![]() I’ve heard no new voices, particularly at the piano, no new schools of thought since 1968, and I think a lot of that has had to do with the way the record industry has crept into this, and basically destroyed a lot of the bands where young players could serve apprenticeship. “Bemsha Swing.” One of the problems that I’m having is that Jazz, as far as the growth and development of the art, has reached an impasse. Denny Zeitlin, “Bemsha Swing” (from SOLO VOYAGE, MaxJazz, 2005) (Zeitlin, piano Thelonious Monk, piano) I don’t know him, but I know who he is.Ĥ. Could this be somebody like Denny Zeitlin? You got me. Is this Richie Beirach? A lot of Bill Evans here. ![]() Could the bassist be George Mraz? Yeah, it sounds like Bounce. The bass player is playing very loose, the drummer is not playing time so strictly, and I like the approach. It’s very well-integrated, everybody’s listening to everybody, and I like the approach, the concept of what they’re doing. Then here again, I don’t know who could be playing. But I don’t think this is something Ray would play. I don’t think it’s him, but the touch and harmonic approach remind me a lot of Ray Bryant. Chano Dominguez, “No Me Platiques, Mas” (from CON ALMA, Venus, 2003) (Dominguez, piano George Mraz, bass Jeff Ballard, drums) It’s good, but it’s not exceptional, as far as I’m concerned. Is this Kirk Lightsey? This is this tune written by somebody that I know very well. Is this a contemporary of mine? Older? Younger. Compositionally, it sounds like something that Bill might play. The left hand is not quite in that style, but I hear Bill Evans also. I’m having difficulty trying to hinge the tune. I don’t know who it is, but the touch is so reminiscent of Hank Jones. Michael Weiss, “Walter Davis Ascending” (from MILESTONES, Steeplechase, 1998) (Weiss, piano Paul Gill, bass Joe Farnsworth, drums Jackie McLean, composer) There’s just a little bit too much going on for me.Ģ. I honestly feel… The Cuban part I like, but it’s very difficult for me to focus in on anything. The composition rubs me a little bit on the negative side. He’s a very welcome addition to today’s jazz piano. I like both the rhythmic and harmonic approach. So everybody is obviously thinking about how to deal with this rhythmically. Some of it might remind you a little bit of Randy Weston. But whoever it is, the way he plays lines, the note ideas, he’s obviously listened a lot to Herbie. Gonzalo Rubalcaba, “The Hard One” (from SUPERNOVA, Blue Note, 2002) (Rubalcaba, piano Carlo Enriquez, bass Ignacio Berroa, drums) ![]() To denote the occasion, here’s the unedited version of the Blindfold Test he did with me in 2006 and the liner notes that I wrote for his excellent album Blue Fable (High Note) from that year.ġ. Pianist Larry Willis - a Harlem native and alumnus of Music & Art - turns 71 today.
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