For my personal playlist, I have chosen a list of jazz pianists who represent my own taste. There is a long history of jazz pianists leading and composing for ensembles, both large and small. Classic popular Broadway music is utilized on many jazz albums as "standards." Often, the same song would be recorded by various musicians, pianists and horn players alike. Therefore, each artist strived to come up with an original interpretation. This playlist honors the classic artists who defined the sound and progresses to the state of jazz piano in todays musical climate.
Title: “OP.”
Performer: The Count Basie Trio
Album: For The First Time
Record Company: Pablo
Catalogue #: 2310712
Release Date: 1974
Count Basie was known primarily for his status as a bandleader. The Count Basie orchestra was extremely influential on other jazz ensembles at the time. However, his skills as a pianist were not the focal point of his success. In For The First Time, Basie has a chance to lead a trio where is pianistic abilities are placed more prominently. He proves to be an effective and simple pianist. He does not play overly technical phrases, but every phrase that he does play is direct, clear, and memorable.
Title: “Over The Rainbow.”
Performer: Art Tatum
Album: Jazz Ballads
Record Company:
Catalogue #: 222548
Release Date:
Art Tatum is one of the most influential jazz pianists to have ever played the instrument. His technique is incredible, and he shows it off in "Over The Rainbow". Tatum plays each phrase with an unequaled vigor, often spanning the entire length of the piano in a single run. At the same time, Tatum retains the beauty of the original song, slipping in and out of a smoothly riding stride piano. Art Tatum plays so many notes, it almost comes off as though he is disinterested with what he is playing. Indeed, in watching video footage of the pianist, his hands seem to be completely disconnected with the expression on his face, as though he was simply letting them do their job. They do the job incredibly well.
Title: “Have You Met Miss Jones?”
Performer: Art Tatum
Album: Art Tatum: Performance
Record Company: Fuel 2000
Catalogue #: 061817
Release Date: 2010
I felt compelled to include two submissions of Art Tatum on this playlist, to explore his range of style. Instead of playing alone, he now plays in tempo with a bassist and drummer. This Rodgers and Hart classic comes to life with sixteenth notes paving the way through transitions. Art Tatum proves that he can do more than play fast- here he expertly solos his way through accompanying a saxophone. He plays the keys lightly and effortlessly, consistently playing with the range the piano offers. Often he runs various phrases together, effectively creating counterpoint with himself. This song is a wonderful example of a jazz master at his finest.
Title: “Triste.”
Performer: Oscar Peterson
Album: Roma
Record Company:
Catalogue #:
Release Date: 1969
Oscar Peterson holds the esteemed position of being my personal favorite jazz pianist. His technical playing is incredible, but his feel is close to perfect. Here, he plays "Triste" by Antonio Carlos Jobim in a latin style. After an intricate introduction, he plays the melody of the song once through before settling into a three minute solo. His dynamics are extremely sensitive, often growing from pianissimo to fortissimo and back again the span of a single phrase. Time and time again, Oscar Peterson surprises the listener with his sixteenth note phrases that seem to go on longer than is humanly possible.
Title: “Who Can I Turn To (When Nobody Needs Me)?”
Performer: Oscar Peterson
Album: Exclusively For My Friends, Volume 4.
Record Company: Verve
Catalogue #: 821843
Release Date: 1968
I have chosen to include two songs of Oscar Peterson's as well, to expose some of the depth of his formidable range. Instead of playing with a trio, here Oscar plays all on his own. Though there is no heard lyric, the song by Leslie Bricusse and Anthony Newley is popular enough that Peterson knows he is playing to a familiar audience. Sonically, he expresses the sentiment of the lyric perfectly. Listening to the song, one gets the sense that this is a person at the edge of desperation. Though it starts off slow, as time goes by Peterson employs runs and arpeggios that develop in intricacy. There is a definite sadness in this audiotopia as Oscar Peterson genuinely communicates the question "Who can I turn to?". As his runs become more complex, he seems to be proving his worth to the listener- a Mama Rose on the brink of collapse, convincing his audience that he still has something to offer. The wonderful thing is, he has an incredible amount to offer. The result is a blissful five minutes of constantly evolving, tasteful music that only Oscar Peterson could provide.
Title: “Falling In Love With Love.”
Performer: Tete Montoliu Trio
Album: Catalonian Fire
Record Company: SteepleChase
Catalogue #: 31148
Release Date: 1980
This particular blind pianist hails from Catalonia, Spain. Right away, the influence of Art Tatum can be heard. Tete enjoys playing with the full range of the piano, sometimes pounding on bass notes and then quickly shifting to intricate high runs. He has an incredible melodic sense which serves this song by Rodgers and Hart extremely well. His trio is incredible, particularly the drummer- constantly complimenting each of Tete's well chosen phrases. What makes Tete Montoliu is his distinct contrast between his own simple and complex sensibilities. Though he sometimes improvises twelve to twenty four simply impossible bars, he also occasionally plays the same two notes over and over for the same amount of time. His repetition has lasting power in the ears of the listener, and gives us something to hold on to. When he does break free into ridiculous runs, he has earned the right to do so.
