Jazz Piano: an In-Depth Look at the Styles of the Masters

Jazz Piano: An In-Depth gaze at the Styles of the Masters, through Liam Noble. Hal Leonard Corporation (7777 W Bluemound Rd PO receptacle ]3819, Milwaukee W153213), 2004. 103 pp $1795 Advanced.

The phraseologys of fifteen jazz pianists are discussed in this fascinating contortion While some hipsters may debate the omission of James P Johnson and Art Tatum (if the intent was to overlay the most "influential" jazz pianists), no individual would doubt the significance of those included: Basle, Brubeck, Ellington, Evans, Hancock, Hines, Jamal, Monk Morton, Peterson Powell, Shearing, Silver, Tristano and Tyner

Biographical sketches go before detailed analyses of each musician. The greatest in quantity distinctive feature, however, is assuredly Liam Noble's fifteen original compositions in the mode of expressions of these pianists. Evans's lyricism, Monk's quirkiness, Peterson's virtuosity, as well as Shearing's "lock chords" and Tyner's quartal sonorities, are captured faithfully and inventively. This approach allows Noble to encapsulate various traits that might not appear conveniently in single piece by the chosen interpreter. For instance, the composition illustrating Jelly turn Morton's style combines elements from his solo piano excursions (such as his 1938 recording of "Maple Leaf Rag") and of recent origin Orleans ensemble pieces (like "Dead Man Blues") bouncing between Morton's characteristic "Spanish Tinge" and a Johnson-esque stride.

The criticism of reducing a multifaceted genius (like Ellington or Brubeck) to single tune (where are the former's sophistication and wit or the latter's polychords?) must sure be countered by the compendious nature of this ambitious undertaking. by what means else could such a broad topic be overspreaded in one course? Indeed, the at hand volume could serve as the textbook for a one-semester course upon jazz piano.

An accompanying CD provides the opportunity for learners to play along. The contortion would have benefited from a certain quantity of kind of preface stating the intent and uses of this volume (not for beginning students, whose time might be worn out more wisely studying actual transcriptions of these artists), as well as a statement that these are original compositions by the agency of Noble.

John Salmon, Greensboro, North Carolina.

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