The Tiddukla album is raw and hypnotic and sees Hassan and his group channeling the deep and contemplative sounds of classic Amazigh groups such as Izenzaren, Archach, Izmaz, all of whom risked their freedom by daring to sing in Tachelhit at a time when the language was still forbidden, and when Amazigh people were fighting for their rights to be recognized.
Highly sought-after British jazz-rock with some vocals thrown in by Norma Winstone. Love Songs was recorded at Tangerine Studios,and it is so refreshing, choral and utterly distinctive with a staggeringly good group of musicians led by Westbrook and Surman. A mix of the melodic and the wistful, backed by a groovy beat, reissue now available for this classic masterpiece. No one got that first one — the first time I walked onstage at Carnegie Hall, blowing my own year-old mind…This one — Carnegie Hall, December 4th,is very special to me.
Performed and recorded over three nights in front of a sold-out crowd at The World Famous Theater in Harlem, NY December 4th — 6th,this album brings the electrifying performances Album) helped put Daptone on the map directly to your living room!
This album is lovingly dedicated to the memory of our dear friends Sharon, Charles, Naomi, and Cliff. Listen and decide for yourselves. And yet another week of late shipments…. Ecstatic, West Mineral, etc. The Russian producer Vladimir Karpov is well on his way towards a lasting legacy as a modern synthesizer wizard in the grandiose vein of Vangelis and Jarre.
With a propensity for concept albums he has built a sturdy discography during this past decade that echoes the progressive ideas of the psychedelic generation as it moved into adulthood with Moog in hand.
While the esoteric fantasies of previous works linger on, the conceptual aspect of Anciente is rendered more abstract. And instead of dividing ideas into tracks that form an album, here Karpov is pushing the boundaries of his compositions further into longer forms. Like trails into humid forest landscapes, they run deep enough for one to get lost along the way.
Clocking in at a neat 20 minutes per side, the two tracks that make up Anciente weaves soft brushes of undefinable sounds and tropical field recordings that almost create ASMR-inducing vibrations in the minds of the listener. Eventually they might open a doorway to a twilight-lit wilderness and the possible secrets of the first civilised men. Or, as in this case, the door to the ancient. The results ponder an impressionistic, romantically ambiguous simulacra of reel life worries and anxiety, feeling at once dense and impending yet without centre.
Abul Mogard: In Immobile Air Ecstatic LP Master of harmonic empathy Abul Mogard makes an ever welcome return to Ecstatic with a suite of patented pathos for testing times, mostly generated from an old Bechstein upright piano built in As such, it can be read as a suite of instrumental hymns for a world coming to terms with its current condition and state of static unrest, evoking a stillness of air in its glacial movements while reflecting a gnawing sense of something impending.
Using analog and digital equipment, he transforms the melancholic simplicity of his melodies into a quietly dreamlike space. Taylor and her bandmates — guitarist Dec Martens, bassist Gus Romer, and drummer Bryce Wilson — wrote Comfort To Me during the pandemic while quarantining in the same house together, spending more time refining the songs than they had previously.
The amount of time and thought I put into the lyrics for this album is completely different from the EPs, and even the first record. Half of the lyrics were written during the Australian bushfire season, when we were already wearing masks to protect ourselves from the smoke in the air. And then when the pandemic hit, our options were the same as everyone: go find a day job and work in intense conditions or sit at home and drown in introspection.
I fell into the latter category. My brain evolved and warped and my way of thinking about the world completely changed. I was like an egg going into boiling water when this started, gooey and weak but with a hard surface. I came out even harder. Walter Bishop Jr.
Keyboardist Walter Bishop, Jr. But a mere two years later, Bishop, Jr. All in remastered sound with liner notes by Pat Thomas. First-ever vinyl reissue of a long-lost classic, also available in an orange with black swirl vinyl edition limited to copies and exclusive to independent record stores!
Oscillating piquant shocks of vibrant energy with steeply opiated hypnagogia and OOBE-like sensations, the results locate a mind in flux, torn between the need to flex hyper-articulated limbs and becoming lost in discretely introspective ambient interzones.
The eight tracks course from a sort of kaotic power ambient energy to a lushly unresolved daydream serenity through alternately convulsive and temple-smushing turns. With little to go on, they decided to add their joint female voices and experiences to the rural sound ecology and culture of East Anglia, and created something un-arguably unique in the process.
But what happens in between is just a spellbinding sort of magick, using Raveningham Church as a sounding chamber Album) their finely controlled but naturally keening and graceful, unhurried expressions of tradition and folklore. Though the singer had retired his billion streaming Chet Faker project four years prior, the new songs he was working on in his New York City studio had an energy reminiscent of his earlier work.
