Word: pianistics
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Dates: during 1960-1969
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ANDREW HILL ANDREW!!! (Blue Note). Pianist Hill has his own very definite views of modern jazz piano. His music is filled with gently dissonant surgings, expressive rippling lines that are as romantic as they are atonal, and intuitive, crosshatched rhythms that emerge and then break off. Helping him project this engaging moodiness are John Gilmore's thin-edged tenor sax, Bobby Hutcherson's delicate vibes, the attentive probings of Bassist Richard Davis and the irregular cymbals of Drummer Joe Chambers. The group's finest moments come in The Groits, which, despite its ugly name, consists of lovely...
CHICK COREA: TONES FOR JOAN'S BONES (Vortex). There is a brilliant clarity, like tumbling diamonds, to the tones Pianist Corea polishes off here. His touch is firm and percussive, his ear tuned toward a definite, stirring pulse. In Litha he strings together quick, imaginative melodic fragments that are the mark of the alert modernist. When backing the other soloists (Joe Farrell, tenor; Woody Shaw Jr., trumpet), he spreads sprays of dazzling notes that support and enhance the horns' flights. In Tones for Joan's Bones, he displays a more reflective gleam by smoothly rolling the melody...
INTRODUCING DUKE PEARSON'S BIG BAND (Blue Note). Pianist-Arranger Pearson, whose previous records featured smaller groups, has gathered 15 solid players in order to amplify his musical ideas. Straight Up and Down is a tidy blend of high-flying exuberance and smooth delivery (note the trumpet's sassy quote of Sweet Georgia Brown and the baritone sax's sly paraphrase of Once I Had a Secret Love). While Mississippi Dip is a blues to be taken lithely, A Taste of Honey switches tempos faster than the foot can follow, building to heated ensemble crescendos behind Frank...
KEITH JARRETT: LIFE BETWEEN THE EXIT SIGNS (Vortex). Pianist Jarrett has been one of the keys to success of the Charles Lloyd Quartet, but here he emerges for the first time with his own trio, as well as his own compositions. His skill extends to the inside as well as the outside of the piano. In Love No. 2, he riffles the strings, producing a wiry thring that scrolls around Charlie Haden's bass. With more songful tunes, such as Everything I Love and Margot, he applies his agile touch to the keyboard and produces some lyrical, tender moments...
...cocktail lounge of Manhattan's Madison Hotel. Kapp signed him to the contract that led to Autumn Leaves, his first hit record. That was the end of classics and jazz-and spaghetti. Williams' sole, simple ambition since then has been "to be the greatest pop pianist who ever lived." As the song says, to each...