Portrait of Scott Joplin.
The history of the jazz, for having begun with the ragtime, began also with the piano like protagonist, although it is true that the first bands of jazz of New Orleans were lacking this instrument. The piano has a series of advantages on other instruments typical of the jazz: it is polyphonic and not monophonic like the wind instruments, and it does not limit itself to the melodies execution, but it allows the rhythms execution and of armonias, what does of him a more finished capable instrument of a good performance like instrument solist.
The first pianist of jazz of certain importance was Scott Joplin known as “The king of the composers of ragtime”. Jelly Roll Morton, one of the first giants of the jazz and the person who claimed for herself the title of “Inventor of the Jazz”, he was the first big composer of jazz in the strict sense of history Of Harlem there were proceeding James P. Johnson, Willie “The Lion” Smith, Lucky Roberts, Duke Ellington y Fats Waller and it is of the same place from which the famous person comes stride, a piano style characterized by the alternation of a note of low in odd and times one according to the right hand in the times pares.
Between the boogie-woogie musicians Sam Price stood out, Jimmy Yancey y Meade Lux Lewis, who popularized the honky tonk, a similar style that it takes as a flag its “Honky Tonk Train Blues”. Years later, heir of this style, Fats Domino, would settle like one of the big figures of R&B and of the rock and roll.
Earl Neighing was at the head of a third branch of the early piano development, known as style “of wind”, and developed with posteriority to the previous ones. The Neighings piano supposed the beginning of a school that it would have like main followers to Mary Lou Williams, Teddy Wilson, Nat King Cole and – especially – Bud Powell, in addition to countless pianists contemporaneos. But it is in Art Tatum considered one of the biggest natural talents that it has given the jazz along its history, in whom there came together everything what had been achieved in the jazz piano up to the epoch in which it became famous, this is, in the middle of the decade. Bud Powell it represents another end of the virtuosity, transforming the vocabulary bop of Charlie Parker to adapt it to the piano. Its legacy is present in practically all the pianists of jazz who arose behind him and its figure is an essential modality the hour before understanding the modern jazz piano
The pianist of Canadian jazz Oscar Peterson.
Between the pianists who followed Tatum there were Billy Taylor, Martial Solal, Hank Jones, Jimmy Rowles, Phineas Newborn and famous Oscar Peterson, while from Bud Powell McCann or Fritz Pauer were coming To The Haig, George Wallington, Lou Levy, Lennie Tristano, Hampton Hawes, Pete Jolly, Claude Williamson, Joe Albany, Dave McKenna, Toshiko Akiyoshi, Eddie Costa, Wynton Kelly, Russ Freeman, Harold Mabern, Cedar Walton, Mose Allison, Network Garland, Horace Silver, Barry Harris, Duke Jordan, Kenny Drew, Walter Bishop, Elmo Hope, Tommy Flanagan, Bobby Timmons, Junior Mance, Ramsey Lewis, Ray Bryant, Horace Parlan, tete Montoliu, Roger Kellaway, Roland Hanna.
Between the hard bop pianists it is necessary to stand out to Network Garland, Ray Bryant, Wynton Kelly, Junior Mance, They McCann, Ramsey Lewis, Bobby Timmons, Tommy Flanagan, Barry Harris and Horace Silver. Lennie Tristano was a crucial figure in the history of the piano of jazz, emphasizing its contributions to the education, the pioneering adoption of certain common practices between the contemporary classic musicians and its figure like precursor of the free jazz The original Thelonious Monk for his part, with some of the most famous standards and versionados of the history of the jazz, it would influence significantly pianists like Randy Weston, Herbie Nichols or Mal Waldron.
Bill Evans in the Montreux Jazz Festival (Switzerland) in July.
Bill Evans was one of few white musicians in being admitted into the circles of the hard bop. Indicated by the criticism as “The Chopin of the modern piano of jazz” – Evans was, also, the first pianist of modal jazz, and today it is considered, along with McCoy Tyner, like the pianist more infuyente of all the times, allowing to feel its legacy in the work of Herbie Hancock, Keith Jarrett, Chick Corea or Brad Mehldau.
Between the pianists to the margin of the established currents we can quote Jaki Byard, Milt Buckner, George Shearing, Dave Brubeck, John Lewis or Erroll Garner, of whom in turn divided Ellis Larkins and Ahmad Jamal. En a different orbit, inside the third stream, stands out the Frenchman Jacques Loussier.
In the free Cecil Taylor stood out jazz, but also there stood out other pianists who developed its style from him or of independent form: the Americans Paul Bley, Carla Bley, Ran Blake, Sun Ra, Burton Greene, Dave Burrell, Bobby Few, Muhal Richard Abrams, Don Pullen, Anthony Davis y Amina Claudine Myers; the Britons Howard Riley and Keith Tippett; the Dutches Fred Van Hove, Leo Cuypers y Misha Mengelberg; the Belgian John Fisher; the German Alexander von Schlippenbach; the Austrians Dieter Glawischnig and Friedrich Gulda; the Japanese Yosuke Yamashita; the Swiss Irene Schweizer; and the Italian Giorgio Gaslini.
Andrew Hill was an unclassifiable pianist whose work always orbited concerning the borders of the free jazz; Dollar Brand, from a similar perspective, it fused the sounds of its native South Africa with the sensibility and the skill of the classic musicians, while Keith Jarrett revolutionized the world of the jazz with its completely unexpected concerts to alone piano and with its later standards explorations with its trio
Herbie Hancock touching in The Round House, Camden.
Herbie Hancock is, as its mentor Miles Davis, one of the most revered figures and simultaneously controversial of the history of the jazz, with a risky and extraordinary work that has covered all the developments that have taken place in the world of the R&B, of the funk and of the jazz rock, always repeatedly returning to the jazz acustico. Chick Corea comes, like Hancock, from the musicians’ circle that they reached fame immediately after its collaboration with Thousands Davis, and it is considered to be one of the key figures of the evolution of the jazz from the decade. Other pianists and teclistas of jazz a merger there are Patrice Rushen, Joe Zawinul, George Duke, Ben Sidran, Milcho Leviev, Stu Goldberg, Bob James or Jan Hammer, as well as the Dutch Jasper they go ‘t Hof and the Germans Joachim Kühn and Wolfgang Dauner, excellent all of them musical that have expressed themselves often also with the electrical piano or synthesizer
The pianist McCoy Tyner.
The most important pianist of the mainstream of the jazz from the beginning of the decade of is, for Berendt, McCoy Tyner, a pianist who arose in the group of Coltrane and who for many years has received the recognition as better pianist of the scene in most of the surveys of jazz in world The figure of Tyner has been essential for the development of a sinnumero of later pianists like Mulgrew Miller, Hal Galper, John Hicks, Hilton Ruiz, Joanne Brackeen or the Belgian Michel Herr; for the whole generation of pianists neo-bop: Onaje Allan Gumbs, Kenny Barron, Kenny Kirkland, George Cables, Mickey Tucker, Mike Wofford, Andy LaVerne, John Coates, Jim McNeely or Mark Soskin; and for a good number of European musicians as the Britons Stan Tracey and Gordon Beck.
Of between the contemporary pianists of the mainstream there stand out Geri Allen, Uri Caine, Cyrus Chestnut, Brad Mehldau or Michel Petrucciani, between many others. In the world of the Latin jazz there stand out Eddie Palmieri, Hilton Ruiz, Mongrel Valdes, Gonzalo Rubalcaba, Michel Camilo or Eliane Elias. Of the pianists who have fused its passion for the Fleming with the jazz stands out, over all, Chano Dominguez.