The result is Hotel Surrender, a radiant track LP full of swaggering bass lines and electrifying melodies that reintroduces Chet Faker to the world — and to Murphy himself. He admits that before Hotel Surrender, he had never approached his process with such ease. This time, as the album title suggests, he surrendered to the music.
I was also just being kind to myself. None of this music was hurting, it just felt good. It made me feel better, and it helped me be better. Recorded and slated for an early release, and paused while COVID raged, this collaboration of masked men is finally finding its way to you on all formats. Its seven parts balance a sense of febrile passion with hyper-disciplined logic in more explicitly emotive, optimistic gestures that emerge from its atonal murk and convulsive structures.
Needle down, candles on. In the early s, while the music industry was grappling with the arrival of new trends and technology, from MTV to compact discs to digital recording, Bob Dylan was writing and recording new songs for a new decade, creating an essential new chapter in his studio catalog.
They are included here to illustrate the musical journey Bob Dylan undertook during these years. The songs. The songs stripped free of trappings, tampering, passing tastes, and judgements. The songs broken down to the sound of people really doing this, right now, acting on instinct. The songs rough and rowdy, bruised and tender, joking and crying, nagging and striving and yearning. The songs were always there, and here they are still, keeping pace with us. File Under: Folk Buy Here.
Indeed, unlike most of the other releases on the Black Jazz label, The Second Coming barely nods to the fusion and soul jazz trends that were sweeping jazz at the time.
Instead, this is expressive, free improvisation at its best, beautifully recorded by producer Gene Russell and deserving of a much wider audience than it found the first time. Newly remastered and annotated, and, like we said, reissued on vinyl for the first time! File Under: Psych Buy Here. Mao speaks of creative strategies of solidification and reification, encounter and transformation, pure being and punctuation — a multitude of sparks, fuses, and forking paths leading across fresh thresholds and twilit terrain.
Coloured next week. Focusing on their craft, staying out of the fray, and holding fast their faith to find new ways to express the discord and delight of being alive, to turn the duality of existence into hymns we can share, Low present Hey What. These ten pieces — each built around their own instantaneous, undeniable hook — are turbocharged by the vivid textures that surround them.
The ineffable, familiar harmonies of Alan Sparhawk and Mimi Parker break through the chaos like a life raft. Layers of distorted sound accrete with each new verse — building, breaking, colossal then restrained, a solemn vow only whispered.
There will be time to unravel and attribute meaning to the music and art of these times, but the creative moment looks forward, with teeth. In the years since, the South Carolina native and avid outdoorsman and fisherman has formed his own sense of unique musicianship — incorporating self-taught styles that fit each song rather than following conventional techniques.
The things that clutter up the pure soul are all in here. We all have a black powder soul that can explode, but there is redemption in all of us too. File Under: Country Buy Here. This is the first official vinyl reissue of the score since its original release in on the Cerberus label.
File Under: Experimental Buy Here. Perhaps unusually, the trio have still never set foot in a studio together, exclusively maintaining their practice in-the-moment and on stage when schedules intersect. Adam and I had known each other for years. Summer was tough for many reasons. But Adam and his wife Emily opened their home to me and made it a safe space to create and let go. For one thing, it is truly solo. The guitar attack is much more active here, as is the vocalizing.
This style of accompaniment has much less of a blues-counterpoint to it, serving more as way to amplify the strange melodic arc of the guitar as it moves through dark space. He was, however, cavorting and collaborating during this period with known avant gardists, so perhaps we are best left to draw our own aesthetic conclusions from just listening.
Whatever it is he was doing in the dark of Daggett Street, I think we can agree it was incredible. Galactic Supermarket is one of them, and is more rock-oriented than many others. The legendary producer Dieter Dierks plays bass on these nearly never-ending improvisations. The recording was transferred from the original analog tapes at the Dierks Studios in Germany. Carefully remastered for an incredible result. Capturing the vitality of their early genre-defining work, where the traditional and hypnotic rhythms of cumbia were modernized through a collage of electronic music styles, Serpiente Dorada is still at the top of their most played music on streaming platforms to this day, and has motivated their fanbase to continuously demand a physical edition since its initial digital release.
Serpiente Dorada remains an absolutely infectious and colorful mixture of global sounds, where genres and styles are used as a starting point on their ongoing hybrid exploration of the interaction between traditional Latin American music and modern electronic music, where the total is much more than the sum of its parts.
They once again have worked with the Gania family of Essaouira to offer another reissue of the music of the undisputed King of Gnawa music, the late Maalem Mahmoud Gania. It feels like the perfect time to release this spiritual music, specifically played to heal and to cure us of our ills, as the world is in the grip of a viral pandemic and powerful forces seem to be polarizing people all around the globe.
