New Generation of Great Jazz Pianists?
hi all=) i'm just wondering who are the people in the new generation of jazz piano nowadays (aside from keith jarret). i've been listening to different "legends" for some time now, but it would also be nice to listen to how the new jazz pianists are taking on standards, as well as creating their own compositions=) maybe they have new ideas or styles=d
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diana krall?
isn't jarret in his 60's? or around there?
peter cincotti, jason moran, brad meldau
i'd say diana krall and harry connick jr. for the next generation up.
peter cincotti, jason moran, brad meldau
i'd say diana krall and harry connick jr. for the next generation up.
i dunno if i would call peter cincotti "the new generation of jazz piano".............he's basically a good vocalist with some piano chops.(same for diana krall) harry is a different story..........this is just my opinion.
my list of people would be:
brad mehldau
jason moran
geoff keezer
kevin hays
robert glasper
even younger:
aaron parks
lawrence fields
jonathan batiste
my list of people would be:
brad mehldau
jason moran
geoff keezer
kevin hays
robert glasper
even younger:
aaron parks
lawrence fields
jonathan batiste
https://www.louisianamusicfactory.com/showoneprod.asp?productid=4880 check out these small clips of jonathan batiste. he is so swingin.
eldar is pretty sick
how?
jv'
because harry is actually a great jazz pianist with an original sound. i can pick out harry's playing in a heartbeat(in the same way i can miles, or trane, or other great musicians with their own unique sound).
"eldar is pretty sick"
i was afraid that name would come up in this thread. he plays like a machine.
"eldar is pretty sick"
i was afraid that name would come up in this thread. he plays like a machine.
not exactly new to the scene, but how about joey calderazzo and larry goldings.
-j
-j
is diana krall a lezbo? she looks and talks like one.
i would recommend you to check out some of the new norwegian pianists like håvard wiik, anders aarum and bugge wesseltoft... i would also recommend bobo stensson. amazing swedish pianist..
"is diana krall a lezbo? she looks and talks like one."
she's married to elvis costello.
she's married to elvis costello.
some young guys who deserve attention are sam barsh (aveshai cohen trio) and aron goldberg. they both have a lyrical style and are strong composers.
i think harry connick's an impressionist. for a while, he was doing impressions of monk. then he got stuck on sinatra for a while. i never really cared for him.
i think diana krall's a fine pianist, more so than she's given credit for. for a long time i never listed to her, because i am prejudiced against singers!
i think hiromi should be on that list, even though she's not pure jazz.
i think diana krall's a fine pianist, more so than she's given credit for. for a long time i never listed to her, because i am prejudiced against singers!
i think hiromi should be on that list, even though she's not pure jazz.
the only pianist i see that has broken new ground in the names above is brad mehldau.
as much as i love good hard swinging music that diana krall and other "up and coming" pianists can play, and as much as i enjoy chick corea copy artists such as hiromi, they aren't breaking any new ground at all. just playing the same old stuff that other people have been playing, and though they add their own twist, it's nothing new in the big picture.
brad mehldau actually has created some new stuff with the help of guys like walter norris and keith jarret to initially break the new ground.
now, don't mistake what i said to mean that i don't like the same old stuff with new twists. monty alexander is still one of my favorite pianists and he hasn't changed what he does for a long long time.
but we are talking about breaking new ground here.
i think aaron parks has a good chance at really making his own voice heard, i'm interested in seeing what he comes up with as he gets more musically mature. remember, he is still quite young, maybe not even old enough to drink yet (though i can't recall exactly how old he is).
as much as i love good hard swinging music that diana krall and other "up and coming" pianists can play, and as much as i enjoy chick corea copy artists such as hiromi, they aren't breaking any new ground at all. just playing the same old stuff that other people have been playing, and though they add their own twist, it's nothing new in the big picture.
brad mehldau actually has created some new stuff with the help of guys like walter norris and keith jarret to initially break the new ground.
now, don't mistake what i said to mean that i don't like the same old stuff with new twists. monty alexander is still one of my favorite pianists and he hasn't changed what he does for a long long time.
but we are talking about breaking new ground here.
i think aaron parks has a good chance at really making his own voice heard, i'm interested in seeing what he comes up with as he gets more musically mature. remember, he is still quite young, maybe not even old enough to drink yet (though i can't recall exactly how old he is).
