Elemental Music will release Kuumbwa, a stunning previously unreleased trio concert by pianist Michel Petrucciani, recorded live at the Kuumbwa Jazz Center in Santa Cruz, California, on May 11, 1987. Issued as an exclusive two-LP set on 180-gram vinyl on April 18, 2026, the album is part of Record Store Day in the EU, with CD and digital editions following on April 24, 2026. The release offers a vivid snapshot of Petrucciani at the height of his powers, in a setting renowned for its intimacy, adventurous spirit, and deep connection between musicians and audience.
This marks the first Petrucciani artifact in Elemental Music’s growing archive of jazz treasures and is produced for release by acclaimed reissue producer Zev Feldman, widely known as the “Jazz Detective.” The recording was discovered within the archives of Kuumbwa Jazz co-founder Tim Jackson and has been meticulously mixed and sonically restored by Marc Doutrepont at EQuuS, with vinyl mastering by Matthew Lutthans at The Mastering Lab. Beyond the music, the package is framed as both a historical and personal document, featuring reflections from Jackson on the pioneering role of Kuumbwa Jazz and on Petrucciani himself, along with insights from Petrucciani’s son Alexandre, longtime drummer Eliot Zigmund, French jazz journalist Thierry Pérémarti, and fellow pianist Enrico Pieranunzi.
Producer Feldman recalls first reconnecting with Jackson in the mid-2000s during his time at Concord, when Jackson was Artistic Director of the Monterey Jazz Festival. Their continued relationship ultimately led Jackson to share the Kuumbwa archives, where this recording immediately stood out as something extraordinary. Feldman describes being blown away upon first hearing the tapes, recognizing instantly that they captured a rare and essential moment.
The performance brings together a remarkable trio: Petrucciani on piano, Zigmund on drums, and English bass virtuoso Dave Holland. All three are heard at the peak of their individual and collective creativity. At just 24 years old, Petrucciani had recently signed with Blue Note Records and was only beginning to make his full impact on American audiences after relocating to New York in 1984. The Kuumbwa performance finds him asserting that presence with confidence, imagination, and fearless momentum.
Despite living with osteogenesis imperfecta, the genetic bone disorder that stunted his growth and caused lifelong physical pain, Petrucciani’s vitality and joy radiate through every moment of the recording. His playing overflows with exuberance, lyricism, and daring, offering what many contributors describe as an unfiltered portrait of the artist’s spirit. Journalist Thierry Pérémarti characterizes the music as a mirror of Petrucciani’s personality—extravagant, romantic, turbulent, tender, impatient, funny, and utterly alive—played with both childlike wonder and unrelenting energy.
That energy is matched and amplified by his bandmates. Holland and Zigmund respond with electrifying interplay, clearly inspired by Petrucciani’s unpredictability and drive. Zigmund, whose storied career includes work with Bill Evans, Vince Guaraldi, and Lee Konitz, recalls his time with Petrucciani as one of the most exciting periods of his life, marked by freshness, risk, and the thrill of never knowing where the music might go once Petrucciani stepped onstage.
Tim Jackson adds that while audiences were often struck by Petrucciani’s physical challenges, what lingered was the sense of wonder in his performances. He notes Petrucciani’s distinctive blend of a funky, grounded touch with a luminous, impressionistic sensibility, a sound that defied easy categorization and reflected the pianist’s own warmth and down-to-earth personality. For Jackson, Petrucciani’s music represented a beautiful melding of cultures, woven into a tapestry that continues to speak deeply to listeners.
Alexandre Petrucciani frames the release in even broader terms, describing his father as a force of nature whose impact extended beyond music itself. He expresses hope that Kuumbwa communicates not only Petrucciani’s profound love for jazz, but also the generosity of spirit he brought to the world—an energy that made him larger than life.
Captured at a moment when Petrucciani’s international profile was rapidly rising, Kuumbwa offers a fresh lens on his artistry, fueled by a highly responsive audience and the crackling intimacy of the club. Feldman describes the performance as “smoking,” emphasizing the enthusiasm in the room and the special chemistry preserved on tape. Decades later, this newly unearthed recording stands as a powerful testament to Michel Petrucciani’s brilliance, vitality, and enduring influence.
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