one direction and the Detour sign posted below in the opposite direction. I identify with that sign as a motif for how much of my life and career has gone. The titles on the project are oxymoronic in nature as well, "Ugly Beauty," "Midnight Sun," "Major Minority," "Joyful Noise," "Friendly Fire," etc...
It was picked up by Zoho music label aka producer Jochen Becker and is now in world distribution. It has made it to the JazzWeek charts and is my first official release to have made it to WBGO Jazz 88 radio Newark, N.J. (my home town--- my grandmother had a restaurant, Mama Lucia's Home Style Italian Restaurant, on Bloomfield Ave. for 40 years).
The first Jazz album I bought was:
Oscar Peterson Night Train, Jimmy Smith Home Cooking, Miles Davis Bitches Brew.
What do you think is the most important thing you are contributing musically?
A fresh approach to the mainstream.
Did you know...
Newark, N.J. is my home town—my father played trumpet in the house band at the Adams Theatre, also played with Charlie Spivak (once). My grandmother had a restaurant, , on Bloomfield Ave. for over 40 years.
CDs you are listening to now:
Michel Colombier Old Fool Back on Earth.
Desert Island picks:
Bill Evans, Sunday at the Village Vanguard (Riverside);
Clare Fischer, Salsa Picante (out of print);
Miles Davis, Seven Steps to Heaven (Columbia);
Egberto Gismonti
guitar
b.1947
Stevie Wonder, Innervisions (Motown).
How would you describe the state of jazz today?
Fertile but often unyielding to the present times. The zeitgeist is present but rarely acknowledged and broadcasted. Jazz education is overrun by politics and is far too ensconced in the agenda of a few.
What are some of the essential requirements to keep jazz alive and growing?
Openness, public awareness, encouraging of longer attention spans, embracing world cultures and nurturing originality and talent.
What is in the near future?
Solo piano project. small band (quintet, sextet, and up). Cafe Sympatico Large Ensemble.
By Day:
A husband, father.
If I weren't a jazz musician, I would be a:
A chef, author, photographer, artist.
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