December 3rd, 2010, 10:45 AM
December 3rd, 2010, 10:48 AM
Hmm. Well, I guess we all have different sets of ears. That's cool.
Originally Posted by jagor
I have the Improvise pour France Musique set, and I like it -- though I do like his trio and duo work best.
I agree with Tom; I think "witty" is an excellent description of his playing. And extremely inventive. Solal definitely comes across to me as unique -- not "cerebral" (in the pejorative sense) or and certainly not soul-less, but definitely different. And that's one of the things that I like about him.
I like Richie Beirach too -- and people sometimes accuse him of being excessive refined or "cerebral" but I don't hear that either.
But, like I said, we all hear things differently!
December 3rd, 2010, 01:10 PM
Agreeing to Disagree about Solal
For HutchFan, I'm glad that we agree to disagree about Martial Solal.
But as for Beirach--now he's another one I can't stand! I got his Maybeck recital and liked it very much [it seems that nobody ever played badly at Maybeck]. Then I bought that thing he did about Antarctica because some reviewer had waxed rapturous about it and rated it ***** and I could hardly finish listening to it. It reminded me of a cat walking back and forth on the keyboard. If that's jazz, then I'm a monkey's uncle. Fortunately, I had only paid 5 euros for it in a cut-out bin and I was able to sell it for more than I paid for it.
For V1P, I'm glad that we agree.
For Tom K, I don't consider "blues clichés" to be a definition of good piano jazz, or any other jazz. See my nominees on the thread about "three favorite pianists." Each of my three was distinguished by a unique and instantly-recognizable style and none of them were noted for their "blues clichés."
August 23rd, 2012, 11:33 AM
Bumping this thread because Ted Panken has just published a fascinating "blindfold test" and interview with Martial Solal on his blog at http://tedpanken.wordpress.com/2012/...vieto-in-2009/
In the blindfold test, Solal bags on several pianists -- including Ellington (!), McCoy Tyner, and Ahmad Jamal. But I don't sense that he's doing it to be mean-spirited. He just doesn't mince words; if he doesn't like the recording, he's going to be straight-up about it.
I think the interview is even more interesting. Here's my favorite quote:
"In my music, I like a mixture of very modern and very traditional. I don’t like any art that forgets everything that happened before. Like when free jazz came, I was not against free jazz. I was against the idea of put everything away. Not Charlie Parker, not Louis Armstrong, this is zero. This I didn’t like. But I understood the movement. I understood it was necessary. But for me, the best way is to use everything which exists. I have been interested in contemporary music for years. I have played with different contemporary composers. But I don’t like people who refuse the past. I think the past is necessary for the future. That’s my idea."
I can hear that idea -- the new and the old together in a new way -- in Solal's music.
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