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by Scot Ranney on 05/21/2006, 20:23
"brad mehldau actually has created some new stuff with the help of guys like walter norris and keith jarret to initially break the new ground."
and we mustn't forget fred hersch.........brad's old teacher. do you not see jason moran as breaking new ground? sure, he has elements of his old teacher's(jaki byard) style, as well........but i think everyone is going to have that to a certain extent. he has definitely crafted a unique voice. kevin hays is another guy that really has his own sound.............particularly his comping. i would say he is the best comper of the younger guys on the scene. as far as aaron, well, his musicality becomes more and more refined everytime i hear him. he is sounding fabulous. i just got a bootleg from a recent show he did......so killin. there is never going to be an artist that is completely original, but there is definitely a big difference between those who push the music forward and those who spend most of their time mimicing. diana krall is a good pianist, but she's never reaching for anything. same goes for cincotti. but harry?.........harry reaches. i've never heard him play a tune where he didn't reach for something, rhythmically or harmonically. the same type of reaching can be heard in a lot of his arrangements. he is not afraid to sound dirty.....sure he's influenced by monk, and that is going to coime out in his playing. but, would you say that art tatum was doing "impressions" of james p. johnson when he played stride? no, because art was always reaching....so, we forget about the fact that he has a lot of influences in his playing, and just focus on him as an artist.
question for cynbad..........what is "pure jazz"?
and we mustn't forget fred hersch.........brad's old teacher. do you not see jason moran as breaking new ground? sure, he has elements of his old teacher's(jaki byard) style, as well........but i think everyone is going to have that to a certain extent. he has definitely crafted a unique voice. kevin hays is another guy that really has his own sound.............particularly his comping. i would say he is the best comper of the younger guys on the scene. as far as aaron, well, his musicality becomes more and more refined everytime i hear him. he is sounding fabulous. i just got a bootleg from a recent show he did......so killin. there is never going to be an artist that is completely original, but there is definitely a big difference between those who push the music forward and those who spend most of their time mimicing. diana krall is a good pianist, but she's never reaching for anything. same goes for cincotti. but harry?.........harry reaches. i've never heard him play a tune where he didn't reach for something, rhythmically or harmonically. the same type of reaching can be heard in a lot of his arrangements. he is not afraid to sound dirty.....sure he's influenced by monk, and that is going to coime out in his playing. but, would you say that art tatum was doing "impressions" of james p. johnson when he played stride? no, because art was always reaching....so, we forget about the fact that he has a lot of influences in his playing, and just focus on him as an artist.
question for cynbad..........what is "pure jazz"?
that's pretty subjective, dalty. however, the bass player sitting with me at hiromi's performance said he thought her stuff sounded more like progressive rock. shades of pat metheny -- and i would agree.
i guess i meant "mainstream jazz".
we can sit here and analyze and compare pianists until we are blue in the face, but these people are actually out there playing. you know, the "shut up and play" thing might apply in some of these discussions.
every single one of us, and them, is unique in the universe and nobody will hear or play or create in exactly the same way.
comparisons will kill you.
i guess i meant "mainstream jazz".
we can sit here and analyze and compare pianists until we are blue in the face, but these people are actually out there playing. you know, the "shut up and play" thing might apply in some of these discussions.
every single one of us, and them, is unique in the universe and nobody will hear or play or create in exactly the same way.
comparisons will kill you.
""mainstream jazz"."
i don't really think there's such a thing anymore. the lines are so blurry. it's really starting to become "improvised music".....but not even always that with all of the through-composed stuff out there. ever since jazz has ceased to be dance music, the line has blurred more and more each day. i found it hard, at first, to accept hiromi's stuff as jazz......but, in reality....it's no different than all of the straight 8th stuff that other cats are doing. it just has a different groove. but, swing is not the only groove anymore.........so many other things.
