NNNNNNp NNNNNNNNNNNNNNNNNNNNNNNNNNNNNNONNNNNNNNNNNNNNNNNNNNNNN{#1 3@5`79;=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`wy{} @` @ ` @ ` @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#Ao')+-/1!3A5a79;=?A!OEaGIKMO/SAUaW[]_a!Oeagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Aaǁ!Aaׁ١!AaAa " B b  !/!B!b!!!!!"!""#B"%b"'")"+"-"/1"#3B#5b#7#9#;#=#?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'}'(/(B(b((((()")B)b)))))#1 3@5`79;=?A C@E`GIKMOQ S@U`WY[]_a c@e`gikmoq s@u`wy{} @` @ ` @ ` @ ` @ ` ǀ ɠ @ ` ׀ ٠  @` @`!Aa   !Aa!!#Ao')+-/1!3A5a79;=?A!OEaGIKMO/SAUaW[]_a!Oeagikmoq!sAuawy{}!Aa!Aa!Aa!Aa!Aaǁ!Aaׁ١!AaAa " B b  !/!B!b!!!!!"!""#B"%b"'")"+"-"/1"#3B#5b#7#9#;#=#?$A"$CB$Eb$G$I$K$M$O%Q"%SB%Ub%W%Y%[%%_&a"&cB&eb&g&i&k&m&o'q"'sB'ub'w'y'{'}'(/(B(b((((()")B)b)))))JP_ATARI001AUTO DMDRUMKITS GMDEFAULT FAV TR-JAZZPIANCFG ٵu.XJAZZPIANPRG X/AJAZZPIANRSC "uJP001 MID dxwJP002 MID kr)JP003 MID k JP004 MID k&JP005 MID k+JP006 MID k%+JP007 MID ; k0IJP008 MID f kC4JP009 MID kQJP010 MID kYf&JP011 MID kckJP012 MID 7 k~JP013 MID x kcJP014 MID agCJP015 MID k8~JP016 MID  k"JP017 MID [ kxJP018 MID kjyJPBIO0 TXT R0JPMEMO0 TXT ^]JPTRIVI0TXT VuOVFIX1 PRG _README TXT DhnNEWDESK INF `. DM.. OVFIX1 PRG _`*,oB?< NA\O/?< ?<"NNTO*@ #6*P#.NA\O .Ю?</?<1NAPO8g<0f:gJy:g 82lм#28 y*N y.B( 8м#2#*P:8Nu<<f0#*Nu<<g# *Nu#*Nu<<gQ:NuQ:/96Nu$@ OMP1 DAT uwK6xOMP2 DAT $~M6xEFAULT FAV v6ICTION0TXT a6ICTION1TXT a$7. GM.. CANVAS DK gmCT470 DK QCT670 DK QCT680 DK QD10 DK F D110 DK F D20 DK F D5 DK F GENMIDI DK gm JV30 DK gmJV80 DK !K1200 DK DK1200PRIDK ,KAWAIK4RDK ItKAWAI_K4DK ItKORGM1 DK q{KORGM3R DK dKORG_O1WDK zMT32 DK MqMULTISNDDK gmPCD401 DK |=PCD_GM DK gmPROTEUS1DK vqPROTS1XRDK vqPSR400 DK QPSR500 DK QQY10 DK qSC55 DK gm SCC1 DK gm!SQ1 DK {"C?Current kit is Roland MT 32 (program defaults to MT32 settings)WCOL(& 2SSSPATTERNAVAILABLEb& &l&RTC&#$%&')*,-.01368<=>?@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:7<QG@@@@@ABCDTVVV$ "%CZZUZZZZZdddddddddd  Z&#"$'=BAA@ZZZ))*1,0.GOHPIIMJgfgg ) ffgjii663 ff4363TVVXXf]^hafffffff`f[W)))\\;fZ  !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:7<QG@@@@@ABCDTVVV$ "%CZZUZZZZZdddddddddd  Z&#"$'=BAA@ZZZ))*1,0.GOHPIIMJgfgg ) ffgjii663 ff4363TVVXXf]^hafffffff`f[W)))\\;fZ  !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:7<QG@@@@@ABCDTVVV$ "%CZZUZZZZZdddddddddd  Z&#"$'=BAA@ZZZ))*1,0.GOHPIIMJgfgg ) ffgjii663 ff4363TVVXXf]^hafffffff`f[W)))\\;fZ  !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  !3>9sdPUFPdddddddddddbbacdxi @@eeffghhhY\V`^^W_#;u!$"$AOOy)+00.'R&9999>//<32456m88TR96h7ORA$RGLPFHJEGFPLPofjibKKxwp}nursz|!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !3>9sdPUFPdddddddddddbbacdxi @@eeffghhhY\V`^^W_#;u!$"$AOOy)+00.'R&9999>//<32456m88TR96h7ORA$RGLPFHJEGFPLPofjibKKxwp}nursz|!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !3>9sdPUFPdddddddddddbbacdxi @@eeffghhhY\V`^^W_#;u!$"$AOOy)+00.'R&9999>//<32456m88TR96h7ORA$RGLPFHJEGFPLPofjibKKxwp}nursz|!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !3>9sdPUFPdddddddddddbbacdxi @@eeffghhhY\V`^^W_#;u!$"$AOOy)+00.'R&9999>//<32456m88TR96h7ORA$RGLPFHJEGFPLPofjibKKxwp}nursz|!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABEFEF$  J    "E1nZZZxZZZ((((((((dddddddddd ' t!'!-*00046;1::57KKKKKACrDOQPTTVNYZZ\eb^_gghhmehgmmmoppunvvtw1TttOKTPPxWW xXXX''''Kgqqqrrrr!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161?n}nPZ_fddddddddddT:;`_BKKKB\]^ ?GGG%,JJJJ/JZ/ 1LM5OOO*N..22 4O 4333+333FGG @ Q1-E6^P- cCCZJBBZZZZSZZ!ZZ8Z !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:n}nPZ_fddddddddddT:;`_BKKKB\]^ ?GGG%,JJJJ/JZ/ 1LM5OOO*N..22 4O 4333+333FGG @ Q1-E6^P- cCCZJBBZZZZSZZ!ZZ8Z !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK$  !1?sZZZZZZ((((((((dddddddddd"?? ;///???)@ *333@ 8##277 -=,,,,<GO74+:72^_ ! 11; ?3"""""""%""""""""!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK$  !1?sZZZZZZ((((((((dddddddddd"?? ;///???)@ *333@ 8##277 -=,,,,<GO74+:72^_ ! 11; ?3"""""""%""""""""!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:>CAQQ$  $ 1>=ZZZZZZZZdddddddddd***H\ >.UD!! !7_KAAC9/%M&@d 55S5I]I??!!! " ''" A6'R['@JR,[LcTcTR->!!$8E!"#$%&'()D!!$$&  s?9:;<=>@HC?????12345678Yo111119:CJQR9:CJQRD20 DK F D5 DK F GENMIDI DK gm JV30 DK gmJV80 DK !K1200 DK DK1200PRIDK ,KAWAIK4RDK ItCC*'$/*G055294<;HEA@?>=CBED67'  "[1?ZZZiZZZZdddddddddd  09 ON''''%% %%%%$#+5::39455d7777444; !" V`SE+`1TTTTTMTTHIKJG><'!*!"#$%&'()D!!$$&  s?9:;<=>@HC?????12345678Yo111119:CJQR9:CJQRD20 DK F D5 DK F GENMIDI DK gm JV30 DK gmJV80 DK !K1200 DK DK1200PRIDK ,KAWAIK4RDK ItC?Current kit is Roland MT 32 (program defaults to MT32 settings)WCOL(& 2SSSPATTERNAVAILABLEb& &l&RTC-$$.-B05;294=>:FECHGGKILJA@<W$  ! 6?ZZ}ZZZZZ((((((((ddddddddddffff** *``8_zH\R ,,iU-#k%//a00o:LvvvvDDD?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  !1?BZZZZZZZZddddddddddfdbihg@ XX<=<>????ABDGEF567924;q1233###{Z\__^`RPORUVWTKJMNolnm0.-0?#.!#.#$l!*%$&p )R@jjd(5Wbzcyvruxt}|!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  " j1?ZpxZZddxPxxddddceb4hg XX<=>?9%@ACDGEF567B24:q12(3###`Z\_Y^`aOPORUVWSKJMNNNNN0"$?#k-! .#$$N*w%$&/y)zoj;dmnWbfltqrqux{|s!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:@>><;F:BDG=4  "1>ZZZZZZZZ((((((((ccccccccddA1!!---}..~F s{ tttG!!!(I irrrr2r'[[##%65$5$ZZ<#gV3|3:Lk 9c@~l^^!r N>h!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:@>><;F:BDG=4  "1>ZZZZZZZZ((((((((ccccccccddA1!!---}..~F s{ tttG!!!(I irrrr2r'[[##%65$5$ZZ<#gV3|3:Lk 9c@~l^^!r N>h!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:JinZZZZxZdddddddddd )))**)  D ZSVUXX\[!"""$#'a$$$$$$$&,02-1455=>>>:;<877CBBB7;JJJJ$JJN$$$$$$$a$M$$$$$(MM! ))+MMMM) !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:JinZZZZxZdddddddddd )))**)  D ZSVUXX\[!"""$#'a$$$$$$$&,02-1455=>>>:;<877CBBB7;JJJJ$JJN$$$$$$$a$M$$$$$(MM! ))+MMMM) !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:?@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:B>@777768$P3331F//000....222J1111 ::1:G< *K$ DDDNN7DP!"#$%&'(;D!!""$!&'(( = j>?@ABC9:<=??????????12345678Yo11111111119:B>@777768$P3331F//000....222J1111 ::1:G< *K$ DDDNN7DP!"#$%&'(;D!!""$!&'(( = j>?@ABC9:<=??????????12345678Yo11111111119:B}K_ddadddddddddd>>>==?  555524>36779:;%***')&&&''''.).'--------!!-- :; ?77777;57;<<<777<>5>@!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161?B9Kidddadddddddddd  *((((+2222 !!#"$$$$%-)%%&&5///-- ;>+&-'::'54;<'7*2$+(!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161?C9fKddPPZZddddddddd 23 [ 0!!!888 ;;;::;; >  7#"!$%'--000/...777..%%7789%'%7**7'* *0 0!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  !1?ZZZZZZZZ((((((((dddddddddd  !"#$%&'()*+,-./0123456789:;<=>?@ABCDEFGHIJKLMNOPQRSTUVWXYZ[\]^_`abcdefghijklmnopqrstuvwxyz{|}~ !)!"#$%&'(;D!!""$!&'(( = !) !!!!!) j>?@ABC9:<=??????????12345678Yo11111111119:B}K_ddadddddddddd>>>==?  555524>36779:;%***')&&&''''.).'--------!!-- :; ?77777;57;<<<777<>5>@!