Groove Dreams Peter Dominguez

• 1 Mourning Song for a Chief 02:58
• 2 Crystal Silence 04:38
• 3 Bossa Nova Nemo (The Jive Samba) 05:36
• 4 Mood Indigo / Blue and Sentimental 06:26
• 5 Groove Dreams 04:44
• 6 You're a Joy 05:40
• 7 Spanglin' 04:38
• 8 Lately 05:18
• 9 Orbit (Unless It's You) 04:59
• 10 With Malice Toward None 05:19
• Total Runtime 50:16

Info zu Groove Dreams

„Groove Dreams resonates on a number of levels. In the most obvious sense, it's a testament to the skill, imagination, and resourcefulness of bassist Peter Dominguez, an artist who operates with a profound depth of understanding in both formal and creative realms. But it's also a link to the relationship that Dominguez formed with bass icon Milt Hinton, a showcase for the latter's finely crafted eighteenth-century Italian instrument, and a piece of documentary evidence indicative of the high value that the Oberlin Conservatory places on its Hinton holdings.

Dominguez first spoke with Hinton in 1980, but it was an encounter the following year that cemented their friendship: While competing in the Zimmerman/Mingus Double Bass Competition, Dominguez connected with Hinton, who was on sight as a judge and featured artist, and the pair spent some quality time together. They bonded over the bass and the music, becoming fast friends. Then, in the '90s, Dominguez, who was on the faculty of Michigan State University at the time, brought Hinton out for a residency, and the pair then stayed in touch for the remainder of Hinton's life. That could've been the end of the story, but fate had other plans.

Dominguez eventually left Michigan behind and moved on to Oberlin Conservatory, where one fine day he was contacted by the co-executor of Milt Hinton's estate—David Berger. A fruitful relationship was formed from that initial connection and, with the blessing and institutional support provided by the school, many of Hinton's personal belongings—including the instrument heard on this recording—came to rest at Oberlin.

In the years since the instrument's arrival at the school, it's been used to good effect in numerous performance situations by a long string of A-list bassists—Dominguez, Richard Davis, Rufus Reid, Martin Wind, Ben Street, Hans Glawischnig, Robert Hurst III, and many others—but this bass has never had a showcase like this before. With this solo recital, Dominguez gives Hinton's instrument the attention it so richly deserves. At different times he coaxes tuneful lines, deep grooves, upbeat notions, and plaintive strains from the strings, inviting the bass's woody weight and wisdom to the fore. He taps into a tribal vein with "Mourning Song For A Chief," brings Ellingtonian breeziness and Basie-bound earthiness together in a medley merging of "Mood Indigo" and "Blue And Sentimental," allows the sweet ring of beauty to overtake the senses with a gorgeous performance of Stevie Wonder's "Lately," and brings buoyancy to bear on a soulful trip through "Bossa Nova Nemo (The Jive Samba)."

Dominguez proves to be a dynamic presence and a masterful arranger throughout, Hinton's instrument's sound rings clear and true at every turn, and there's nary a lull in activity or creativity across these ten tunes. Solo bass dates are often a tough sell, but this one isn't. Groove Dreams hits all the right marks and holds attention from beginning to end.“ (David Bilawsky, AllAboutJazz)

Peter Dominguez, bass

Peter Dominguez
In the worlds of both jazz and classical music, Peter Dominguez is a renowned bassist and educator. He has performed with artists such as Tommy Flanagan, Benny Carter, and Woody Shaw, toured with the American Sinfonietta, studied with bass legends like Richard Davis and Robert Gladstone, and helped to form Michigan State University's Jazz Studies program.

Peter Dominguez grew up in Milwaukee playing with his father, jazz pianist and singer Frank DeMiles. His teachers include Bernard Stepner, Willard Feldman, Clyde Russell, and Mitch Covic, as well as Roger Ruggeri and Richard Davis at the University of Wisconsin, Madison, where he earned his baccalaureate and masters degrees. In 1980 he was the first recipient of the Milton J. Hinton scholarship competition award and continued doctoral studies with Dr. Lucas Drew at the University of Miami, Coral Gables.

Eventually securing positions in both the Florida Philharmonic and at Michigan State University, Dominguez chose MSU, serving as professor of double bass and jazz studies from 1984-96, and was instrumental in developing their jazz studies program. During his Michigan years, he continued his studies with Robert Gladstone, former principal bassist of the Detroit Symphony Orchestra.

Having pursued double bass performance for 38 years in a variety of musical styles, Dominguez has appeared in venues throughout the Americas and Europe. He continues to perform with an impressive array of jazz, Latin, and classical artists—Benny Carter, Tommy Flanagan, Jon Hendricks, J.J. Johnson, John Lewis, Mark Murphy, Woody Shaw, Ira Sullivan, the Miami String Quartet, the Los Angeles Piano Quartet, the St. Petersburg Quartet, the Roycroft Chamber Players, and the Fontana Chamber Players. As principal bassist, he served 10 years with the American Sinfonietta, 12 years with the Greater Lansing Symphony Orchestra, and with the Jackson and Kalamazoo symphonies. As a section bassist, he’s worked with the Miami Chamber Symphony, Florida Philharmonic, and Detroit Symphony Orchestra.

Outside of Oberlin, Dominguez teaches and adjudicates actively at International Society of Bassists conferences, international master classes and competitions, and the annual conference of the Richard Davis Foundation for Young Bassists, of which he sits on the board of directors.

Booklet für Groove Dreams