"comparisons will kill you."
i disagree. i think comparisons are how we define our tastes as artists. if there were no comparison, there would be no art, as artists would have nothing to strive for.
i don't really think there's such a thing anymore. the lines are so blurry. it's really starting to become "improvised music".....but not even always that with all of the through-composed stuff out there. ever since jazz has ceased to be dance music, the line has blurred more and more each day. i found it hard, at first, to accept hiromi's stuff as jazz......but, in reality....it's no different than all of the straight 8th stuff that other cats are doing. it just has a different groove. but, swing is not the only groove anymore.........so many other things.
"comparisons will kill you."
i disagree. i think comparisons are how we define our tastes as artists. if there were no comparison, there would be no art, as artists would have nothing to strive for.
i think striving to improve ourselves is the goal. at least that is what i am hearing from brad meldhau.
gotta be with dalty on this...jason moran / kevin hays (check out lift! - chris potter) are definitely some original voices.
hi guys,
i have one for you. a pianist who i belive have got his own voice and have broken new ground. the name is jackie terason (not sure how he spells it)
i guess he is in his 30th. but thats still young after my scale
nihonjin
i have one for you. a pianist who i belive have got his own voice and have broken new ground. the name is jackie terason (not sure how he spells it)
i guess he is in his 30th. but thats still young after my scale
nihonjin
"i think striving to improve ourselves is the goal. at least that is what i am hearing from brad meldhau."
exactly, but, without some barometer with which to measure the difference between what is good and bad, how would we know what it means to improve? there is no set parameter by which artists improve. they improve by examining other art and molding their own idea of what is good. part of this process involves the comparison of art to come to a conclusion as to what an artist thinks is good, bad, or mediocre. yes, it's different for everyone, but the process is important. you'll notice that these discussions are about comparing one artist to another. i don't think i've ever seen a post where a person compared their own art to someone elses. it's usually comparing others. this serves as a healthy dialogue, in my opinion.
pringe, the lift cd is really good. kevin's solo on stella by starlight is amazing.
exactly, but, without some barometer with which to measure the difference between what is good and bad, how would we know what it means to improve? there is no set parameter by which artists improve. they improve by examining other art and molding their own idea of what is good. part of this process involves the comparison of art to come to a conclusion as to what an artist thinks is good, bad, or mediocre. yes, it's different for everyone, but the process is important. you'll notice that these discussions are about comparing one artist to another. i don't think i've ever seen a post where a person compared their own art to someone elses. it's usually comparing others. this serves as a healthy dialogue, in my opinion.
pringe, the lift cd is really good. kevin's solo on stella by starlight is amazing.
the whola album is strong! but on the same tune, have you closely analysed his playing at the start of the track....what voicings!! they take some looking at.
actually, yes. when i earlier stated "i would say he is the best comper of the younger guys on the scene.", i actually had that particular tune in mind. his voicings on that tune are really fresh.
ok. i'll stick my face in this too.
i did listen to jackie terrason. i couldn't really say i was enjoying it that much. he's a skillful player and all but when it comes to new ground, i have yet to find anyone other than mehldau as breaking new ground (i have not heard all the players in dalty's list so i'm not referring to that list specifically -- just new players in general).
mehldau, as i have said in many many posts already, is introducing many things in his music that is not a rehash of the old. he uses polyrhythms, contrapuntal playing and ways never seen before in jazz. yet you can see that his music is still very mainstream jazz. these are new subtleties in playing. he is combining classical music and odd-meter playing in ways that one can say did not come from african american roots, together with virtuostic (but not showy playing).
i was not paying much attention to mehldau until i started studying his work more closely. the more i study him, the more he amazes. and he appears to be getting even better as time passes.
where mehldau is similar to jarret (and they are very different), is that i find both to be very melodic. mehldau, is able to play harmonically complex and dissonant stuff without the improv being a regurgitation of licks. it sounds to me that he uses melody to overcome the weight of dissonance and does it very well.
i did listen to jackie terrason. i couldn't really say i was enjoying it that much. he's a skillful player and all but when it comes to new ground, i have yet to find anyone other than mehldau as breaking new ground (i have not heard all the players in dalty's list so i'm not referring to that list specifically -- just new players in general).
mehldau, as i have said in many many posts already, is introducing many things in his music that is not a rehash of the old. he uses polyrhythms, contrapuntal playing and ways never seen before in jazz. yet you can see that his music is still very mainstream jazz. these are new subtleties in playing. he is combining classical music and odd-meter playing in ways that one can say did not come from african american roots, together with virtuostic (but not showy playing).