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161?B9Kidddadddddddddd  *((((+2222 !!#"$$$$%-)%%&&5///-- ;>+&-'::'54;<'7*2$+(!"#$%&'(;D!!""$!&'(( = j9:;<=>?@AB??????????12345678Yo11111111161??@ABCDEFGK#  "1>9ddddddddddddddddd__@Jh > G a# !"% ]]]]g8z*((((,*,,++++___1111SS2??..SSQS _AI-?4Iw? 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The Jazz Pianist *> Paused <* - Press or to resume...@[0][Neg MultiNoteOn! ][Not Good][0][Hung Notes! ][Not Good]@@[2][You have no Favorites?|Please load a *.FAV file,|or select some favorite songs.][Hmm...]jp%03d.mid%s %sThe Jazz Pianist [3][No songs in the current|playset were found.][Hmm...][1][Midi Time_Out...|Something is wrong.][Go figure...]@@@  !"[3][Error!!!|SearchForPointers][Bad...]diction0.txt[3][The dictionary data|could not be found!|Please insert the Pianist|Disk #1][OK|Cancel][0][Not enough memory for|dictionary data!][Hmm...]@@@@  jpbio0.txt[3][The biographical data|could not be found!|Please insert Disk #1.][OK|Cancel][0][Not enough memory for|biographical data!][Hmm...] Composer @@@ @@@?Vt@3333333@@@ @ 'No text*.*\Select PathSelect File n Č Ī Ų J h Ɉ p ʪr  ZVJ    *   F ^n  >$T,.D$"( Z""f        v *P":H\2"$>:H*&    ,>**&  (  ,>.>(  """"""""*$$    6:&   ($ " **2.:j  0  r  0  >", :&,$* 2          JF V2    "8  (  $  &                0@  (T DT : 8&(D,, 446&0 *4*(|,. *(,. 4$"(   :     L6 .0&"< F^ $ N "8  T  T  T  T  ^" t4 0 N.L R,pJ**, : 02 x" ޤJ d.   8H " ("" R  >   FD4,    &    &    &     &               &   (  &    X&(*6(( \^\Z "d   & $N 4$ ""  & "~Rr * 80  LX H( < , 4     (  &,  "    " * "  &\Z VP B H r    *dN6  "  L  *^T LBf*"&,  X *      26 *( ( . $ 8:4( * 0  , * ,     J @ LH"n J$ $4  > HP & $$D $   2    "*       ( ` . d^      8" $ H 2&$"4  " "(8  664264$   ((&  (& 862462$   &*(*(R.2$2     & & J  " $  8 , 6662062 $   "$$ &$XL * D     * *     (T(   h   Df>60D4&46 $*@HV && &2( B.">>.  0L\0    **.b 8F J ~@F0R"<*6:, "Z("X&" *4j  . &( .~^6V0T */ ?/ @0 A0B04C0ND0h1 0 ! 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Save As Favorites... Save Default Favorites Save Configuration ------------------------- Copy List to ClipBoard ------------------------- Quit General Settings... MIDI Settings... Prompt for Pieces ------------------------ GM Program Change... Program Change # Disable Patch Changes ------------------------ Load Drum Map... Clear Drum Map All Songs Style Type Artist Difficulty Lessons ----------------- Trivia... Biographies... Play Selected Song(s) Play Favorites Play All ------------------------- Guess the Song! ------------------------- Loop Song Playback F4 ------------------------- Pause Stop ------------------------- Transpose Up F7 Transpose Down F6 ------------------------- Backup 2 seconds (-) Slow/Normal Tempo F5 ------------------------- Mark F2 GoTo Mark F3 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890 123456789012345678901234567890QUESTIONQUESTION2STRINGA.B.C.D.RevealNew GameOK-QuitYES!STRINGSTRINGSTRINGSTRINGEasyPress for next questionMed.HardAnyScoresCorrect 0 / 0 100% Play In Random Order CancelOKSort By ComposerSort By TitlePianoBassGuitarDrumsMelodyForced Guitar ChannelCancelOKMute1234567890123456789012345678900012345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012123456789012345678901234567890121234567890123456789012345678901212345678901234567890123456789012DONE Ok 12345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890123456789012345678901234567890OkCancel123456789012345678901234567890123456789012345678901234567890123456789012345678901234123456789012345678901234567890123456789012345678901234123456789012345678901234567890123456789012345678901234123456789012345678901234567890123456789012345678901234Reveal Correct AnswerQuit GameTry AgainNext SongSend It!OKCancelBassGuitarPianoMelodyDrums123456789012345678901234567890 Music Trivia Quiz  0__99 0__99 0__99 0__99Player 1________XXXXXXXXPlayer 2________XXXXXXXXPlayer 3________XXXXXXXXPlayer 4________XXXXXXXXOptionsMidi SettingsPart All Vol Tuning-00 Transpose ___ X99 Volume 01 Channel = __ 99 Reverb 000 Patch = ___ 999 Chorus -000 Velocity =____ X999 Panning Dictionary All Songs Options     Style BioTriviaPlayPlay AllPlay FavGuessStop By Type 123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012123456789012345678901234567890123456789012 Artist Difficulty Lessons 123456789012345678901234567890123456789012345678901234561234567890123456789012345678901234567890123456789012345612345678901234567890123456789012345678901234567890123456123456789012345678901234567890123456789012345678901234561234567890123456789012345678901234567890123456789012345612345678901234567890123456789012345678901234567890123456Version 1.01 and Kevin Houser.Program by Peter Gannon1993 by PG Music, Inc.Composer Biography123456789012345678901234567890Program Change Number000___ 999 Midi PatchPart? 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He died on April 1, 1917. He was the first major jazz composer and the most celebrated composer of instrumental Ragtime. Having studied European music, he was very conscious of compositional elements as he blended the Afro-American and European traditions to produce his famous rags. Although his parents had been slaves, Joplin studied classical piano as a child. He later worked as a dance musician, and at about the age of 20 he became an itinerant pianist, traveling throughout the Midwest. His first composition, "Please Say You Will," was published in 1895 and other sentimental songs and marches followed. In 1899 the "Maple Leaf Rag" became the most popular piano rag of the period, and this gave Joplin a modest lifetime income from royalties. He was proclaimed the "King of Ragtime." Although he wrote 41 rags as well as songs, marches, and the opera Treemonisha, Joplin was never acknowledged as a serious composer in his own lifetime. Recognition came posthumously, however, with the republication (1972) of his music, a Pulitzer Prize (1976), and acclaim from both the popular and the scholarly communities. Discography: Scott Joplin in Ragtime, vol. 3 Biograph,1010Q; Scott Joplin - 1916. Biograph, 1006Q. @002 Morton, Jelly Roll \ Ferdinand Joseph La Menthe "Jelly Roll" Morton was born in Gulfport Louisiana, September 20, 1885. He died July 10, 1941. He was one of the first great pianists and arrangers and perhaps the first jazz theorist. The noted composer and Jazz historian, Gunther Schuller, says about Morton in his book "Early Jazz" that "His best arrangements were not mere orchestrations, but carefully organized structures in which all the details of instrumentation, of timbre relationship, of rhythmic and harmonic counterpoint were realized as integral compositional elements." Morton was a great improviser who used all of the previously mentioned devices in his solo piano playing. He was pompous and egotistical, to