Word: piano
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Dates: during 1960-1969
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...Music Festival in Colorado hardly seemed to notice. Onstage, the pianist leaned more intently over the keyboard and subtly adjusted his tone to bring the music out over the sound of the shower. Wet or dry, it was an excellent performance of Beethoven's last and perhaps greatest piano sonata (in C minor, Opus 111), a piece that alternates between demonic fury and lyric contemplation and requires more than mere competence to bring...
...cleverest pop novels suggest subdivisions of the genre. The Piano Sport (Atheneum) by Don Asher, 40, might be called a bop novel. Written by a man who plays funky piano at the Mark Hopkins in San Francisco, the book tells a sprightly story about a cat who plays piano somewhere else in town. Call the Keeper (Viking) by Nat Hentoff, 41, a man-about-Manhattan who writes voluminously about jazz, race and Greenwich Village, is an ingenious pop thriller about jazz, race and Greenwich Village. The main menace is a Negro intellectual who hangs out with jazzbos and cuts...
Stealing from Satchmo. For Hines, the acclaim abroad is the echo of a grander triumph back home. Now 60, he is the founding fatha of modern jazz piano. Yet for the better part of the past 15 years, he foundered as a forgotten jazz immortal swept aside by capricious tastes. Two years ago, his name was nowhere on the jazz popularity polls. Many fans thought that he had passed on to that big jam session in the sky. In this year's Down Beat International Jazz Critics Poll, however, he was voted the world's No. 1 jazz...
...recordings. Recalls Hines: "I wanted to play like him, and he wanted to play like me, so we both stole a little from each other." What evolved was Hines's "trumpet style"-a left hand that cushioned, a right hand that attacked. In one swoop, he freed the piano from the ricky-tick niceties of ragtime and set a standard that ever since has influenced jazz pianists, notably Teddy Wilson, Art Tatum and Erroll Garner...
Those Good Old Ways. The heyday of Hines was in the 1930s, when from the throne of a white grand piano he led the band at Chicago's Grand Terrace ballroom, which flourished under the partial ownership of Al Capone and cronies. "I couldn't afford to have stars for the band," says Hines, "so I had to make them." He nurtured dozens of first-rate musicians; Dizzy Gillespie and Charlie Parker used the band as a laboratory for the newly emerging bebop. In 1940, stepping high in snakeskin shoes, a diamond tiepin and purple tie, Hines...