i was not paying much attention to mehldau until i started studying his work more closely. the more i study him, the more he amazes. and he appears to be getting even better as time passes.
where mehldau is similar to jarret (and they are very different), is that i find both to be very melodic. mehldau, is able to play harmonically complex and dissonant stuff without the improv being a regurgitation of licks. it sounds to me that he uses melody to overcome the weight of dissonance and does it very well.
i haven't really gotten into alot of mehldau(which sounds like something i could benefit from doing)...
but of all young jazz pianists i can say that hiromi is my favorite. she is a compositional genius and i think her playing speaks for itself.
but of all young jazz pianists i can say that hiromi is my favorite. she is a compositional genius and i think her playing speaks for itself.
last night, i managed to record part of brad mehldau playing solo piano on betj (jazz cable channel). i've been looking for repeats of this. i didn't catch the whole thing but most of it.
i wanted to study what he was doing. it was just amazing. just a few minutes before, i was watching some great classical pianist on pbs, which was already impressive as heck. then to see brad after.
here's mehldau, playing the same complexity as listz stuff, but this is being improvised on the spot. once again he's doing this fast stuff on the lh. or he would trade solos between lh and rh. it's not about the virtuousity though. the sound he creates is so full even in solo piano. the varied rhythmic patterns between lh and rh just fills in the whole sound.
on the tune riverman, he plays an ostinato on the lh and then maintains the 5/4 pulse on the lh. then he uses the same 5/4 pulse on the rh except it is 3 beats apart from the lh. then he switches the function of the hands. lh does the solo, right hand does the ostinato. on his recording with his trio, he's doing a solo with both hands with different meters in each hand.
i'll have to write out a quote he said in the show later. the guy is humble as heck. but some of the sounds he manages to get out of the piano almost sounds unattainable.
i wanted to study what he was doing. it was just amazing. just a few minutes before, i was watching some great classical pianist on pbs, which was already impressive as heck. then to see brad after.
here's mehldau, playing the same complexity as listz stuff, but this is being improvised on the spot. once again he's doing this fast stuff on the lh. or he would trade solos between lh and rh. it's not about the virtuousity though. the sound he creates is so full even in solo piano. the varied rhythmic patterns between lh and rh just fills in the whole sound.
on the tune riverman, he plays an ostinato on the lh and then maintains the 5/4 pulse on the lh. then he uses the same 5/4 pulse on the rh except it is 3 beats apart from the lh. then he switches the function of the hands. lh does the solo, right hand does the ostinato. on his recording with his trio, he's doing a solo with both hands with different meters in each hand.
i'll have to write out a quote he said in the show later. the guy is humble as heck. but some of the sounds he manages to get out of the piano almost sounds unattainable.
you, me, anyone sitting at a piano attempting to master its mysteries is potentially breaking new trails to jazz immortality. they, the listener, just haven't caught on to our stylings yet. (-:
go to the keys and play a minor second interval, hear that dissonace? you are on your way to greatness! be different. on to the next interval...step out side the box, be unique and they will come.
go to the keys and play a minor second interval, hear that dissonace? you are on your way to greatness! be different. on to the next interval...step out side the box, be unique and they will come.
lol. yep. i'm just on the edge of greatness here. that plunkity-clunk sound? ahhh, that's another take on monk. that uneveness? that's intentional changes to the rhythm in increments of 64th notes. dynamics? i don't like variations in my sound. i like it all to sound even. mostly loud. on the improv, notice the repetition of ideas. that's to really embed it into the listener's mind. ;-)
where's my record contract? what are these record companies waiting for!
where's my record contract? what are these record companies waiting for!
ah! ah! a believer! let'a all bow and praise those 88s
was diana krall classically trained?
if you can call it jazz, ethan iverson is certainly "breaking new ground."
by the way, i would have loved to sit in on a lesson between fred hersch and brad mehldau...
by the way, i would have loved to sit in on a lesson between fred hersch and brad mehldau...
i'm surprised no one mentioned benny green! i also think eldar djangirov and taylor eigsti have promising futures.
anthony
anthony
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