John Pietaro is a Writer and Percussionist who performs revolutionary new music and free jazz
JOHN PIETARO is a writer, musician and cultural organizer from
Brooklyn, New York. INSTRUMENTS: drumkit,
hand drums, frame drums, orchestra bells, multiple small
percussives, vibraphone, voice. He is a staff columnist and critic of 'The NYC Jazz
Record' and has written numerous cultural articles for ‘Z’
magazine, ‘The Nation’, ‘Political Affairs’, and other periodicals and wrote a chapter for the
Harvey Pekar/Paul Buhle book 'Students for a Democratic Society: A Graphic History' (Hill
& Wang, 2007). Pietaro's poetry chapbook 'Smoke Rings' was published in 2019 and book of
contemporary proletarian fiction, 'Night People'' was published in 2013.
Pietaro founded revolutionary music band THE RED MICROPHONE: John
Pietaro , Ras Moshe, Rocco John Iacavone, Laurie Towers. Their recordings include: 'Amina
Baraka & the Red Microphone' (ESP-Disk 2017) and 'The Red Microphone Speaks!' (2013).
Collaborations include multiple projects with Ras Moshe Burnett, the duet Harmolodic Monk
(with Matt Lavelle) and had served as leader of RADIO NOIR, which released the E.P.The
Lost Broadcast in 2011; and continues to direct THE DISSIDENT ARTS ORCHESTRA, a large
improvisatory ensemble which focuses on performing improvised film scores to silent films.
Other collaborations include KARL BERGER'S IMPROVISERS ORCHESTRA, 12 HOUSES, and poet
ERIKA DAGNINO's US-based ensembles (the Erika Dagnino Quartet's CD 'Signs' was
released Sept 2013, SLAM prodctions). John Pietaro is an active freelance musician and writer in
NY who has also performed with Allen Ginsberg, Salim Washington, Will Connell, Anders
Nilsson, Amina Baraka, Maryann DeProphetis, Andrew Drury, Ingrid Sertso, Fred Ho, John Zorn,
Blaise Siwula, Chris Forbes, Roy Campbell, Daniel Carter, Charles Downs, Arturo O'Farrill, Ken
Filiano, James Keepnews, Elodie Lauten, Layne Redmond among many other
jazz/free/new music artists (as well as Pete Seeger and folk-oriented topical musicians). Pietaro
has also acted as front-man for Flames of Discontent which recorded two CDs and has
performed widely for labor and peace causes.
Pietaro is the founder and director of the annual Dissident Arts Festival has spoken on
revolutionary culture at Left Forum and other venues. For more info see
My Jazz Story
I love jazz because...This music moves me so deeply! There's no other western form that makes as much use of improvisation and is also founded on
a traditional music (the Blues) and the traditions of the people who created and fostered it.
I was first exposed to jazz...as a child. My formative years were in the '60s: the jazz of the late 50s/early '60s was still the fabric of pop music and it
hung on through the decade, so I was surrounded by it on radio, TV, everywhere. My father also listened to various LPs of standards and then my
older brother, a big fan of swing and traditional jazz, started studying the trombone at age 12. He plays till today. When I was a young teen and
studying drumset he constantly introduced me to various jazz drummers and my interest moved from rock to every school of jazz: Eddie Condon's
Chicagoans to A Love Supreme, Duke Ellington to Coltrane Live at the Village Vanguard Again to Weather Report. I still listen to the full swath of
various genres associated with jazz but am focused on the most creative sounds: some call this the avant garde, others New Jazz but its the music
that brings instant composition to contemporary composition and allows the full breadth of human emotion to live within it.
I met [musician name]...on...so many! I guess one that stands out for me, as a vibes player, was Lionel Hampton: Around 1991-2 I was working as the
percussion tech at a noted rehearsal hall and percussion service in midtown Manhattan. I maintained this massive percussion collection and also set
the instruments up for the various musicians who rehearsed there. One Saturday afternoon I had set up the big room for a rehearsal of Lionel
Hampton's orchestra and hoped to get up there to say 'hello', but the lousy boss frowned on that. So I was in the dungeon trying to repair timps when
I got the call that "Mr Hampton needs some mallets, John". Well, I frantically got an assortment of the best vibraphone mallets we had (there were
many) and ran upstairs, puffing, to bring them to him. He smiled as I introduced myself and reached for the two hard mallets, leaving the rest in my
hands. I got in a few more words to him and then let him get to work. He was aged by then, not in the best of health, but what a great moment for
me. And regardless of the boss's annoyed looks, I never left the room, watching the full rehearsal and drinking in the history of this man. Over the
years, especially when I was young, I'd spent many an hour listening to his recordings with the Benny Goodman Quartet, and found him to be a
massive influence. He had a manic energy on those records and burning chops! He brought the vibes to the attention of the public and of course
other musicians and laid the groundwork. He made it possible for guys like Red Norvo, Milt Jackson, Bobby Hutcherson, Gary Burton and all of the
later greats. We are all indebted to Hamp for this. A couple of years later he released an autobiography and revealed that he was a Republican!
Ohhhhh, only Hampton could be forgiven for that!
The best show I ever attended was...Hmmmm, very hard to choose. Possibly the Don Cherry Quartet at the Village Vanguard, early '80s. He had Carlos
Ward, Cameron Brown and the master, Ed Blackwell. Whew. I was sitting right up front and still feel the vibrations. But I also have deep, fond
memories of seeing Dexter Gordon at the Vanguard ('79?), Jaco Pastorious' Word of Mouth Big Band at Avery Fisher, experimental rock guitarist Adrian
Belew at the Bottom Line ('82?), Gary Burton at Queens College, Weather Report as part of the Newport Jazz Fest, Daniel Carter, George Russel, the
Art Ensemble!, Zoot Sims ('80), David Friedman, Dizzy Gillespie ('78), Karl Berger, the League of Crafty Guitarists, Buddy Rich ('77), Chicago ('78), oh,
The first jazz record I bought was...I cannot recall. Might have been something by Gene Krupa who was a big influence on me when I was in high
school. Soon after the first purchase I became a crazed collector, buying everything from LPs to old 78RPMs, trad, swing, bop, west coast, hot, cool,
experimental, fusion. Once CDs developed and older material was being released, my passion for the history and heritage grew more intently. And
once I began to seriously perform this music, I happily became the portal anytime possible!
My advice to new listeners...Listen to EVERYTHING and allow it to envelop you. And please reach out to the performers, especially the older ones
who made such important statements. Lastly, do not be afraid to follow this music into the revolutionary direction. Jazz was always "radical" but some
of it has been a part of Black Liberation, the anti-war movement, women's and gay rights, labor, social causes that require a soundtrack that can be
heard and felt. Because the people playing it have to feel it that deeply and it inspires us to move further, further.
Or whatever else you have in mind. Jazz, improvisational music in general, is the release, the brain, the technical, the heart, the muscle, the intellect,
the passion, the scream, the whisper, the hurt, the fight, the political statement. It IS because we ARE and because of all of the people who have
spoken its language, or listened to it, through the generations.