the point of claiming that he "invented jazz about 1905". In the twenties , with his "Red Hot Peppers" he produced some of the best New Orleans style music on record. Morton learned his art as a Ragtime pianist in the New Orleans bordellos and the Storyville Mansions, where he would play for singers, dancers and for listening. His pianistic style tended to be orchestral and he was one of the first good arrangers in jazz. He was also a pool shark, Vaudeville comic and nightclub owner. Because of his Creole heritage and arrogant attitude, he always felt separated from his black jazz colleagues. It was said that Duke Ellington had a personal dislike for him and his abilities. Some of his compositions have become classics, such as: King Porter Stomp, Kansas City Stomp, Wolverine Blues, Jelly Roll Blues, Muddy Water Blues, and Tiger Rag. Some younger musicians of the thirties used to taunt him into bragging about how he invented jazz, laughing at his arrogance, behind his back. The dislike of this proud and stubborn Creole for the rougher playing of "Black Negroes" alienated him further from the mainstream jazz musicians and audiences and it was to be his downfall. Before he died in 1941, he taped a month of interviews with Alan Lomax, talking about the details of early New Orleans music and life and playing extensive examples of the city's early musical history. These recordings for the Library of Congress and Lomax's subsequent great biography, "Mister Jelly Roll" are an invaluable contribution to the history of jazz. Discography: Immortal Jelly Roll Morton; Jelly Roll Morton, 1923-1924 - Milestone; Jelly Roll Morton, 1926-1927, Vol.3 - RCA France; Rare Piano Rolls, 1924-1926. @003 Waller, Fats \ Thomas "Fats" Waller was born in New York City, May 21, 1904. He died on December 15, 1943 at the age of 39. The legendary Art Tatum used to say, "Fats, man - that's where I come from...Quite a place to come from too!" Fats was a phenomenal musician who played piano, organ and violin. He was a prolific composer who could whip up a show tune in minutes. He had a great sense of humor and a big appetite for food, drink, fun and high living all of which, combined with his amazing musicianship, made him a superb entertainer. As a child, he studied classical piano with his mother and then discovered ragtime. Early in the 1920s, Waller became the protege of the famous pianist James P. Johnson. He had very large hands which were capable of spanning 13 keys. George Shearing once said that shaking Waller's hand was like grabbing a bunch of bananas. It was said that his left hand could not only replace a rhythm section but a whole band! He blended the styles of ragtime, boogie woogie, stride, Dixieland, and swing into the unique Waller sound that influenced most of the jazz pianists of the following generation, such as Earl Hines, Count Basie and Art Tatum. His appearances on radio and in several movies, such as "Stormy Weather" in 1943, brought Waller's talents to a wide audience. He was a major jazz creator who wrote complete scores for such all-black shows as "Keep Shufflin'" in 1928 and "Hot Chocolates" in 1929. Coleman Hawkins said "Waller could write tunes as fast as he could play the piano". Some of his many hits were "Honeysuckle Rose", "Ain't Misbehavin'", "Jitterbug Waltz", "The Joint is Jumpin'" and "Black and Blue." Fats died on a train trip in 1943. The cause of death was listed as influenza, although his high style of living and history of binges no doubt contributed to his early death at 39. Discography: Ain't Misbehavin'; Complete Fats Waller; Piano Solos; Fats Waller Plays Fats Waller; Rare Piano Rolls. @004 Tatum, Art \ Art Tatum was born in Toledo, Ohio, October 13, 1910. He died on November 4, 1956. It has been said of Tatum that he was the quintessential jazz pianist, a virtuoso who technically can be compared to the great concert pianists such as Rubinstein. His amazing technique was a source of intimidation to many other pianists. Classical virtuosos such as Vladimir Horowitz and Walter Gieseking were said to have sat in awe at the Onyx Club on 52nd St. in New York. His mastery of time and faultless subdivision has not been matched in the world of solo piano. Tatum once told Bud Powell in a "cutting-contest" (to which Powell had shown up in an inebriated condition) to sober up and then come back, promising that " anything you play with your right hand I'll play with my left". Although he recorded in a few combo settings and often with his trio, Art was basically a soloist. He exerted a strong pianistic influence from the 1930s until his death. He could play any song in his vast repertoire in any key. Although others before him, notably Fats Waller and Earl Hines, had done much to move jazz piano away from the old-time ragtime and stride styles, Tatum completed the process with his silky touch, fleetness, and harmonic imagination. One hears in his music the blending of classical technique (arpeggios, cadenzas, counterpoint, thirds, sixths etc.) with his strong feeling for the blues. His trio with guitarist Tiny Grimes and Slam Stewart had a lasting impact on one of Tatum's greatest disciples, Oscar Peterson who formed his own trio in the 50's using similar instrumentation (Barney Kessel or Herb Ellis on guitar and Ray Brown on Bass). The record "Art Tatum: Masterpieces (1941 - 1944)"(MCA) shows this trio at peak performance. Later on, Tatum began to sacrifice speed in favor of richer harmonic content. Norman Grantz recorded him extensively in these later years (the 50's) and these records are available on the Pablo label as "Art Tatum Solo Masterpieces, Volumes 1-9. Discography: Art Tatum: Masterpieces, MCA; Piano Starts Here, Columbia; Art Tatum Solo Masterpieces, Volumes 1-9, Pablo; Art Tatum Trio, Folkways. @005 Hines, Earl \ Earl Kenneth "Fatha" Hines was born in Duquesne, Pennsylvania on December 28,1905. He died on April 22,1983. Hines one of the leading jazz pianist for more than 50 years. He studied piano as a child and led a jazz trio in high school. Hines first met Louis Armstrong in Chicago around 1925 over a game of pool. Neither knew the other to be a musician at the time. Unimpressed with the band that was playing, Louis went to the bandstand to sit in and Hines agreed to follow. "When I met Louis", he recalls, "he was playing the same style that I had wanted to play on cornet(Hines' first instrument). And when I was playing on piano we'd sit there and play and we used each other's ideas and say "thank you" for it." His recordings with Louis Armstrong in the late 1920s brought him national recognition. He started out playing stride piano but then changed to a more horn like approach. His octaves in the right hand sounded like an emulation of Louis Armstrong's