Title: “‘Round Midnight.”
Performer: Thelonious Monk
Album: Complete Riverside Recordings
Record Company: Fantasy
Catalogue #: 30027
Release Date: 2006
Thelonious Monk wrote "Round Midnight" in 1944, and it has gone on to become the most recorded jazz standard of all time. Allmusic.com cites over 1,000 recordings of the song. On this solo recording Thelonious Monk plays the song with a striking aggression, that causes this darkly beautiful song to maintain a strict pulse throughout. His accents let the listener know in no uncertain terms where the focus lies. He has a clear distinction between his melody line and his self-accompaniment in terms of dynamics and in terms of style.
Title: “Satin Doll.”
Performer: Bill Cunliffe Trio
Album: Live At Bernie’s
Record Company: Groove Note
Catalogue #:
Release Date: 2001
Bill Cunliffe brings the legacy of Thelonious Monk into the present day. Cunliffe received the Thelonious Monk International Jazz Piano award in 1989 and has gone on to win numerous Grammys among other musical distinctions. Cunliffe possesses a wonderful talent for interpolating linear solo lines with chord based soloing. The result is a hybrid form of soloing somewhere between the two. Multiple musical ideas take place simultaneously and somehow fit together like pieces in a puzzle.
Title: “My Foolish Heart.”
Performer: Bill Evans
Album: Waltz For Debby
Record Company: Riverside Records (Jazz)
Catalogue #: 210
Release Date: 1961
Bill Evans represented a departure from many traditional conventions of jazz piano. In "My Foolish Heart" he plays at a pianissimo level, often leaving room for silence. His chords blended jazz harmony with classical harmony, evoking the sounds of composers such as Maurice Ravel and Claude Debussy. His chords seem to hang in the air as he fills in the painting of the song. This complex minimalist style continues to actively influence pianists today.
Title: “Part V.”
Performer: Keith Jarrett
Album: The Carnegie Hall Concert
Record Company: ECM
Catalogue #: 000736202
Release Date: 2006
Listening to this piece, one wonders whether we should even it jazz piano anymore. Jarrett is playing an entirely different style of piano, applying the jazz art of improvisation to long, rubato, sonically classical passages. His musical freedom results in some of the most beautiful music a piano has ever produced. Throughout The Carnegie Hall Concert Keith Jarrett improvises five to ten minutes of music at a time, simply exploring the directions his fingers take him. One wonders where his inspiration comes from, the music moves and evolves so quickly and distinctively.
Title: “Long As You Know You’re Living Yours.”
Performer: Keith Jarrett
Album: Belonging
Record Company: ECM
Catalogue #: 829115
Release Date: 1974
Dozens more songs are needed to even begin to explore the range of Keith Jarrett, but one more will have to suffice. In "Long As You Know You're Living Yours." Keith Jarrett reminds us that he can groove along with the best of them. He staggers his entrances, establishing a loose yet defined style that somehow fits firmly in the pocket of the beat. Though this song rests on one chord for a prolonged period of time, pianist and saxophonist alike continually explore new themes that develop as the tonic chord plays on.
Title: “Love You Madly.”
Performer: Benny Green
Album: Naturally
Record Company: Telarc Distribution
Catalogue #: 83498
Release Date: 2000
In "Love You Madly" Benny Green places the groove at the focal point of the music. His soloing consists of giant blocks of chords, moving along together on the back end of the beat. His laid back yet aggressive playing gives each phrase a distinct meaning within the context of the whole. He is not only crafting a jazz solo, he is crafting a funk song, giving the listener permission to groove along with the beat.
Title: “Moment’s Notice.”
Performer: McCoy Tyner
Album: Supertrios
Record Company: Milestone
Catalogue #: 55003
Release Date: 1977
Here, McCoy Tyner showcases his distinctive rhythmic power within the context of a dynamic and energetic trio. He is left-handed, which practically could be considered a fun piece of trivia; however, some credit his distinctly powerful style to this eccentricity. His hard edged style combined with an extremely intricate rhythmic specificity contribute to an intense jazzy sound deserving of the title, Supertrios.
Title: “Blue Rondo A La Turk.”
