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WHEN EARL WILD PERFORMS, the Golden Age of the keyboard suddenly reappears. Like the great romantic showmen who flourished before World War II, Wild revels in the sensuality and sheer kineticism of the piano, reminding his listeners that it is the only instrument capable of emulating both the tender nuances of vocal music and the thunderous range of the orchestra. When Wild plays, the pallid noodling that often passes for pianism these days vanishes: one hears the grand echoes of Paderewski, Rachmaninoff and Josef Hofmann...

Author: /time Magazine | Title: MUSIC: THE LAST OF THE SHOWMEN | 12/4/1995 | See Source »

...along the Mexican border. "This album has the power to haunt," says TIME's Christopher John Farley. "Springsteen's sound, which is somewhere between his stark 'Nebraska' album and his serenely wrenching hit 'Streets of Philadelphia, is spare, featuring little instrumentation beyond an acoustic guitar, a harmonica and a keyboard...

Author: /time Magazine | Title: MUSIC . . . BRUCE SPRINGSTEEN | 11/24/1995 | See Source »

...When I know what I want to say, my fingers fly across the keyboard," he said...

Author: By Justin D. Lerer, | Title: Kishlansky Talks on Writing | 10/26/1995 | See Source »

ONSTAGE, KEITH JARRETT belies his cerebral, prickly reputation. Swept up in the trancelike flow of his jazz improvisations, he levitates from the piano stool like Jerry Lee Lewis, head thrust back and howling with pleasure. Beneath his fluid fingers, the keyboard ripples spontaneously, spinning out an endless series of riffs and variations, while his lyrical bassist, Gary Peacock, and elegant drummer, Jack DeJohnette, match him move for move. Heads nod approvingly as the melody is handed off from instrument to instrument, three men doing what they love best: making music with hand and heart...

Author: /time Magazine | Title: MUSIC: GROWING INTO THE SILENCE | 10/23/1995 | See Source »

...Keith Jarrett at the Blue Note, featuring his trio's nuanced performances of jazz standards. His "classical" repertoire, moreover, encompasses music from Bach to Bartok; last summer he performed a Mozart piano concerto with the Boston Symphony, and he has just released a disc of suites for keyboard by Handel. Always a difficult composer to pigeonhole--he is scornful of minimalism, which his music sometimes resembles, and calls New Age music, which some profess to hear adumbrated in his solo improvisations, "Jell-O"--the protean Jarrett seems not only more successful but also more elusive than ever...

Author: /time Magazine | Title: MUSIC: GROWING INTO THE SILENCE | 10/23/1995 | See Source »

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