The label hopes that Aicha will enable you to carve out some healing space in amongst the chaos of the world. Aicha was previously released on cassette in Morocco only in the late s. Maalem Mahmoud Gania was a particularly prolific artist recording for many labels in Morocco and many details about the recording of this particular album or the people involved are destined to remain a mystery.
The album comes with extensive sleeve notes written by Tim Abdellah Fuson, Berkeley scholar and curator of the excellent Moroccan Tape Stash blog.
First pressing of this release comes with a print of the album cover. There are fast blues, and smoky ballads. File Under: Reggae Bu y Here. This beautifully intimate work resurfaces after more than a decade since its initial release, now available on vinyl for the first time.
Constructed entirely of tape loops, fragile tapestries of forgotten artifacts canter with teetering rhythmic pulses. Melodic counterpoints drift in soft bucolic reverie, as hazy recollections of undefined pasts seep out in blurs of nostalgic color. The album is imbued with a close tactile quality, lovingly crafted as a result of both manned and unmanned decay experiments. Undeniably tender yet willfully introspective, something speaks immediately of those magic sonic moments, illuminated by the quiver of late-night candlelight.
File Under: Ambient Buy Here. What better way to celebrate this milestone than with an immaculate must-have re-release package, with the music now spread out over double discs and cut at 45rpm on gram black vinyl to let the glacial top-end soar as originally intended, and the air of the general proceedings expand, once again, into the ears and consciousness of electronic music lovers the world over.
File Under: Electronic Buy Here. The songs are extremely personal and cover a spectrum of emotions in connection to growing up in a rural setting. And out of that silence this record began to bloom, full of songs that would have otherwise been too quiet and drowned out by the noise of typical Killers records. But the ones tied to fear or great sadness were emotionally charged.
File Under: Rock Buy Here. Alto saxophone master Lee Konitz joins with the great Gerry Mulligan on baritone saxophone and legendary trumpeter Chet Baker on a half-live, half-studio program of standards along with one Mulligan original. The group is supported by bassists Carson Smith and Joe Mondragon with Larry Bunker on drums for this spontaneous and inventive jazz treasure. It means that you will never find a superior version. So how can a voice so familiar to others still seem foreign to its owner?
In JanuaryMcCaughan found himself at his home studio in Chapel Hill staring down a clean slate after wrapping up a film score and several other music projects.
This setting — a distant light at the end of a figurative tunnel, and a literal room full of instruments — was integral to The Sound of Yourself. How can I disrupt this? I feel lucky to be able to collaborate with them despite the distances between us. Sending off a song into the ether and having it returned greatly improved and in often surprising and moving ways was one of the most satisfying aspects of making this record.
Mary Lattimore introduces and concludes The Sound of Yourself with her singular harp playing. One of the most iconic and enduring music leaders to emerge in the world over the last half century, William Parker continues to raise the bar higher. Mayan Space Station is his first electric guitar trio album, and features Ava Mendoza — electric guitar, William Parker — bass, and Gerald Cleaver — drums.
Cosmic multi-hued blues, perfect for space and time travel. All of the promise imagined by a trio recording of these musicians with compositions by Parker is delivered to the fullest. Her prodigious talents have illuminated many projects and recordings as both leader and collaborator over the past decade. As is abundantly clear here, she is committed to bringing expressivity, energy and a wide sonic range to the music. Gerald Cleaver is an exceptionally gifted poet of drum sound who can play in the deepest of pockets and manifest all manner of sound to perfectly fit contours within the most open of forms.
It is an oasis where sound and silence navigators stop for sustenance to replenish their imaginations. It is a reality that important to the myth structure of the Tone World chronicle. Rudimentary Peni: Great War Sealed LP Recorded several years ago before Rudimentary Peni engaged in another mysterious hiatus, Great War has finally emerged to kiss the gas-tinged light of a mustered morn.
Great War cements new phase in the ever-crawling metamorphic madness that is Rudimentary Peni. The record comes with brand new Nick Blinko artwork. File Under: Punk Buy Here. With their collective musical experience encompassing collaborative work with figures as diverse as Evan Parker, Akiko Yano, Arto Lindsay and Christian Fennesz, in contexts ranging from pop session work to film scores to sound installation, no one could be sure how Sakamoto and Toop would approach their first concert together as a duo.
The course of the music follows a non-teleological drift, in which Sakamoto and Toop seem less concerned with establishing an overarching structure than in allowing each moment the space it needs to develop and breathe.
The music takes a radical, unexpected turn when Sakamoto picks up an electric guitar, with both players turning up the volume for a passage of distorted roar and shuddering feedback — bracing evidence of the unfettered, exploratory approach shared by these two uncategorisable musicians, beautifully documented here. An effortless blend of neo-soul, sophisticated pop, smart grooves and laid-back white funk, it enjoyed rapturous reviews from critics and music legends alike.