trumpet lines. His style combined fast arpeggios, octave melodies, crashing chords and counter melodies in the left hand. In adopting this horn like approach to the piano, Hines started a school of playing which would influence up and coming players such as Mary Lou Williams, Teddy Wilson, Nat "King" Cole and Bud Powell (all of whom in turn would influence the contemporary players of today). He was a sophisticated instrumentalist who played with a full orchestral keyboard sound. His lines were long and melodic. Hines organized and led several important bands through the 1940s and continued to play as a soloist and in small jazz groups until the week before his death in 1983. Discography: Monday Date (1928); Another Monday Date 1956); Father Jumps (2 records, 1939-45); All-Stars (vols. 1 and 2,mid-1950s). @006 Cole, Nat King \ Nat King Cole, originally named Nathaniel Adams Coles was born in Montgomery, Alabama on March 17, 1919. He died on February 15, 1965. Although better known to audiences world-wide as a vocalist, master of the romantic ballad with an impeccable sense of pitch and swinging time feel , he was in fact, one of the finest jazz piano players of the '40's. His early playing was influenced by Earl Hines and Fats Waller but he developed and maintained his own, distinctive style throughout his career. Nat was one of those rarities in jazz; like Louis Armstrong, he was a musician who sang as well as he played. Pianistically, Nat had a light touch, always swinging effortlessly. He had a gift for linear improvisation and seemed to possess all of the technical dexterity which made it sound natural, easy and perfect. The Nat King Cole Trio was formed in 1940, with Oscar Moore on guitar and Wesley Prince on Bass. They made a series of records which were very successful , especially with musicians. Nat's piano playing was always 'in the pocket'. He showed other pianists how to swing forcefully and effectively without drums. One of his devices was block chord harmonization where the melody is harmonized using 4-part closed-position harmony. Nat would often double the top two notes an octave below. Bill Evans professed great admiration for Nat as a jazz pianist. His touch and rhythmic feel was also an influence on Oscar Peterson, Wynton Kelly and Herbie Hancock to name a few. At the request of a club owner one night, Nat sang a tune and the "rest is history". His velvety voice and impeccable phrasing as well as Nat's self accompaniment started to really catch on with the audiences. Later on in the 40's, the success of Nat's singing began to overshadow his piano playing until he finally gave up the trio. Fame, fortune and a number of hits (such as "Unforgettable", "Route 66", "Straighten Up and Fly Right" ,"Mona Lisa" ,"Ramblin' Rose" ,"Sweet Lorraine") followed and he became the first black singer of popular songs to be accepted by the general public. In 1956-57 he was the only black performer to have his own television series, and in the 1960's his film, nightclub, and concert appearances were internationally popular. His daughter, Natalie Cole, is now enjoying success equal to that of her father's. Discography: Capitol Jazz Classics: Trio Days,Capitol; Jazz at the Philharmonic: The Historic Recordings,Verve; Nat King Cole and George Shearing, Capitol @007 Monk, Thelonious \ Thelonious Sphere Monk was born in North Carolina on October 10, 1918. He died on February 17, 1982. In the early 40's, Monk (along with Dizzy Gillespie and Charlie Parker) was one of the original founders of the Bebop movement. Pianistically he comes from the stride style of James P. Johnson and Duke Ellington. Where as most of the bebop players were playing lines that had a melodic curve, Monk's lines had sharp angles. His improvisation, spare and choppy like his composing was always provocative. Although he played in bands with Dizzy Gillespie and with Coleman Hawkins, most of Monk's work was as a soloist or as the leader of small groups, usually quartets which featured such tenor players as Johnny Griffin, Charlie Rouse and John Coltrane. As a composer he contributed numerous pieces that are still standards in the jazz repertoire. Among them are "Round Midnight", "Ruby My Dear" "In Walked Bud", "Well You Needn't", "I Mean You", "Epistrophy" and "Straight No Chaser." Miles Davis said of him; "Man, Monk taught me more about music than anyone else on 52nd Street". In 1964 he made the cover of Time Magazine. In the late 50's, Monk performed with his quartet (usually featuring John Coltrane) for about two years at the Five Spot in New York City. The club was always full, due in part to Monk's funny hats, dark glasses and his eccentric stage mannerisms (such as dancing trance-like in circles during Trane's solos). His harmonic manipulations stretched the boundaries of conventional jazz tonality. Monk could take an old standard like "Tea for Two" or "Just a Gigolo" and totally revitalize it by using his regular musical devices; re-harmonizing the chord structure, applying unusual intervals, dissonance, tri-tone substitutions and rhythmic displacement. Bill Evans wrote that Thelonius Monk is "an exceptional uncorrupted creative talent. Make no mistake, this man knows exactly what he is doing in a theoretical way... We can be further grateful to him for combining aptitude, insight, drive, compassion, fantasy and whatever else makes the "total artist" ...in an age of insurmountable conformist pressures." In the 70's, his appearances became more and more infrequent due to an illness which seemed to affect his mental state. He became more and more withdrawn until his death in 1982 with his wife Nellie at his side. A feature documentary "Straight, No Chaser" produced by Clint Eastwood and available in video stores is one of the best movie treatments of jazz to date. Discography: Complete Genius (1947-52); High Priest (1963-64); Pure Monk; In Person; The Riverside Trios; At The Five Spot; Thelonius Monk: The Complete Genius (1047 - 1952); Monk/Trane; @008 Peterson, Oscar \ Oscar Emmanuel Peterson was born in Montreal, Canada on August 15, 1925. He was trained thoroughly in the classics and practiced tirelessly for years, often putting in twelve hours a day. When he was 23, he was accidentally discovered by Norman Granz who heard Oscar on the radio in a cab in Montreal. Brought to New York by Granz, Oscar made a spectacular American debut in 1949 at a "Jazz at the Philharmonic" concert in Carnegie Hall. Since that year, he has ranked among the most popular of jazz artists. Oscar is a pianist who knows how to swing from bar one. In the 50's his trio which featured Ray Brown on bass and Barney Kessel or Herb Ellis on guitar (in the 60's Ed Thigpen on drums replaced the guitar) was one of the tightest, most cookin', most