Show Notes
In this episode, we discuss basic skills necessary to become proficient at playing Jazz.
This is for all instrumentalists, not just pianists.
I am available for online or in person study. Reach out to me at: [email protected]
Keith Davis Music
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More from Notes on Jazz!
Ted is my first Jazz Piano teacher. Although he and I have been in touch over the years, we haven’t actually talked for quite a while. Recently, we have been communicating more frequently, and I invited him to do an interview with me. I will post it here and on my podcast, Notes on Jazz. As a result, I’m taking some more lessons! Ted has continued to develop his skills and approach over the years. I find it very inspiring, and it fits naturally with where I am in my own path at this time. When the student is ready…..
Alan Hall is a great drummer and composer who has been living in Asheville, NC for the last few years. Alan and I met through Art Lande. Alan and Art have a years long musical and personal association and have played on several recordings together. Art was staying at Alan's home last year when he came to Asheville to perform. I had the good fortune to spend the day with them.
This is a spontaneously improvised thing that I thought you might like.
Jim Ridl is a great pianist! He's also a composer and bandleader and teacher. I recently had the pleasure of hearing him play at Furman University with the Tim Armacost Quintet. (I just interviewed Tim recently. See Ep 44.) I was particularly struck by Jim's touch and lyricism, by his command of harmony, and by his ability to improvise at length on a theme. He played a beautiful solo piano intro to Wayne Shorter's Infant Eyes that displayed all of these facets of his playing. He also displays great empathy and sensitivity, and strength, as an accompanist and ensemble player.
Tim Armacost recently brought his quintet to Furman, where I serve as an adjunct instructor. I was blown away! First, the band was great, world class. What brought it all together though, was Tim's wonderful playing and writing, and the conceptual approach he brought to the organization of the music. The thing that most impresses me about Tim's playing, is that it is thoroughly modern and contemporary, yet he maintains a sense of lyricism. His sound is big and warm, and he has complete control of expression and dynamics. He made the comment that he wrote the music with these specific musicians in mind, and it certainly works. And of course, it doesn't hurt to have Jim Ridl, Kenny Davis, Joe Locke and Rudy Royston taking care of business, as well.