But the album never managed to make an impact and given what was likely a token vinyl release at the time, the original records have long since been near-impossible to find.
Together they created an exquisite and sensually-charged record, with a freshness to the writing that makes the songs catchy, melodic-yet-deep and sometimes even funky. The music is predominantly guitar-led and a mixture of organs and synths, live drum loops and electronic percussion make for a sort of modern soul backing orchestra.
This sprawling psychedelic soul opus really is a forgotten should-be-classic. Cut by Pete Norman and pressed at Record Industry. With her second full-length album Atropos, she unveils a towering and singular doom metal wonder in a unique visioning, reminiscent of My Dying Bride, Paradise Lost, and Evoken. Upon this thick foundation of doom, multiple musical textures intertwine: atmospheric black metal, dungeon synth, darkwave, film scores, and rebetiko.
It is through these woven sonic tapestries that Bekris creates vivid atmospheres expressing the myriad emotions surrounding death, mourning, and suicidal ideation. Atropos, named for the Greek fate who cut the Album) of life thus determining the final fate for mortals, not only conveys the inevitability of death, but also explores its contrasting and dynamic nature through immersive compositions representing despair, loneliness, anxiety, peace, and dignity. Atropos sees her further expand her sound through the collaboration with several guest musicians, including Nathan Weaver Wolves In The Throne Room on vocals, Asia Kindred Moore Sangre de Muerdago, Solace on the harp, Entrail on violin, and members of the Vouna live lineup playing synth and electric lap steel.
File Under: Metal Buy Here. Hassan Wargui: Tiddukla Hive Mind LP Hassan Wargui is a self-taught musician, composer, songwriter, multi-instrumentalist, and an expert in the songcraft and poetry of the Tachelhit speaking Amazigh tribes of Kirk Lightsey - Lightsey 2 (Vinyl Anti-Atlas mountains in the south of Morocco. He was born in in the rural community of Issafen, which lies between Taroudant and Tafraoute in the Anti-Atlas mountains of Southern Morocco.
His music draws from the deep well of Amazigh, or Berber, cultures that have long been suppressed across North Africa after the region underwent a process of Arabization following the Arab invasions of the 7th Century. Hassan grew up in an isolated mountain community in which art and music is embedded into daily life. Since then, Hassan has been active in the Amazigh musical community and has worked with a number of groups, notably Groupe Lbouchart, Imanaren and Etran Tiznit, as well as recording prolifically as a solo artist at his home studio.
The Tiddukla album is raw and hypnotic and sees Hassan and his group channeling the deep and contemplative sounds of classic Amazigh groups such as Izenzaren, Archach, Izmaz, all of whom risked their freedom by daring to sing in Tachelhit at a time when the language was still forbidden, and when Amazigh people were fighting for their rights to be recognized. Highly sought-after British jazz-rock with some vocals thrown in by Norma Winstone. Love Songs was recorded at Tangerine Studios,and it is so refreshing, choral and utterly distinctive with a staggeringly good group of musicians led by Westbrook and Surman.
Hands down one of the best jazz pianists in history, Tatum was a blind genius who arguably created the most densely polyphonic and sophisticated pre-bebop piano style of all, fusing stride with swing. In the mids, the bebop revolution, instigated by horn players Charlie Parker and Dizzy Gillespie, resulted in a generation of artists led by Bud Powell who would enter the ranks of the best jazz pianists with an approach that treated the instrument like a trumpet or saxophone, picking out syncopated right-hand melodies with horn-style phrasing.
When the 50s arrived, there were others, such as Bill Evanswho fused the bop aesthetic with a sensibility nurtured on classical and romantic music, producing a densely-harmonized piano style that was supremely lyrical and richly expressive.
The jazz world has produced an abundance of super-talented piano masters in the past years — many more than can be accommodated in this list of the 50 best jazz pianists of all time. In our estimation, the 50 best jazz pianists of all time are… Lennie Tristano Opinions differ on the significance of this blind, Chicago-born pianist who played with Charlie Parker in the late 40s and went on to establish himself as a musician with a LP sound and style. What is certain is that Tristano was an uncompromising innovator whose unorthodox conception of melody and harmony presaged the birth of free jazz.
He also experimented with multi-tracking recording in the early 50s — which most jazz musicians considered anathema — by overdubbing improvised piano parts. Kirkland also played with jazz greats, trumpeter Dizzy Gillespie and drummer Elvin Jones, in the 80s, and appeared on five albums by ex- Police frontman, Sting. Originally from Colorado, Grusin began releasing piano-led albums under his own name in the early 60s, a decade that also saw him break into the world of television music, where he wrote themes for numerous US TV shows.
