“There’s a clave hidden in Scottish music, if you look for it,” explains piano player, arranger, and composer Neil Pearlman. It’s a secret place where Robert Burns does the boogie woogie. And where salsa brass and Tower of Power bass sneak into the frenetic triplets of island dances.
Pearlman has found this sweet spot. The young freethinker of a musician unleashes Scotland’s unexpected grooves and Cape Breton’s unique piano style on Coffee and the Mojo Hat (Paddledoo Music; June 5, 2011). Doffing his plaid cap for “mojo,” Pearlman gently but firmly expands on tradition, honing high-precision technique and finding uncharted rhythmic affinities.
The possibilities of the piano—Pearlman’s chosen instrument since he was four—were limited by what Pearlman humorously calls “the boom-chuck” style of most accompaniment for traditional tunes. But not on Cape Breton, Canada’s Celtic roots hotspot, with its thriving music scene and a piano style all its own.
Inspired by stride and boogie woogie, Cape Breton piano players held their own with the region’s acclaimed fiddlers at community dances. They broke out the broken octaves, setting the right hand free to hit all the burls—the traditional, fast-paced triplets—that make Scottish tunes sparkle. Pearlman fell in love with the approach, which he taught himself in his early teens by watching Cape Breton performers.
