By Alfred Brendel
'This booklet distils what, at my complicated age, i believe in a position to say approximately track, musicians, and issues of my pianistic profession.'
Ever considering Alfred Brendel bid farewell to the live performance degree after six many years of acting, he has been passing on his perception and adventure within the type of lectures, readings and master-classes. This reader for fans of the piano distils his musical and linguistic eloquence and enormous wisdom, and should turn out priceless to an individual with an curiosity within the method, historical past and repertoire of the piano.
Erudite, witty, enlightening and deeply own, A Pianist's A to Z is the perfect booklet for all piano fans, musicians and tune aficionados: hardly ever has the device been defined in such an enjoyable and clever type.
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Extra resources for A Pianist's A-Z: A piano lover's reader
As with Dance's Mainstream, hard bop was wedged in between two styles (bebop and the "free jazz" of altoist Ornette Coleman, pianist Cecil Taylor, and others) that were easier to define in a few sentences. " Jazz has always been a volatile music, changing quickly and often, and the hard-bop period (like the heyday of Swing or Mainstream) represents a moment of balance and polish in the work of many musicians, with more emphasis on perfecting an existing style than on selfconsciously breaking new ground.
Their equilibrium came from the contrast between Heath's and Clarke's flowing, cushiony beat and Silver's choppily percussive comping: a mixture of smoothness and roughness that was extraordinarily propulsive. Davis's outstanding record date in 1954, however, featured a group dubbed by Prestige the "Modern Jazz Giants" who, at least on a personal level, worked together in a way that was anything but smooth. This combo consisted of Davis, Thelonious Monk, Milt Jackson (nicknamed "Bags" because of the circles under his eyes), Heath, and Clarke.
A mediocre bebopper, he would Bebop 23 go on to become a major presence on the hard bop scene, where his ability to create moods would count for more than his failure to live up to bebop's standards of quicksilvery inventiveness. ) By 1950, bebop had burnt itself out as a fad and to some extent as a school of jazz, though this statement requires considerable qualification. J. ) Still, a music that had depended so much on surprise couldn't go on repeating itself. In addition, a new school, "cool jazz," had arisen, dominated by musicians like saxophonists Stan Getz, Lee Konitz, and Gerry Mulligan and pianist Lennie Tristano.
A Pianist's A-Z: A piano lover's reader by Alfred Brendel