![]() ![]() ![]() If Evans wasn’t there, there’s no inspiration for Hancock, Corea or Jarrett to build on that model and consequently Meldhau. The fact is that Evans changed the whole paradigm for jazz piano, the lexicon or whatever fancy names you’d like to call it. Still, as a person whom I respect in terms of his achievements in establishing an identity in jazz, with considerable intellectual gifts and jazz history knowledge, I find Mehldau’s statements both puzzling and frankly irritating. ![]() It’s kind of like saying, “Can you stop pigeon-holing whom you think I sound like and just listen to what I’m doing?” His strongest stylistic influence to my ears is Keith Jarrett, although he also denies Jarrett’s trio influence, which he has stated as “not caring for.” Some have termed this condition the anxiety of influence. There was also the cause célèbre from pianist, Brad Mehldau who on a few occasions, in liner notes and in a double interview with Pat Metheny, basically said that Bill Evans was “not that great a pianist.” **(see below update 11/13/14) I attributed some of his prior commentary against Evans as a result of irritation from the constant critical comparison (in this interview and before) which I agree is basically unfounded. Although generally held in high regard by most, Evans has had his detractors even when he was considered the “it guy.” And recently, let’s say in the last 10-15 years, I’m finding less support for his contributions generally, more bashing on the latest jazz water cooler, jazz message boards, and (for some reason) belittling from certain geographies. ![]()
0 Comments
Leave a Reply. |
AuthorWrite something about yourself. No need to be fancy, just an overview. ArchivesCategories |