Grusin went on to become a prolific composer of movie scores among them On Golden Pond and The Fabulous Baker Boys and has also released a raft of keyboard-oriented studio albums. That was the year he recorded his debut album for Blue Note, and he went onto become one of the best jazz pianists the iconic label signed. Sadly, his life was blighted by drug addiction, which hastened his premature death at the age of A nine-time Grammy nominee, Barron has been recording since the late 60s and his many collaborators include fellow pianists Tommy Flanagan and Barry Harris.
A master who is fluent in both the bebop and post-bop styles, Barron is one of the best jazz pianists alive today. Outside of his band, Lewis made many albums under his own name, the earliest in Moving to Chicago, and then New York, he was regarded as a go-to sideman in the late 50s and early 60s playing with the likes of Cannonball Adderley, Jackie McLean, Roland Kirk, and Wes Montgomery before beginning his own recording career, which started at Prestige Records in A virtuoso who is fully fluent in bebop, modal, and post-bop jazz styles, Mabern is still actively recording and performing today at the age of Cutting his first solo LP inDrew recorded regularly for a variety of different labels up until his death.
He died and was buried in Copenhagen. He played with trumpeter Maynard Ferguson in the late 50s, but his career really took off when he moved to New York City in the 60s.
When he was older, he was smitten by jazz and fell under the spell of modernists Bud Powell and Thelonious Monk. Stylistically, Harris is a staunch disciple of hard bop, which is reflected in the horn-like phrasing of his right-hand melodies, complex rhythmic syncopations, and dense harmonization.
One of the best jazz pianists still with us from the bebop era. By the 30s, she was working as a freelance arranger, writing charts for Earl Hines, Benny Goodman, and, later, Duke Ellington. When bebop arrived, in the mids, she had an affinity for the revolutionary new style, and was a mentor to Thelonious Monk and Dizzy Gillespie. A prodigiously talented musician, Williams was an inspirational figure and paved the way for noted contemporary female pianists such as Tania Maria, the late Geri Allen, Eliane Elias, and Diana Krall.
He worked mainly as a sideman in the 50s, but inafter a move to New York, Hill began a long association with Blue Note Records that resulted in 16 albums. Though influenced by Thelonious Monk and Art Tatum, Hill forged his own distinctive and complex style, both as a pianist and composer. His music tended to be chromatic and angular, and while it pushed the barriers, it also remained rooted in jazz tradition. Though, compared to many of the best jazz pianists, his influences are wide and varied — ranging from pop, rock, folk, and classical music, to bebop, country, and even electronic music — he has distilled them all into a unique style which is inspired by the lyricism of Bill Evans and spellbinding virtuosic improvisation of Keith Jarrett.
He released his debut LP in and recorded regularly for a raft of different labels up until Starting out playing gospel music on the organ before being formally tutored in piano, Cole was schooled in classical music but quickly gravitated to jazz.
Sadly, Clark was a heroin addict and died, aged 31, from a suspected but never proven overdose. By 13, he was playing professionally, and at 18 recorded the first of many LPs. Though his lyrical approach to the piano was undoubtedly indebted to Bill Evans and Keith Jarrett, Petrucciani, who died at 36, nevertheless had an individual sound and style. He recorded with Ella Fitzgerald and Charlie Parker before embarking on a stellar solo career that blossomed in the 50s.
In his heyday, in the early years of the 20th Century, Joplin was crowned King Of Ragtime, a jaunty, syncopated style of music that was an amalgam of African-American and Western European music. He also recorded a slew of solo albums, all of which highlighted his glistening, horn-like right-hand melodies and penchant for block chordal accompaniment.
Contemporary pianists who claim to have been influenced by him include Chick Corea and Brad Mehldau. Born in New York, he rose to fame in the 20s as an accompanist of blues singers. Though his music is mostly forgotten now, Johnson — who was also a noted accompanist for singers Bessie Smith and Ethel Waters — was a pioneer who earns his place among the best jazz singers in part because of his powerful influence over Fats Waller, Count Basie, and Art Tatum.
He made four hugely popular, radio-friendly albums for CTI, where he established himself as the doyen of a lighter, more accessible version of jazz-fusion.
He eked a living as a jobbing pianist for hire until emigrating to the US inwhere he quickly made a name for himself with his synthesis of swing, bebop, and elements drawn from classical music. Davis liked Garland for his Ahmad Jamal-like lightness of touch and use of space. Even so, Brubeck could still play with imagination and elegance, and often composed music using unusual and asymmetrical time signatures.
He started as an orthodox stride-style player but soon introduced innovations. Though he began his recording career inhe was able to adapt to changing styles in jazz and kept recording until A jazz piano colossus. Jamal first recorded for OKeh inbut it was later in the same decade when took his position among the best jazz pianists of all time, with the best-selling live album At The Pershingwhich took his music to a larger audience.
A master of musical understatement. As a teenager, Jarrett was seduced by jazz and quickly became fluent in its idiom. An intrepid improviser whose imagination knows no bounds.
As a result, Powell proved highly influential, even though his career was short he died aged 41, after years of mental health problems. The missing link between Art Tatum and bebop, his status as one of the best jazz pianists of all time is forever assured. He also often attacks the piano with brute force, though he can also play with extreme delicacy, employing staccato right-hand runs.
Renowned for ornate filigrees and a hard-swinging style, Peterson was a dextrous improviser. Reflective romantic ballads with lush chords were his undoubted forte, but Evans — who drew on both bebop and classical music for inspiration — could also swing with verve, especially in a live setting.
Emerging in the bebop dawn of the mid-to-late 40s, he pursued his own idiosyncratic path, creating a unique musical universe where angular but hummable melodies, dissonant cluster chords, and a lightly-swinging rhythmic pulse ruled. Visually impaired from infancy, Ohio-born Tatum learned to play the piano by ear as a child and, blessed with perfect pitch, quickly excelled at the instrument. He patented a technically-advanced, uniquely florid style from an early age that melded elements from stride, swing and classical music.
Now you know the best jazz pianists of all time, discover the 50 best jazz trumpeters here. Did someone forget Marian McPartland? Mary Lou Williams? Patrice Rushin? Diana Krall? Plus, Diana Krall happens to be married to my favorite musical artist of all time, Mr. Elvis Costello! Feather Fingers. I agree Diana Krall does not belong anywhere near this list.
Dianna Krall is a fine musician but is she really a great innovative pianist or just a good all around pianist and entertainer. I think you could make a strong case for Mary Lou Williams to be included on this list.
This list is the all-time great jazz pianists. McPartland and Williams should probably make the list but the other two? Come on. I mean, he was definitely one of the greatests of all time.
Oscar Peterson should have been at the no 1 spot. I was shocked to see Oscar at only 5. My exact thought when reading this naive list. After TatumMonk and Evans its hard to set a pecking order, but the author needs to listen to Newborn; he was way ahead of many of the contemporaries listed. Phineas Newborn Jr should, of course,…. After Tatum, Monk, Lyrical Bill, there is a swarm of fine contenders. They have him ranked a little too high. No Lenny Tristano at the list?
How is this possible? Dave Grusin on the list? Before Andrew Hill? Cecil Taylor no 34? Keith Jarrett no 8? I think both three could be a little bit Higher. And Craig Taborn should be for sure on the list! Because I am not a sexist I can not forget of course one of my favorite Marilyn Crispell! Earl Hines would hold the No. Another who could really deliver when the atmosphere was just right was Dorothy Donegan. Hey Charles. Yes, he diversifies his talent with bass and vibes but still deserves to be on the list of the greatest pianists.
I think Marylou Williams should be rated higher. Cedar was awesome. Listen to him all the time. Always inventive, always funky. Maestro, no question. Respect from England. Mal Waldron should just be in the top 5. And I am surprised that Brad Mehldau was not mentioned …. One of the main proponents of the Herbie Hancock school of jazz who played with everyone, including the Marsalisis and Kenny Garrett is a loser!
And rock no less! Go clean your ears and learn some lineage!! I knew Kenny very well when we were students at MSM…Most important he was a wonderful soul who made you feel important….
Whenever I scroll through these lists I am pleased to find my CD collection has so many of the folks listed!! The great Jessica Williams. Mine as well, John. No Eddie Higgins? No Eliane Elias? I have listened to most on the list and they are all good…. Everybody goes ape over Art Tatum.
But he was all arpeggio and flash. Teddy Wilson and fats should be a lot higher on that list. Apart from that: Nobody misses Cedar Walton? Oscar Peterson 5?? Teddy Wilson 21 WTF? What about Milt Buckner? Ahmad told me this personally many times. Nat King Cole, was probably better known for his vocals, than being a piano player. His piano playing, to me was rather too simplistic and mundane when compared with the likes of Red Garland and Oscar Peterson.
To put Erroll Garner at 17 is ludicrous-if you listen extensively he is really unparallelled musically-also had a great technique and he was certainly the greatest composer among all the jazz giants.
I happened to meet Erroll on tour in and he was the most self effacing lovely man you could meet. Junior Mance told me in that everyone was blown away by Erroll in the early days in NY and they all wanted to play like him, Erroll is justifiably living a second life on the net and part of the problem for fans now is that Erroll died long ago and may have got overlooked somewhat.