well rehearsed, most popular trios in the history of the jazz piano. Oscar comes out of the Art Tatum school and he has proclaimed his love of Tatum's mastery on many occasions. He is also an admirer of Nat Cole. A virtuoso performer, he is one of the most recorded pianists in jazz who knows the full range of piano styles from 1920s stride piano to modern jazz. He has recorded with his famous trio and with many of the major musicians of the post 1940s era. His critics have pointed out that his technique is more prominently displayed than his creativity. In the "Jazz Review", critic Max Harrison wrote in 1960 "(Peterson) appears to be concerned mainly with playing the piano and only incidentally with making music". Some of the most definitive trio work can be heard on the 1956 live recording in Stratford, Canada,"In Concert". Ray Brown remained with the trio until 1967. In the 70's and 80's Oscar made many records for Granz' Pablo Label, playing frequently with guitarist Joe Pass and bassist Neils Henning Peterson. More recently he performs mainly in solo concert settings. Discography: History of an Artist; Montreux Collection; Return Engagement; Trio; Oscar Peterson and Roy Edridge; Oscar Peterson and Dizzy Gillespie. @009 Evans, Bill \ William John Evans was born in Plainfield, N.J., August 16, 1929. He died on September 15, 1980. After Bud Powell, Bill was the next major innovative and influential jazz pianist. His unique style, which has been adopted by countless pianists since, favored lush piano voicings, played with a sensitive, introspective touch. His improvisation tended to be lyrical and scale based (the left hand voicing often had a half-step interval buried in the middle of the chord. He joined the Miles Davis Sextet in 1959, replacing Red Garland but before the end of the year, owing to his spontaneous success with critics and public, he left Miles to form his own trio. Bill wanted the trio to "grow in the direction of simultaneous improvisation rather than one guy blowing followed by another guy blowing. If the bass player, for example, hears an idea that he wants to answer, why should he just keep playing 4/4 in the background? The men I'll work with have learned how to do the regular kind of playing and so I think we now have the license to change it. Especially, I want my work (and the trio's if possible) to sing." The trio's early records such as "The Village Vanguard Sessions", readily attest to the fact that Bill had realized his musical goal. Scott LaFaro was the perfect bass player for this type of lyrical and harmonic interplay, as was drummer Paul Motian. Bill liked to explore the more impressionistic aspects of the piano and this is exemplified on the album "Conversations with Myself" on which he overdubbed several tracks. He could dig deep into a tune and within himself, hypnotically leading the listener all the way. His solo rendition of "Never Let Me Go" is a particularly reflective and poignant performance which occupies an entire side of the record "Alone". He was the recipient of numerous awards, including five Grammys for the albums Conversations with Myself (1963), Live at Montreux (1968), Alone (1970), and The Bill Evans Album (1971). Discography: (In addition to the above); The Village Vanguard Sessions; Intuition; Montreux II; Peace Piece and Other Pieces; Kind of Blue; Undercurrent; New Conversations With Myself; The Tokyo Concert. @010 Hancock, Herbie \ Herbie Hancock was born in Chicago on April 12, 1940. Herbie was a child prodigy who started with the classical repertoire and performed with the Chicago Symphony Orchestra at the age of eleven. He learned jazz piano by listening to the records of George Shearing and Oscar Peterson, transcribing their solos note for note. After college, where he studied electrical engineering and music, his first gig was with trumpeter Donald Byrd. In 1962 Herbie's solo record debut, "Takin' Off", with Dexter Gordon and Freddie Hubbard premiered his first big hit, "Watermelon Man." He joined the Miles Davis Quintet, in 1963, with which he performed for five years. With this group, considered by many to be one of the best in the history of jazz, Herbie did some of his best playing, forming a tight musical bond with bassist Ron Carter and drummer Tony Williams. He has made many records with that rhythm section since then. Herbie also gained prominence as a composer with "Maiden Voyage", "Dolphin Dance", "The Sorcerer", "Eye of the Hurricane", "Speak Like a Child" and of course, "Watermellon Man" being his most well known tunes. In the 70's and 80's he got into the more electric side of things and recorded some very successful albums such as "Head Hunters", "Future Shock" (1983) and "Sound System" (1984). These albums featured electronic keyboards and a funk feel. Hancock's film scores include "Blow Up" (1969), "Death Wish" (1974), "A Soldier's Story" (1984), and "'Round Midnight" (1986). The 1977 album "V.S.O.P.:The Quintet" was an album which essentially reunited the old Miles band (with Freddie Hubbard instead of Miles) and many of Herbie's fans were glad to hear him play the acoustic piano again. In the 90's Herbie lives in California and continues to be very busy, playing with his trio or quartet and touring with jazz artists such as Wynton Marsalis and Pat Metheny. Discography: Maiden Voyage; Speak Like a Child; V.S.O.P.: The Quintet; Head Hunters. (With Miles) E.S.P.; Miles Smiles; My Funny Valentine. @011 McKenna, Dave \ Dave McKenna was born on May 30, 1930 in Woonsocket, RI. Recently, George Shearing said of Dave McKenna: "He's my favorite player". Dave specializes in hard-swingin', solo piano. His style features low-down walkin' bass with the right hand taking care of the melody and comping. He is equally at home playing Bird's Scrapple from the Apple or playing a dreamy version of old standards as such as I'm In The Mood For Love. In a typical solo setting, in which he performs frequently these days, McKenna, who seems to have an inexhaustible repertoire, will often play a "theme" set, i.e.: tunes with the word "romance" or "June" in the title. He performs frequently at Boston's Coppely Hotel. In '49 he worked with Charlie Ventura, and Woody Herman in '50-'51. After a stint in the US army in Korea, he worked with Ventura again and Gene Krupa. In the sixties, with Eddie Condon and Bobby Hackett. He moved to Cape Cod in 1967 and generally works around that area. He has recorded extensively on Concord Jazz Records. In the New Yorker, in '86, Whitney Balliett wrote that McKenna practices, "pure improvisation". On listening to him playing solo, fans, including many musicians, say he can sound like a whole band. Discography: By Myself, '76; No Holds Barred, '77; Cookin' At Michael's Pub; No Bass Hit; Major