![]() 2 (LOTW #205)Īrmando Anthony Corea, also known as “Chick,” wrote many amazing compositions. This intro will knock your socks off!! CLICK HERE TO GET A TRANSCRIPTION OF THE LICK If you have questions or suggestions for a Lick Of The Week you Armando’s Rhumba by Chick Corea Pt. Check out this absolutely blazing intro to “Get Happy” from the album Jazz Giant (1950). Enjoy this excerpt from A Scorching Bebop Intro by Bud Powell (LOTW #206)īud Powell is the father of Bebop Jazz piano playing. This track is no exception, and Oscar holds nothing back during his solo. Oscar’s signature trio with Ed Thigpen on drums and Ray Brown on bass is unrivaled in terms of their ability to swing. CLICK HERE TO GET A TRANSCRIPTION OF THE LICK If you have questions or suggestions for a Lick Of The Week you would like us to Oscar Peterson’s Iconic Solo on “Sometimes I’m Happy” (LOTW #207)įew jazz piano trio albums are as beloved as The Trio, live in Chicago in 1961. The sheet music transcriptions book is available from our Library.A Solo Sendoff by Chick Corea from “My Spanish Heart” (LOTW #208)Ĭhick Corea is always full of surprises! Check out this solo sendoff to complete our review of “Armando’s Rhumba” off of his iconic album “My Spanish Heart” (1976). The album contains eight jazz standards, two traditional songs, and, uncharacteristically for Jarrett, only one improvisation (“Meditation”, the second half of track six). In a sense, this pared-down, iconoclastic approach is classic Jarrett: Simple yet radical, no one “just” plays the music in jazz these days there “must” always be theme and variation. Why he hasn’t recorded one before, having such a tradition of solo-piano recordings, is a mystery. Yes, this is Jarrett’s first solo “standards” album. “I Loves You Porgy” and “Something To Remember You By” carry such moments, as Jarrett seems to overwork the material, suggesting a stiffness that need not be there. Consequently, a plainness and stateliness is heard with some of these recordings. Missing are some of those chords that have become trademark Jarrett. That sense of aloneness, with hints of melancholy, pervades such songs as the traditional “Shenandoah,” here given a gospel, hymn-like quality, or the album’s highlight, “Blame It In My Youth,” beautifully embellished as it is by Jarrett’s own “Meditation” coda.Įxcept for Ellington’s “I’ve Got It Bad, And That Ain’t Good” and his “Meditation,” there is no real improvising here, only intimate brushes with melody. Best Sheet Music download from our Library. ![]() What keeps everything “indoors” is the voice of the piano itself, having been recorded in Jarrett’s somewhat arid-sounding home studio, leaving the listener feeling somewhat alone. (Jarrett’s characteristic vocalizations play no part here.) In fact, The Melody At Night, With You suggests lullaby music, with a starry night overhead (“My Wild Irish Rose”). The music is exquisite, unnerving and disarming, as the virtuoso bypasses flourish, instead choosing to speak plainly. Not surprisingly, the playing on this solo-piano recording is subdued, but does not lack for earnestness, passion or focus. ![]() How else to explain the nature of this project? The Melody At Night, With You is Jarrett’s return to form after some serious scrapes with chronic fatigue syndrome (see DB Sept. Follow album’s title must come from pianist Keith Jarrett’s longstanding love affair with standards.
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |