Jazz for aficionados

Coltrane, Getz, Kelly live clip is so easy to like.

Mary_jo and Alex, I will write more, and when I write, I will have you two in mind.

Book O-10, book...cant figure out yet why are you waiting. We are not getting younger you know...

Mary_jo, Ahmad Jamal has two versions of this one song, which one do you like best?
 

  https://www.youtube.com/watch?v=kVnCnmIrDgU


    https://www.youtube.com/watch?v=3jAn4_0AUmM


The title is "If I find You Again"; that's such a beautiful thought; I imagine we all have experienced a time when the sun was always shining, even when it was raining if we were with a particular person. Paradise was right here on earth, as long as we were with that particular person. This song makes me think of that impossible thought "If I Find You Again"

I'm sure if you rifle your memory, there is someone in your past that this song applies to. Whether there is or not, maybe you still think this is a beautiful song.

Alex, interesting comments re guitar players. Burrell, Green and Montgomery, all great players. I find Montgomery’s time feel and phrasing a perfect compliment to Kelly’s. You have always seemed very tone conscious; a good thing, so I can understand your preference for Burrell’s tone. Re your question:

A piano player’s tone is the result of a few things; some more impactful than others. When one strikes a piano key one can “shape” the resulting tone. This is the player’s “touch”. I don’t know if you have ever sat at a keyboard. When your finger strikes a key there is certain amount of “play” (time, or movement of the key) between the moment when the finger initiates the motion and the moment when the hammer actually strikes the piano string and produces a sound. That “play” also has a certain amount of mechanical resistance which varies instrument to instrument.  This is a characteristic of that particular instrument’s “action”. 

How the player starts the motion (aggressively or gently and every step between) and then how the motion is controlled through that resistance and until the point when the hammer strikes the key affects the quality of the resulting tone. Brighter (Peterson), warmer (Evans), percussive (Monk). Added to the mix is, believe it or not, the player’s unique physical characteristics. An understanding of the impact of resonance on musical sounds makes it easy to understand why this would be so. In a sense, at the moment that the hammer strikes the string and a tone is produced, the instrument and the player (in a sense) become one. Of course, an accomplished player’s musical intent (expression) governs all this. When playing ANY musical instrument, the body has a way of following one’s ears to produce the tone that one hears in one’s head. However, for this to happen there has to be a deep connection with the instrument on a technical level (technical level does not refer only to the ability to play fast).

Lastly, and of less importance is the inherent sound of an instrument. Obviously, players are usually at the mercy of whatever instrument is available at the time, but some play a particular brand of instrument as much as possible. For instance, Oscar Peterson would usually only play Bosendorfers. When you’re a player of that stature you can demand that. Bosendorfers generally have a distinctive sound which can be heard in his “tone”.

Hope that helps.

Thanks Alex, I appreciate it .
But Sonny and Gene have way more soul  IMO .Kelly is certainly a great pianist but he just leaves me cold .
No doubt , my own fault .