Performer: The Dave Brubeck Quartet
Album: Time Out
Record Company: Legacy
Catalogue #: 65122
Release Date: 1959
Dave Brubeck skillfully employs the use of creative and varying time signatures to achieve his desired soundscape. "Blue Rondo A La Turk" begins in the time signature of 9/8, alternating accents every other bar. Brubecks impeccable classical technique shines through this rhythmically complex jazz suite. On multiple occasions he plays twelve or more sequential blocks of chords in rapid succession with perfect clarity. His compositional prowess is clear in the rapid shifts of style- from swing to classical to every style in between.
Title: “Spain.”
Performer: Chick Corea
Album: Light as a Feather
Record Company: Verve
Catalogue #: 827148
Release Date: 1972
Today, "Spain" is considered a contemporary jazz standard. It is the song that Chick Corea is most well known for. In this recording, Corea plays the keyboard with jazz fusion group, Return To Forever. The song employs several different drum patterns, including swing, latin, and samba. The orchestration is also unique, employing flutes and vocals to immerse the listener in several fully composed soundscapes. There are several sections to "Spain," each with a separate and distinct chord progression. The main theme places the listener slightly off kilter due to its rhythmic complexity, but still manages to provide the bulk of the joy and celebration that the song has to offer.
Title:“How Long Has This Been Going On?”
Performer: Brad Mehldau Trio
Album: The Art Of The Trio, Vol. 5: Progression.
Record Company: Warner Bros.
Catalogue #: 48005
Release Date: 2001
In "How Long Has This Been Going On?" Brad Mehldau plays with an inspired sense of sensitivity. The tune itself, a creation of George and Ira Gershwin, is exquisitely beautiful. It exists in perfect AABA 32 bar song format, expressing a heartbreaking sentiment in the most compact of forms. Brad Mehldau draws out the tune at an incredibly slow tempo, and the melody feels right at home. Each phrase that Mehldau plays is a clear and distinct choice, pulling on the back end of the groove. He pulls us along, leaving us wanting, only providing the release at the last possible second. At the five minute mark, Mehldau arrives at what appears to be a short cadence. Instead, Mehldau leads the listener through a five minute coda that continually defies all expectations. The main themes of the original melody are preserved and used as themes which Mehldau explores in increasingly inventive contexts. As the song reaches the end of its ninth minute, the themes once again come together into a single simple iteration of the melody, providing a wonderful sense of continuity and finality.
Title:“I’ve Got Rhythm.”
Performer: Hiromi Uehara
Album: Beyond Standard
Record Company: Telarc Distribution
Catalogue #: 83686
Release Date: 2008
Here, Hiromi Uehara pays tribute to the tradition of reinterpreting jazz standards. This incredible rendition of "I've Got Rhythm" showcases Uehara's incredible technique. However, her real prowess lies in her incredible sense of groove, and her ability to infuse each phrase with a specific and all together cohesive direction. Hiromi's incredible stride piano skills are employed to great effect in the second half of this song as the tempo picks up to a blistering pace. Her rhythmic dexterity allows her to juxtapose intricate and directly contrasting rhythms in her right and left hands, remaining solidly on top of the groove. Currently she is pushing jazz piano to new extremes, blending the sounds of funk with a flawless technical proficiency in songs like this one.
I am citing this playlist for Question 2 of Task 7. I was not very exposed to this genre, and I think you did a great job of assembling a playlist that incorporates a variety of sounds and types of songs. I would definitely be interested in exploring this genre further, and I think your commentary is very helpful and thoughtful.
ReplyDeleteI am citing this playlist for part 3. I don’t know why but jazz is just sort of unexciting to me. I can really admire these pianists for their skill, but I can’t get into what they’re playing. But watching Hiromi Uehara play made my fingers hurt; wow, she was fast.
ReplyDeleteI am citing “Jazz Pianists” for question number two. I chose this playlist because I typically do not listen to jazz music. However, after hearing this playlist I think that I could definitely get into this type of genre. I thought that your explanations for each of the songs were helpful. I especially liked how you not only focused on the fact that each musician was important to the list but also you told us why they are so important. Your knowledge was very beneficial to those of us who are not familiar with this type of music.
ReplyDeleteI am citing this playlist for question #2. I have been a long time trumpet and saxaphone fan and as such have listened to a good deal of Jazz, but until this assignment I never really focused on the art of Jazz Piano. Thanks to your vivid commentary I was able to really get this music and I intend to explore the subgenre further.
ReplyDeleteI am citing this playlist for question #2. I’ve always loved jazz but I’ve never known where to start in my listening. You’ve provided a great list of jazz pianists, such as Art Tatum and Oscar Peterson, for me to explore further. You have tremendous insight on these musicians and it really helps me in understanding the diversity of sounds these artists strive to create. I will try more and more to incorporate this music into my own personal playlist.
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