So he has to be right up there and is my favourite primarily because of his unique musicianship and his unmatched intros-beat that! And note Erroll looked and sounded like he was having the time of his life-tragically died too young from lung cacer at 55yrs. I assume you mean the TOP 36? That is a strange number? I shall say it again Tristano is 50!! Duke Ellington was known more as a composer.
As good as Duke was at composing, I believe that most people have not noted that he wrote the simplest tune melody in the history of music. I play and little piano and guitar and fancy myself as fairly knowledgeable in guitar, bass and drums……Maybe I know just enough to get into trouble……no one can ever agree on any list……ever. Have to agree that these names could fit in there somewhere.
They also seem to find the perfect balance between restraint and expressivity while the others are simply on another level. Hey Daniel, yours is one of only few comments I could subscribe.
Jarrett behind Monk? The very underestimated Dave MacKenna could be mentionned here. And Abdullah Ibrahim. And, of the younger generation, Robert Glasper. And, and, and…. Grusin and James nice people! Hill, Cables and Hersch should be higher. And how about Jess Stacy? Both Teddy W and Earl Hines felt he was their equal, and both are rightfully on this list. I personally think Mary Lou Williams should be somewhere on the list, maybe even Elaine Elias but there are a lot more great male jazz pianists than female.
This is not the case with concert classical pianists. And Bill Evans really was the Master of them all. I do have some issues with some on list but the top 5 in a different order is very good but is debateable in some people. His Commodore recordings are one of the great pinnacles of jazz. Gonzalo Rubalcaba should be on list, somewhere near the top. And Brad Mehldau, of course. Thanks Herman. And then I saw your post. I love Tete.
And George Gershwin! Lists are silly. You can always make the case for any of these folks but as time goes on people forget the greats of a somewhat earlier day. Duke should be in the top ten…wish he had recorded a solo album…. I disagree with the order of the entire list with the exception of Art Tatum. An I would move Bill Evans to 2 in front of Monk. The next time a poll like this is conducted, it should be taken among all the living jazz pianists.
I mean Brubeck should be in the top 5, and Dave Grusin in the top 10 just based on the contribution they have made to jazz over the years. Other than that, might as well throw darts. I rate him up with Monk and far better than Art Tatum in his jazz input. Whats the reason for his omission. How does one compare pianists with different styles? Monk could have played like Tatum. Rather the genius opted to define his own style that fitted his original compositions and his improvisations.
And the arguing goes on! If that surprises anyone. My interest is in most classical piano but admire jazz pianists who possess a solid thorough technique AND play with something resembling a pleasant singing tone.
I have no use for the percussive style virtually devoid of dynamics that many exhibit. I agree with a couple of dozen on the list, but I would have thought that Maryanne McPartland deserved an entry somewhere. I agree with the guy who thought Iturbi was a better jazz pianists than many on this list. Wow -as a Jazz piano lover I could care less about the order, though it might be nice to see a list of living piano players. You should see the list I put together with the additional pianist mentioned in the comments here.
My list is at 90 players, some of whom I have not heard before. I will enjoy the ride of just listening and enjoying…. Scott Joplin is on this list. Hmmm, has anyone ever actually heard Scott Joplin play??
No, is the answer. How laughable is this list. Scott Joplin made about 6 hand played piano rolls, including a composition by W. C Handy but he certainly should not be on this list. A great list, but as many people already said, loads of pretty good pianists are missing! Gil Evans? Andre was a young European hanging around LA at the time.
One guess where Previn got his inspiration!! There are so many great Jazz Pianists!!!! They cannot possibly all fit in a list of 36 musicians!!! I guess the first 36 pianists are some of the best! Lists are a good way of focusing the mind, by making us consider who else could be there. Duke Ellington! What makes a great pianist, in any style of music, is not how fast or how many notes he can play, but his ability to develop the richest variety of colors.
I say: No way Jose! Awesome list! Take Five is consistently regarded as the greatest Jazz tune of all time by many. Dave was also the second Jazz artist to be on the cover of Time Magazine, only second to the venerable Louis Armstrong. Barry Harris? Nina Simone on keys as great a pure pianist as anyone?
Billy Taylor? Randy Weston? I really think this is difficult work. In time, Benny Green will need to be on the list as well. Maybe the original list was only 36 men. The best of all Jazz Pianist ist Keith Jarrett! In the combination of musical technique und being a great composer. Great list. WK is top ten for me. But the big name often overlooked is Sonny Clark — unmatched feel. Erroll Garner is a forgotten genius, should be placed at no.
