1992
Label: Philology - W 211.2 • Format: CD Album • Genre: Jazz • Style: Contemporary Jazz, Post Bop

Your uncle went through a great deal of trouble to leave you the saxophone. Accessibility links Skip to main content Keyboard shortcuts for audio player. NPR Shop. He was Facebook Twitter Flipboard Email. September 29, PM ET. Enlarge this image. With his quintet, Woods plays more obscure material — including forgotten show tunes — that many other jazz musicians pass up in favor of standards.

However, in the ballad "Lover Man," Woods proves that he's not lost interest in cutting his own path through a well-trodden tune. And McPartland plays a solo version of one of her tunes, "Twilight World.

Next, the musicians get together for Irving Berlin 's "Blue Skies. The tune allows Woods to stretch out on full, sorrowful notes. But it is hard to restrain yourself. Things pick up again in the swinging "How High the Moon," a boilerplate tune for many bebop arrangements, including supreme alto Charlie Parker's "Ornithology. The closer for this episode of Piano Jazz is a hard-driving take on "Fine and Dandy," with drummer Bill Goodwin setting a brisk tempo as Woods lights up the changes and McPartland takes the tune to the outfield with climbing chords.

It's been a great time," McPartland says. Woods agrees, adding, "Thank you. Right back at you, old friend. Fabiano do Nascimento plays a Tiny Desk home concert. NPR hide caption. Hear him play an intimate set in New York and on our radio show as we trace his story to his current gig as band leader of The Late Show with Stephen Colbert. Vibraphonist Stefon Harris and double bassist Ben Williams.

Courtesy of the artist hide caption. He performed five songs for our Tiny Desk quarantine series. This time around, he takes center seat, so to speak, from the comfort of his sunny New Jersey home, Album). Jon Batiste performs during Tiny Desk on November, 8 I love Mozart like I love Paul Bley.

Before I met Baker I had been a very extroverted player. But Chet played so few notes—only the essential ones. He was so melodic that he helped me learn something very difficult: to make the piano sing. Not including his appearances on other albums and with a discography of close to 80 recordings under his own name, attempting to write a feature on this extraordinary musician is a daunting challenge.

With this in mind, while the following feature on Enrico Pieranunzi may not represent success in this quest, it is at least a start. Both began studying piano at an early age: Petrucciani at the age of four and Pieranunzi at the age of five; each urged on by fathers who were guitarists. Both were classically trained for many years and, New Lands - Phil Woods and Space Jazz Trio - Live at the Corridoia Jazz Festival (CD a consequence, developed a style of playing that fused classical technique with Jazz.

For him each piece was a living thing he would return to again and again and whose features, whether happy or sad, he rediscovered every time. He knew the lyrics to almost all of the titles we played, the stories they Album), and in his performances he revived those stories. Pieranunzi issued his first LP in Since then, he has performed widely with his own group at European and American jazz festivals and in a variety of European Jazz clubs. His recorded work falls basically into three categories:.

Among pianists working in the harmonic tradition of the late Bill Evans, Enrico Pieranunzi has achieved a rare individuality, bringing an unrivaled sense of line and sheer Album) to New Lands - Phil Woods and Space Jazz Trio - Live at the Corridoia Jazz Festival (CD style.

Along with the advanced harmonic language, Pieranunzi belongs to what has been described New Lands - Phil Woods and Space Jazz Trio - Live at the Corridoia Jazz Festival (CD a native bel canto tradition that extends to classical pianists as brilliant as Arturo Benedetti Michelangeli and Maurizio Pollini and film composers like Nino Rota and Enrico Morricone, both of whom he has performed with on a number of well-known Italian movies.

His latest CD is dedicated to the music of Domenico Scarlatti, which not surprisingly combines jazz improvisation with classical music. It was the year he was born. Yet, despite the "generation gap" in their ages, and despite the distance from Rome, Italy to Pine Bluffs, Iowa where Art Farmer first saw the light of dayArt Farmer and Enrico Pieranunzi are very much soul mates.

They both have their roots in bebop, they both are cracker-jack soloists at all tempos, and they both have unashamedly wide romantic streaks in their playing. This album may be named after the Egyptian goddess of the moon, but there is plenty of sunshine in this collection of three bebop anthems, three Pieranunzi originals, and a couple of pop standards, and more than several bolts of lightning.

A solid, often delightful session. But the field is a shrunken one, compared to the glorious days of jazz.

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