Marvin “Hannibal” Peterson

A thrilling, serpentine solo machine in the mildew of Don Cherry — Peterson has chops but leaves precision towards the wind and only spontaneous eruptions of melody. Peterson includes a even more well-rounded technique than Cherry, nevertheless, and has with greater power. Unlike many modern free of charge jazz players, Peterson is usually adept at old styles; he’s performed under such exciting however tradition-bound bandleaders as Rahsaan Roland Kirk, Gil Evans, and Elvin Jones, along with such dyed-in-the-wool avant-gardists as Roswell Rudd, Ken McIntyre, and Deidre Murray. Like a youngsters, Peterson discovered drums and cornet. He went to North Texas Condition University or college from 1967-1969 before shifting to NY in 1970. That 12 months, he toured the East Coastline with Kirk; another, he became a member of Evans’ orchestra, with which he’d continue to perform in to the ’80s. In the first ’70s he performed and documented with a number of big-name market leaders, including Pharoah Sanders, Roy Haynes, and these Jones. He also led and performed trumpet and koto using the Sunrise Orchestra, an organization that included the cellist Murray. Tenor saxophonist George Adams was a regular collaborator. Peterson provides led recording periods infrequently; his initial album was known as Children from the Fireplace, for the defunct Sunrise label (1974). He documented eventually for Enja, MPS, and Internal City. Though being a performer he’s held something of a minimal profile over time, Peterson — today known simply simply because Hannibal — surfaced in the middle-’90s having constructed the monumental African Portraits, an orchestral piece that included a jazz quartet, the Chicago Symphony Orchestra (executed with the eminent composer/conductor Daniel Barenboim), the Morgan Condition College or university Choir, the Kennedy-King University Community Chorus, the Doris Ward Workshop Chorale, four operatic performers, different traditional African music artists, and a small number of African-American vocalists. The meticulously constructed (and critically hailed) piece differed significantly form the tiny jazz ensemble contexts with which he previously produced his professional name. A documented version was released with the Teldec label.