League; Plays the Music of Harry Warren; Giant Strides, '79; Left Handed Compliment; Celebration of Hoagie Carmichael, '83. @012 Garland, Red \ Red Garland was born William Garland in Dallas Texas on May 13, 1923 . He died on April 23, 1984. Red began playing reeds as a boy long before he took up the piano. He was discovered by Hot Lips Page in his home town of Dallas. In 1945 he began playing and recording with all the prominent players. In June of 1955, Miles Davis wanted to find a piano player who played like Ahmad Jamal. Miles admired Jamal's playing but Ahmad was not available. As Miles says, "Red knew I liked Ahmad Jamal, that that was the kind of piano player I was looking for and so I asked him to give me Ahmad's sound - because Red played his best when he played like that". The trio number, "Billy Boy", featured Red in a trio setting on the album "Milestones". Red was eventually replaced around 1958 by Wynton Kelly. Red also worked with John Coltrane and Art Pepper. He toured with his own trio until 1965 when his mother died. He then returned to Dallas where he retired except for trips to Yew York to record, club dates in LA. etc.. His own albums included about thirty trio LP's on the Prestige, Moodsville and Jazzland labels from 56' - 62' and the Galaxy and Muse labels from '77 - '79. In 1957 he recorded some Quintet sessions on Prestige with John Coltrane and Donald Byrd. Discography: about 30 albums on Prestige; '56 - '62. Red's Good Groove, in '62; Red Alert, in '77; Strike Up The Band, in '79; Red Alone, Alone With The Blues, '60. @013 Jamal, Ahmad \ Ahmad Jamal was born Fritz Jones in Pittsburgh on July 30. Ahmad began playing while in high school and then toured as an accompanist. For religious reasons, he changed his name from Fritz Jones to Ahmad Jamal. He made his professional debut at Chicago's Blue Note club in 1951. His trio, included Ray Crawford on guitar and Eddie Calhoun on bass, and they recorded as Ahmad Jamal's Three Strings. He used a spare and deceptively light approach not unlike that of Count Basie's combined with the swinging style of Errol Garner and this attracted attention from the very beginning. Miles Davis once said of Jamal: "All my inspiration today comes from Ahmad Jamal, the Chicago pianist - - listen to the way he uses space - he lets it go so that you can feel the rhythm section and the rhythm section can feel you". Many of Ahmad's LP's made the jazz charts. Several made the crossover to the Billboard pop LP charts including "But Not For Me" recorded at the Pershing Hotel in '58 with Israel Crosby on bass and Vernell Fournier on drums. Another well-known recording by the Trio was "Poinciana". Discography: But Not For Me, '58; Poinciana; Jamal at the Penthouse, '59; Happy Moods; Listen to the Ahmad Jamal Quintet; The Awakening, 1970; Live at Bubba's, '80; Live at the Montreal Jazz Festival, '85. @014 Kelly, Wynton \ Wynton Kelly was born in Jamaica on December 2, 1931. He died in Toronto, Canada on April 12, 1971. Wynton's family moved to the U.S. when he was four years old. He played with Eddie Davis in the 40's. He accompanied Dinah Washington and played with Dizzy Gillespie before and after his military service from 1952 - '54. He formed his own trio in '58 and played with Miles Davis from '59 - '63 replacing pianist Red Garland. His playing always had a very natural, rhythmical groove and he excelled in his blues playing. Wynton had the ability to compose a seemingly endless stream of melodic ideas "on the fly" for chorus after chorus. He began to record under his own name in 1951 and his complete Blue Note sessions have been issued in Japan as "Piano Interpretations by Wynton Kelly". After he left Miles Davis he lead a trio with Paul Chambers and Jimmy Cobb. This trio regularly teamed up with Wes Montgomery, in fact most Wes fans would agree that this was one of the best formats for Wes' playing. "Undiluted, Smokin' at the Half Note" (with Wes) was one of his great albums in the 63' to 65' period, (try to obtain the original quartet version without the added strings, if possible, available on a Japanese release.) His trio rendition of Tad Dameron's "If You Could See Me Now" is a classic. Discography: "New Faces, New Sounds", Bluenote - 1951; "Piano Interpretations by Wynton Kelly"; "Kelly Blue '59"; "Kelly Great" and "Kelly at Midnight"; "Wynton Kelly"; "Undiluted, Smokin' at the Half Note"; "Blues on Purpose"; "Full View"; "In Concert". @015 Silver, Horace \ Horace Silver was Born in 1928. Pianist and composer, Horace began as a Bud Powell disciple like many others of his generation. After a stint with the Stan Getz Quartet he began to develop his own influential style. Along with drummer Art Blakey, he co-founded The Jazz Messengers which featured a hard-bopping fire and brimstone attack. In the 50's he wrote tunes for The Jazz Messengers such as: Quicksilver, Doodlin', Cookin' at the Continental, Nica's Dream, and in particular, The Preacher which started a trend towards "Soul" and a funky mixture of Gospel and Blues over a simple backbeat which emulated a call and response pattern along the lines of that between a preacher and his congregation. Early albums by The Jazz Messengers such as: A Night at Birdland, At the Cafe Bohemia and Horace Silver & the Jazz Messengers were all excellent. In 1956 Horace left the group to form his own Quintet which has included over the years, tenor men Junior Cook, Hank Mobley, Joe Henderson and Bob Berg - trumpeters, Woody Shaw, Blue Mitchell, Art Farmer and Tom Harrell - and drummer Louis Hayes. Pianistically, he has a percussive, blues-based approach. His accompaniment is almost perfect in it's answering of the horn statements. He favors an "on top of the beat", "no messin' around" approach and always swings. Aside from the above mentioned tunes, some of his other well-known compositions include: Song for my Father, Filthy McNasty, Senor Blues, The Cape Verdean Blues, Peace, The Jody Grind, Nutville and Sister Sadie. Discography: (with The Jazz Messengers), A Night at Birdland, At the Cafe Bohemia, Horace Silver & The Jazz Messengers; The Stylings of Silver; Silver's Serenade; Doin' The Thing; Six Pieces Of Silver; Song For My Father; The Cape Verdean Blues and Silver & Wood.. @016 Jarrett, Keith \ Keith Jarrett was born on May 8, 1945 in Allentown, Pennsylvania. Keith started studying classical piano at a very early age and very soon became a child prodigy performing his first concert at age six. As he says himself: "I grew up with the piano, I learned it's language while I learned to speak". He studied at Berklee School of Music in Boston with Ray Santisi whose playing he admired. He spent a lot of time accompanying vocalists with his trio and soon was heard by saxophonist Charles Lloyd. He