Michel Petrucciani's 2nd Blue Note release, Power of Three, featured the miraculous French pianist in a duo with guitarist Jim Hall and a trio that added saxophonist Wayne Shorter. Recorded live at the 1986 Montreux Jazz Festival, the album captured a magical night of music-making by three virtuosos. This stereo Blue Note Tone Poet Edition was produced by Joe Harley, mastered by Kevin Gray from the original analog master tapes, pressed on 180g vinyl at RTI, and packaged in a deluxe tip-on jacket.

Elemental Music proudly presents Michel Petrucciani - "Kuumbwa", an extraordinary never-before-released recording captured live at Kuumbwa Jazz Center in Santa Cruz, California, on May 11, 1987. - This breathtaking performance documents the only known tour of a short-lived trio featuring Michel Petrucciani (piano), Dave Holland (bass), and Eliot Zigmund (drums), three giants of modern jazz in peak creative form. - Restored from the original analog tapes and mastered by Matthew Lutthans. Deluxe 180-Gram Double LP - Special Gatefold Edition

Elemental Music proudly presents Michel Petrucciani - "Kuumbwa", an extraordinary never-before-released recording captured live at Kuumbwa Jazz Center in Santa Cruz, California, on May 11, 1987. - This breathtaking performance documents the only known tour of a short-lived trio featuring Michel Petrucciani (piano), Dave Holland (bass), and Eliot Zigmund (drums), three giants of modern jazz in peak creative form. - Restored from the original analog tapes and mastered by Matthew Lutthans. Limited Edition 2-CD Digipak

Both worlds : two worlds... at the same time ! As in "the best of both worlds," where one undoubtedly wants to have everything but also offer the best of each universe. Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project. Dualism, then, but also balance. Geographical, from Paris to New York, and cultural, with three European musicians and three Americans. Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible. For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer. The result is a magical undertaking, retaining that particularly distinctive "two worlds" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections. Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers & Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloe Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer). Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light. For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements. While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one. Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint. If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation. Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas. Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible. Thierry Peremarti, New York, September 1997

Both worlds : two worlds... at the same time ! As in "the best of both worlds," where one undoubtedly wants to have everything but also offer the best of each universe. Both Worlds, a new step for Michel Petrucciani, or how to juxtapose distinct (id)entities and bring together the best of reciprocal elements, for the duration of a tour, a record, a wide-scale project. Dualism, then, but also balance. Geographical, from Paris to New York, and cultural, with three European musicians and three Americans. Both Worlds is clearly the testimony of the fruitful encounter between two worlds, between a composer and an arranger; the collaboration of two creative spaces that are dissimilar yet compatible. For the first time in his career, Michel Petrucciani entrusted his most accomplished compositions to another tailor of jazz and poet of made-to-measure, Bob Brookmeyer. The result is a magical undertaking, retaining that particularly distinctive "two worlds" character in the pianist's work: a writing imbued with classics and standards, over one of the most modern rhythm sections. Joy, melancholy, humor and moods, this recording displays a rich emotional palette and a few nods to Rodgers & Hart (Petite Louise), Return to Forever (35 Seconds of Music and More), Maurice Chevalier (On Top of the Roof) and Hollywood musicals (Chloe Meets Gershwin referring to A Foggy Day and Seven Brides for Seven Brothers by Johnny Mercer). Within an abundant discography, Both Worlds innovates and profiles the pianist's work in a new light. For the first time as well, Michel Petrucciani assembles a genuine group and builds a homogeneous formation where his presence and role are no longer perceived as dominant elements. While in many of his previous records the piano seemed to leap out of the rhythm section for an obvious highlighting, Both Worlds deliberately inserts Petrucciani within the group, and makes the pianist an integrated element of the whole, allowing him to be the leader without acting like one. Another novelty: Michel Petrucciani uses the horns here as never before; they no longer intervene only as soloists but in a new context, as accompaniment and counterpoint. If this record could only come to life thanks to an intense collaboration between composer and arranger, the unexpected production work of drummer Steve Gadd surely contributed to it's creation. Thanks to his experience in the most diverse contexts and to a solid friendship with Michel Petrucciani, he was able to provide knowledgeable suggestions and above all appropriate structural ideas. Both Worlds like the two flat faces of the same coin, the work of a Michel Petrucciani thus doubly generous and in a language that is as simply universal as possible. Thierry Peremarti, New York, September 1997

Storyville Records proudly presents the previously unreleased live double album, Michel Petrucciani Trio, Jazz Club Montmartre - CPH 1988, by the legendary French pianist Michel Petrucciani, due for release on November 15, 2024. Recorded during a memorable performance at Copenhagen's Jazzhus Montmartre on July 3rd, 1988, the album captures Petrucciani in the company of two jazz icons, Gary Peacock on bass and Roy Haynes on drums. While the trio only came together for a brief European tour in the summer of 1988, the chemistry they shared on stage was undeniable. The trio, propelled by a studio session the previous autumn, radiates synergy, as they explore six of Michel's original compositions with a sense of grace and spontaneity. On this recording, listeners will rediscover Petrucciani's unique lyrical universe, as well as his reverence for modern jazz icons, paying tribute to Bill Evans, Keith Jarrett, and Paul Bley with special arrangements of classics like Someday My Prince Will Come, Mr. K.J. and Turnaround. From the explosive energy of She Did It Again to the introspective beauty of Autumn Leaves, Petrucciani's virtuosic playing reveals a rare sense of urgency, joy, and an unrelenting passion for life. As Gary Peacock and Roy Haynes were at the height of their careers-Haynes playing with Chick Corea and Peacock with Keith Jarrett-they were drawn to Petrucciani, recognizing the greatness of his artistry. Together, they formed a trio, bound by a shared intuition and respect for one another, and this performance at Montmartre is a testament to that fleeting moment of jazz brilliance. This concert took place at the midpoint of Petrucciani's meteoric career, 12 years after his Paris debut and 11 years before his untimely passing. Despite the physical challenges posed by glass bone disease (osteogenesis imperfecta), Petrucciani's fierce determination, boundless love for music, and infectious laughter inspired all who knew him. Now, more than 35 years after that magical evening in Copenhagen, we invite listeners to close their eyes and step back in time. July 3rd, 1988... it could have been last night, or it could be tomorrow morning!

Live Recording from July 7th, 1988, Karlsruhe (Germany). A Jazz evening that had everything: intimacy and exaltation, subtleties and fireworks, modernism and Old School. With his predilection for the piano trio as a central form of expression, Michel Petrucciani was out of step with the mid-eighties. He was a driven man, playing in his most active period more than one hundred concerts a year, with the feeling deep inside him that, given his illness, he had less time available than other people, a feeling which he repeatedly mentioned in talks with friends and journalists. Petrucciani wanted to condense his music, releasing energy under tension in an awaited discharge. The bassist Gary Peacock and the drummer Roy Haynes were the perfect partners. One had been socialized in post bop, sowed his wild oats in Free-Time and later, as a partner of Bill Evans, Paul Bley and Keith Jarrett among others, perfected his trio playing. The other had personally experienced the birth of bebop and was one of the busiest jazz luminaries in his field.

Days of Wine And Roses is a 2-CDs set that includes 15 tracks atrfully selected by the producer Jean-Jacques Pussiau from the 6 albums that Michael Petrucciani reoced for his Owl Records label between 1981 amd 1985. Petrucciani is a French jazz pianist and composer with an international following whose keyboard virtuosity earned him comparisons to Art Tatum and Bill Evans.