KRIS ADAMS & PETER PERFIDO, Away
- Jonathan Widran
- Jun 28, 2025
- 2 min read
A truly exquisite quartet album led by veteran jazz vocalist Kris Adams and storied, well- traveled international drummer Peter Perfido, Away has curious though quite fascinating origins as a tribute project to and showcasing the previously unrecorded compositions of a talented jazz guitarist named Michael O’Neil, a close friend and longtime collaborator of Perfido who passed away in 2016.
While he amassed an impressive resume, O’Neil had the odd fortune to have the same basic name as another, more renowned guitarist, Michael O’Neill, who has worked with hundreds of pop and jazz heavy hitters and has toured with George Benson for decades. So way is pretty much an homage to someone the average jazz fan has never heard of – and the dynamic, sensitively arranged set presented by Adams, Perfido, pianist Bob Degan and bassist André Buser will make listeners wish they had known about and heard more of O’Neil in his lifetime.
The guitarist left behind a treasure trove of vocal and instrumental tunes that the quartet brings to life in unique ways as the foundation of the 13-song, 63-minute set. Adam has a clear, beautiful and emotionally expressive voice, whether she’s singing actual lyrics (as on the dreamy ballad turned frisky opening swinger “Play” and the soulful, longing ballad “Summer Vacation”) or showcasing her otherworldly scat mastery – as she does marvelously on gems like the sensually elegant “Here,” the percussive, high spirited “Die Sehnsucht” and tender and haunting “Anthem.”
The quartet complements the nine soul stirring O’Neil pieces with two pieces by legendary drummer Paul Motian (whom Degan performed with), another by Eric Schultz (“I Remember Albert,” a frenetic avant-garde piece which opens with a powerhouse minute long drum solo by Perfido) and a fascinating, hypnotic group improvisation appropriately titled “Free One.” Though it was O’Neil’s music that brought these four incredible talents together at a studio in Switzerland, listeners will no doubt hope that this isn’t their last thoughtfully rendered session.
I searched for Drive Mad online because I didn't want to install anything. It runs smoothly in the browser and is perfect for casual sessions.
The “homage to someone the average jazz fan has never heard of” angle really landed for me — it’s such a specific kind of loss when the music exists but the wider audience never got a chance to attach a name to it. I’m also intrigued by the way you describe the set as “sensitively arranged”; in a tribute context that restraint is usually what makes it hit harder. Random aside, but the theme of imagining an alternate version of someone’s legacy had me thinking of a AI hairstyle try-on thing I stumbled on — not comparable in importance, obviously, but it’s the same “what if” instinct. Do you feel like the album works best as a straight listen-through, or are…
That bit about Adams being equally convincing on lyrics and on the more “otherworldly” scat passages made me want to hear the sequencing — opening with a ballad that turns into a swinger is a gutsy way to set the tone. Also appreciate the nod to Degan and Buser; a lot of vocal-jazz writeups forget how much the rhythm section shapes the emotional arc. Side note: reading about “bringing unrecorded tunes to life” made me think of how people use imgg to sketch an idea into something shareable — different medium, same impulse to make the unseen feel present. Did the review mention whether the arrangements leave space for the drums to comment, or is Perfido mostly in a supportive pocket?
I love that this isn’t just “tribute album” talk — you can feel the intent to give Michael O’Neil’s writing a real home, especially when Adams flips from lyrics to that airy scat without sounding like a gimmick. The name-confusion anecdote is kind of heartbreaking, and it made me think about how many great composers slip through the cracks unless someone curates the material with this much care. Total tangent, but the whole “hidden in plain sight” thing reminded me of an old Vigenere cipher tool page I used once — same idea of needing the right key to reveal what’s there. Curious which track you think is the best “first listen” for people who don’t usually go for vocal jazz?
I love the vibe you captured in Kris and Peter's journey! cookie clicker Their music really takes you on a wild ride. Have either of them ever shared what inspires their songwriting process? I recently tried writing my own tunes and found it so challenging, yet rewarding!