went on the road with Lloyd and recorded a triumphant set in '66 at the Monterey Jazz Festival which was released under the title "Forest Flower". Keith's playing on this record took the Jazz world by storm. In '67 he recorded "Life Between the Exit Signs" which established him as a leader. He already had a very well developed sense of style. In 1970 he replaced Chick Corea with Miles Davis in a band which included Jack DeJohnette. The albums Live Evil and Miles Davis at Fillmore were recorded during this period. He recorded solo albums, The Koln Concert and Solo- Concerts, Bremen & Lausanne in 1971 on ECM which were also milestone albums at the time because Jarrett seemingly improvised the entire sets without any stopping. His music was very approachable and romantic and these records gained Jarrett a worldwide host of new fans. After all of the electric and synthesizer sounds of the '70's Jarrett's solo concert albums created a market for the sound of the grand piano again. More recently, he has teamed up with bassist Gary Peacock and his old drummer friend, Jack DeJohnette to produce a series of records of standards. This marks a distinctive break with the long period of solo concerts which were starting to become a little overbearing and self-indulgent. These trio albums raise the art of the Jazz trio to the kind of level of consistency not heard of since Bill Evans. Discography: Charles Lloyd, Dream Weaver - Atlantic; Miles Davis, Live/Evil - Columbia/CBS; Miles Davis, At Fillmore - Columbia/CBS; Facing You - ECM; The Koln Concert - ECM; Solo - Concerts, Bremen & Lausanne, ECM; In The Night - ECM; Luminescence - ECM; Arbour Zena - ECM; Ruta & Daitya - ECM; Belonging - ECM; Expectations - Columbia; Fort Yawuh - Impulse; Treasure Island - Impulse; Birth - Atlantic; Death and the Flower - Impulse; Backhand - Impulse; Mysteries - Impulse; Shades - Impulse; Staircase - ECM. @017 Garner, Errol \ Errol Garner was born on the 15 of June, 1921 in Pittsburgh, Pennsylvania. He died in Los Angeles on January 2, 1977. Errol was a self-taught pianist, with an irrepressible sense of humor, a swinging time feel and a gift for melody which made him one of the most popular jazz artists. Errol never learned to read music. He toured and recorded with Charlie Parker, Slam Stewart and others. He developed a very distinctive style which involved the playing of the left hand chords in a 4-to-the-bar guitar-style. Meanwhile the right hand played the melody often in octaves with a fifth in between or other times harmonized in a very laid back fashion. His sense of swing and gift for melody, He won many Jazz polls starting with Esquire New Star in '46. In 1954 he wrote the immortal ballad, Misty. Words were added by Johnny Burke. Sarah Vaughan had the first hit although it has been a pop hit five times. Ascap has repeatedly honored it as one of the most played standards of past decades. In '56 an outdoor concert in Carmel, California was recorded and eventually released as "Concert By The Sea" in '58. It became one of the top-selling jazz albums of the decade. Errol was the first Jazz musician to be booked by classical impresario Sol Hurok in 1958. In 1971, he re-recorded Misty for the sound-track of the Clint Eastwood movie "Play Misty For Me". Discography: Concert By The Sea, '58; Dream Street, '61; One World Concert, '63; Greatest Garner; Paris Impressions; Campus Concert, '62; A Night At The Movies, '64; Plays Gershwin and Kern; @018 Corea, Chick \ Chick Corea was born in Boston, Massachusetts in 1941. His father was a jazz musician. His earliest influences were Horace Silver and Bud Powell. His early classical training allowed strands of Debussy, Bartok, Stravinsky, and Ravel to show through. During the early '60's he played in Latin and Afro-Cuban groups like Mongo Santamaria, Willie Bobo and Herbie Mann. Later in the '60's Chick played with Blue Mitchell and Stan Getz. Two of his compositions, Litha and Windows, were recorded on the session for "Sweet Rain". Time spent with Miles Davis' group during his transition to jazz-rock saw Chick sharing electric keyboard duties with Joe Zawinal on such albums as Bitches Brew and In a Silent Way. Tones For Joan's Bones, an album with Woody Shaw, Joe Farrell and Joe Chambers, recorded in the 60's, shows off his fierce energetic playing style. In 1970 he formed the group Circle with Anthony Braxton, Dave Holland and Barry Altschul and so began a change in direction to free interplay. Feeling limited and confined, Chick left the group in 1971 to record a couple of solo albums for ECM. The album Light As A Feather, featured Chick's most famous tune to date, "Spain" which is a Samba with a flowing and memorable melody punctuated by a very rhythmical unison interlude sans bass and drums. Other well-known Corea tunes are: What Was; Windows; Armando's Rumba; Open Your Eyes, You Can Fly; Senor Mouse; Times Lie. The group Return to Forever featured Joe Farrell, reeds; Stanley Clarke, bass; Airto Moreira, percussion; Brazilian singer Flora Purim and of course, Chick on keyboards. Discography: Now He Sings, Now He Sobs; Sweet Rain (with Stan Getz); In a Silent way and Bitches Brew (with Miles Davis); Light As A Feather (with Gary Burton); @019 Tyner, McCoy \ McCoy Tyner was born in Philadelphia in 1938. McCoy Tyner has been one of the most vital and creative forces on the scene since the early sixties. He can truly be called an innovator of pianistic style, in a sense to the piano what Coltrane was to the Saxophone. He came from a musical background, studied music in College and in 1959 began playing with Art Farmer and Benny Golson. In 1960 he joined the John Coltrane Quartet and became an integral part of that historic and ground breaking group. McCoy contributed heavily to the sound of 'Trane's Quartet. The distinctive pianistic style he developed incorporated left-hand three-note voicings in fourths, moving in various parallel motion, often played over low thunderous pedal notes. His approach to the piano is percussive, both hands working rhythmically against each other. His comping figures in combination with the fiery drumming of Elvin Jones was the force that drove Coltrane's sound to a modal, scalar direction away from conventional harmony. This music had a great intensity and drive. McCoy remained with Coltrane for five years. He spent the next five years, largely out of work and in fact, considered driving a taxi. During this period, he worked on other artist's sessions as well as heading his own. "The Real McCoy", released during this time with saxophonist Joe Henderson, shows him at his compositional best. When he signed with Milestone Records in 1972, his career once more took a turn for the better with the release of his debut album "Sahara". A