Peter Tijerina Set To Release Debut Album In September
Trombonist Peter Tijerina pieces together a masterfully multifaceted reflection on the depth and duality of the life he has lived with Just Yesterday
Album Release Date: September 24, 2021
Trombonist Peter Tijerina is a musician whose “fluid approach [that] never compromises his robust tone on the horn” and whose understanding of the “powerful, unapologetic lineage of free-wheeling post-bopsters Grachan Moncur III and Julian Priester” (Michael Dease) combine with his deeply emotive playing to create music that touches both the heart and mind of his listeners. With Just Yesterday, Peter marks his formal debut not with gaudy gestures, but with the patient, empathetic craftsmanship of one who has experienced the breadths of love and loss, and the powerful spectrum of all that lies between.
Peter Tijerina is one whose experience of life is marked by a depth of emotion, and a deep understanding of the subtleties and differences that the location and concept of home can bring. Born in San Antonio, Texas, Peter was part of a large Mexican-American community that imparted strong values and brought the sounds of Tejano and Cumbia music into his home. Peter’s time in San Antonio ended soon after a father figure of his passed away, while Peter was still in his youth. After, Peter’s family moved to Washington state, where his mother – connected via their recent introduction to and interest in the Pentecostal church – began to attend Bible school. While in Washington, Peter and his family attended a large Pentecostal church, and the music of the church — part Western traditional music, part soulful Gospel — became a powerful sound in his ears.
Just Yesterday, Peter’s debut album, derives its name from the common linguistic expression which itself holds a dual meaning. One may hear news or information and chime in, “I heard that just yesterday,” and one may also reflect on times long since elapsed and think, “That feels like it was just yesterday.” The nature of this expression remains rooted in both the near present and distant past, both one’s experience of navigating the here and now and the emotions of the past that define one so deeply. At its core, Just Yesterday is a deeply reflective collection of music that allows listeners to feel the moments, both recent and remote, that have defined Peter as a musician and person.
The duality found in Just Yesterday can similarly be found in Peter’s experience of home. Living in San Antonio and Washington brings marked differences, particularly when viewed through the cultural lens of Peter’s Mexican-American heritage. For Peter, these differing understandings of home are reflected on this album musically, most notably on “In N’ Out Blues.” This piece, as the name states, is a 12-bar blues with two different melodies played over two choruses. The first chorus’s melody is simpler, more soulful, and easily singable, whereas the second is substantially more modern and aggressive. For Peter, his experiences in San Antonio feel like the first chorus – comforting, homey, and familiar – whereas his experiences in Washington are likened to the second chorus in its complexity, headiness, and modernity. When it comes down to it, though, Peter is a fan of both of these elements. “My brain loves the new sound, but my heart loves the old sound.” A similar technique is employed on the tune “It’s One Or The Other,” in which the A sections are melodically and harmonically “in” while the B section is notably “out.” The title track of the album also stands as a key composition for Peter. “[The track] ‘Just Yesterday’ was partially written to reflect on loss and love,” Peter says. The A sections of this piece encapsulate subtle but distinct loss, yet the ends of these phrases remain tinged in hope. In contrast, the B section of this piece remains cheery in its portrayal of delightful love. In addition to showcasing Peter’s originals, Just Yesterday also features Peter on the iconic standard “Stardust.” For Peter, Stardust is a powerful tune due to its nature as a ballad that allows for one to play with a deep yearning. Particularly for one who experienced loss at a young age, “Stardust” remains a vastly emotive vehicle for Peter’s expressive playing. “It feels like surrendering at the altar,” Peter says.
Peter’s musical influences are vast and varied. Having an undergraduate degree in classical trombone, a Master’s degree in jazz trombone, and currently pursuing a Doctorate in jazz trombone, Peter holds a genuine appreciation for and admiration of a plethora of musical styles. Peter’s brother is a trumpeter, and many of Peter’s musical heroes are as a result trumpeters, such as Maynard Ferguson, Dizzy Gillespie, Miles Davis, Fats Navarro, and — most notably — Wynton Marsalis. Peter was drawn to Mr. Marsalis in particular due to his similarly broad musical background. Where many noteworthy jazz musicians stay out of the classical world, Mr. Marsalis is renowned as a performer in both classical and jazz spheres, and this shared interest in both disciplines created a framework to which Peter could relate. Peter has also drawn strong influences from New York City-based trumpeter Brandon Lee. “[Brandon] comes from the church [music tradition], studied with Wynton, and his rhythmic approach mixed with his swing feel, soulfulness, and knowledge of jazz resonates strongly with me,” Peter says.
The band on Just Yesterday is comprised of a central rhythm trio, Peter, and special guest artists Michael Dease on trombone and Diego Rivera on tenor saxophone. Nick Bracewell, the drummer on the album, is praised by Peter as being first and foremost a creative force. “[Nick] will go where you go,” Peter says. Corey Kendrick, the group’s pianist, is a craftsman who is humble enough to play as little or as much as the music needs, and in so doing, adds a depth of texture and melodicism to the music. “Corey is all about serving the music,” Peter remarks. Aneesa Strings, the bassist for the record, is described by Peter most notably as having “a big sound” that fills up the music beautifully and is a “vastly experienced” player. When reflecting on this record, Peter gratefully acknowledges that every musician in the band was a musician he hand-picked and that this was the exact band he envisioned. The presence of Dease and Rivera only enhanced this further, with the former being a musical idol and mentor of his and the latter being, in Peter’s words, “the best saxophone player I could think of” for this record date. Rivera also played a prominent role in encouraging Peter to embrace his musical heritage as a Mexican-American and to keep that lineage and legacy in mind in his playing and career.
With Just Yesterday, Peter Tijerina creates for himself a debut that stands as both mature and contemplative while still clearly and cleverly exercising his artfully skillful musicianship. Just Yesterday remains an emphatic reflection upon the duality of Peter’s life and music in all its facets, tastefully swathed and presented through the vehicle of jazz.
About Peter Tijerina:
Peter Tijerina is an acclaimed trombonist, composer, and educator in both jazz and classical music worlds. Originally from San Antonio, Texas, Peter moved to the state of Washington while still in junior high school, where he became exposed to the soulful and exuberant music of the Pentecostal church. Peter received his undergraduate degree in classical trombone and proceeded to obtain a Master’s degree in Jazz Studies at Michigan State University, under the tutelage of renowned trombonist Michael Dease. After graduating, Peter began his Doctorate of Musical Arts in Jazz Performance, studying under trombone legend Jim Pugh, at the University of Illinois at Urbana-Champaign.
Peter has performed in Latin bands, on commercial stages, and with world-class jazz icons, including (but not limited to) Christian McBride, Jimmy Cobb, Peter Bernstein, Brian Lynch, Kenny Barron, Randy Gillespie, and Etienne Charles. As a classical musician, Peter has performed with the Olympia Symphony Orchestra, Illinois Modern Ensemble, Coeur d’Alene Symphony, and the Urbana Pops Orchestra. As a composer and arranger, Peter has taught at Lincoln College and the Brevard Institute, and has written commissioned arrangements for icons of contemporary jazz, including the Ulysses Owens Jr. Big Band.
Source: Outside in Music/Outside in Arts
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