Ketil Bjornstadt 3. Ahmad Jamal 4. Joe Zawinul 5. Herbie Hancock 6. Claude Bolling 7. Mc Coy Tyner 8. Hiromi 9. Oscar Peterson Gonzalo Rubalcaba These are the pianists who define jazz today. And it introduced modes and greater freedom to jazz. Next Bill would form a jazz trio that revolutionized the piano trio by making each instrumentalist, not merely supportive of the pianist, but a contributor of equal importance. Moreover, Bill kept the flame going, traveling round the world, too busy to go into a recording studio.
Coltrane has always been the first—though after Elvin and McCoy left him, the music of his last year was chaotic, obvious, cacophonous—leading to mass exits. Bill, on the other hand, completed his archetypal journey be going full circle. Never forcing a things while maintaining the same body and hand position during loud or soft passages Keith simply lacked this physical advantage, making things worse when he stood up while playing.
He was one of the few remaining, one of the last, groups in jazz that continued to carry the flame. The lives of other Romantic composers—Schubert, Schumann, etc.
But the sublime beauty and powerful emotion often thunderous in his last period, to Sept. You forgot Kenny Drew and Cecil Tayler should have had a higher range. And Scott Joplin on the list? Being an Old Cool Cat, I think that it is difficult to choose the top 50 let alone 36! Also worth a mention was Joshua Riffkin playing Scott Joplin. Diana Kroll mentioned by others continues to grow in stature, and should make the top Old hands playing very sweet music. She is much admired by jazz pianists and the few jazz radio stations that still exist e.
I think she should have made the list. No one has a timeless list of The Greatest. For instance we could compile a list of the best percussive players the list would completely change — if you get my drift.
Alan Broadbent, Aaron Diehl, Hiromi, there are so many out there. A list of the ten greats certainly would include Tatum, Evans, Bud Powell. Shearing, Oscar, Michele Le Grand for the few of us who have heard him live. Bill Charlap deserves recognition. Monk is in the Pantheon, not for his playing, but for the totality that he brings to the genre. They surely must be up there with the best. Brubeck was one of the most innovative pianists of his time.
Nat king Cole was a jazz pianist before he became a singer. So please give credit where credit is due. I think there are two important ones missing. First, Lennie Tristano had a bigger influence on jazz piano than most people think about.
Tristano contributed some extremely interesting rhythmic perspectives. Secondly, Clare Fischer had a huge influence, and no one as far as I could see has mentioned him.
Herbie Hancock, several times during interviews, has given Clare credit for a significant part of his harmonic knowledge. And the list has 36 pianists because there are 36 black keys on the piano?
Wow, Bill Evans before Oscar Peterson. Certainly Fats Waller should have been further up the list, and what about James P. How Nat King Cole was left out boggles the mind, he was only crucial in developing the Jazz trio, a format that made Bill Evans and so many others so popular.
Bill Evans is the greatest of all jazzpinaist. Oscar Petersson as you mentionedmissused his tecnical ability. Bill evans had an nusicality creativity and a deep the is unmatched by any player.
His beautifully sound and inovativ chord and sofisticated rythm was outstanding. He manged to allways play with such an high level despite his drug problem. He was a genious that contributed to the music as the great classical composers. Bill is overrated. Herbie ranks higher as a complete pianist. And there is no way he should be higher up the list than Bud Powell. Lenny Tristano? Oh, I know. Lenny Tristano! How about Lenny Tristano?
Or Dave McKenna. Don Shirley? Not sure what category he goes in. Nat King Cole was marvelous. And now heresy time. Second to none. But his playing is mechanical and soulless. After hearing a few songs I just want to move on to someone with with some heart in their playing. The top 10 is MINT………. McPartland because apart from her undoubted talent she was very gracious when I spoke to her between sets at the Hickory House.
At 88 yrs I have heard most of the musicians on the various lists. Doozy - Benny Carter - Songbook Volume II (CD, Album)
, Search For The Hero - M People - Bizarre Fruit (Cassette, Album)
, Everlasting Love - Various - Sixties Hits (CD)
, Vase Clos 5 - Jack Dove - Vase Clos (CDr, Album)
, Sugar In My Bowl - Nina Simone - Let It Be Me (CD, Album)
, The Saturday Boy - Billy Bragg - Brewing Up With Billy Bragg (Vinyl, LP, Album)
, Jesus Metastasi - Various - 15 Ways Vaginal Pornoperation (CDr, Album)
, Nibbio - Taras Bulba - Taras Bulba (CD, Album)
, With Or Without You - Various - Hitbreaker Vol. 2 (16 Original Hits) (Vinyl, LP)
, Omoyi - Evoloko Joker Abrahama* Avec Le Langa Langa Stars - Evoloko Joker Abrahama Is Back (CD, Albu
, Parts & Labor - Receivers (Vinyl, LP, Album)