deep, passionate and sincere man, McCoy, who has been a Muslim since the age of 18, said; "When you remove yourself and just become a vehicle, that's when those moments happen....I play what I live". Discography: The Real McCoy, Time for Tyner, Extensions, Expansions, Trident, Sahara, A Love Supreme, Live at the Village Vanguard, Coltrane, Juju. @020 Brubeck, Dave \ Dave Brubeck was born in Concord, California on December 6, 1920. A student of Darius Milhaud and Arnold Schoenberg, Brubeck has a harmonically complex style. He has imported many classical devices into jazz, especially atonality, uncommon time signatures, fugue and counterpoint. Smatterings of Chopin, Beethoven and Bach can be found in his work. A solo piano album released early in his career features some of his compositions, of which "The Duke" stands out. Dedicated to Ellington, this is a very unique solo piano composition with a well thought out contrapuntal bass-line. Because of this classical approach to jazz, he has been slightly denigrated by critics while at the same time proving to be immensely popular with the public and becoming a cult figure in the 50's. In San Francisco in the late '40's, he launched his famous Quartet with altoist Paul Desmond. Among the best of his recordings are the first ones which were produced during the Quartet's tour of the college circuit. The Quartet developed a huge following and produced many big selling records, generally featuring the well known standards. Brubeck appeared on the cover of "Time" magazine. Later he began to explore and experiment with unusual time signatures on tunes such as the internationally famous "Take Five" in 5/4 (which was written by Paul Desmond), and "Blue Rondo A La Turk" in 9/8 which appear on the album Time Out. The album Dave Brubeck Quartet recorded after an extensive world tour, included songs based on ethnic music from Afghanistan, Turkey and Calcutta. He has also composed cantatas, oratorios and symphonic pieces, some of them featuring a jazz quartet with orchestra. More recently he has performed with his sons, Darrius, Chris and Daniel as a group called Two Generations of Brubeck. Discography: Brubeck, Adventures in Time, Time Out, Columbia / CBS; Time Further Out, Columbia / CBS; Dave Brubeck Quartet, Columbia / CBS; Jazz Impressions Of Japan, Columbia / CBS; Brubeck & Desmond, The Duets A & M; Paul Desmond Quartet Live, A & M. Reflections, Summit Sessions, Quartet 25th Anniversary. @021 Powell, Bud \ Bud Powell, Bebop's foremost pianist was one of the most moving players in all of jazz. Miles Davis called him the "greatest young piano player in the world" who could "..play, write and read all kinds of music". Comparable to Billie Holiday in terms of emotional impact, Bud's technical innovations form the basis of modern jazz piano. Between 1947 - '53, he was the most overwhelmingly creative piano player in the hothouse of Bebop. His powerful driving feel, like that of Charlie Parker was monstrous. His first piano album, The Bud Powell Trio, was a perfect translation of the Parker style on to the keyboard, and up tempo numbers like Bud's Bubble or Indiana show a speed of imagination and rhythmic variety that rival Art Tatum. In 1946, a bouncer at a club cracked Bud's head open with a pistol. As Miles Davis recalls it: "After that, Bud started shooting heroin like it was going out of style, and he was the last person who should have been shooting heroin, because it made him crazy. And he never could drink but now he started drinking like it was going out of style, too. Then Bud started acting crazy, throwing fits and going for weeks not speaking to anyone, including his mother and his oldest friends. Finally his mother sent him over to the Bellevue psychiatric ward in New York City. They started giving him shock treatments. They really thought he was crazy too. So that was that. After them shock treatments, Bud was never the same, as a musician and as a person." From 1954 on, Powell's playing became inconsistent. He seemed to have lost some of his former speed and dexterity although the imagination and the feeling was still there. In 1959, he moved to Paris where he teamed up with Dexter Gordon for the album Our Man in Paris. He also recorded with Coleman Hawkins (Hawk in Germany) and Johnny Griffin (Hot House). Check out Straight No Chaser from the latter. In 1966, he returned to New York where he died a short time later. Discography: The Bud Powell Trio, The Vintage Years, The Amazing Bud Powell (Vols. 1 & 2),Ups 'N' Downs, Our Man in Paris, Hawk in Germany, Hot House, Earl Bud Powell. @022 JP- Rosnes, Renee \ Renee Rosnes was born in Regina, Saskatchewan, Canada on March 24, 1962. Since Moving to New York from Vancouver in 1986, Renee, who began classical training at the age of three, has notched a series of high-profile jobs, each exposing her to exceptional players whose careers have influenced the shape and texture of jazz. In 1987 she joined tenorist Joe Henderson's quartet, touring the States, Europe and Japan. (Henderson himself said that Rosnes was "lyrical beyond her years" at the time.) Soon thereafter she held the piano chair of O.T.B. (Out of the Blue), the sextet of youngbloods who recorded numerous albums for Blue Note (she is featured on Spiral Staircase.) Following that, stays with saxophonist Wayne Shorter, trombonist J.J. Johnson, and trumpeter Jon Faddis added weight and dimension to her burgeoning development. Once proven, Rosnes found herself very much in demand. She has since performed and/or recorded with the likes of James Moody, Dizzy Gillespie, Robin Eubanks, Frank Morgan, Ralph Moore, Dave Holland, Gary Thomas, Tootie Heath and other jazz notables - among them are regular groupmates Buster Williams and Billy Drummond, both of whom grace her CD "Without Words". Additionally, she has emerged as a leader in her own right; her Quintet most recently toured eight European countries in the fall of '92. Upon returning home she was asked to help honor the legacy of Miles Davis by joining the Carnegie Hall Jazz Band in its celebrated tribute to the great trumpeter. Clearly, her talents are being recognized. Rosnes' recording debut for Blue Note was an eponymous album issued in 1990. It revealed her considerable gifts and implicitly, the high regard in which she is held; players like Wayne Shorter, Branford Marsalis, Herbie Hancock, and Ron Carter lent their support. The album was nominated for a Juno Award, the Canadian equivalent of a Grammy. Her follow-up was titled For The Moment. Renee currently resides in New Jersey, and continues touring the world and playing in the New York area. Discography: Spiral Staircase (OTB), For the Moment, Renee Rosnes, Without Words. @023 JP - Johnston, Ron \ Ron Johnston was born in Edmonton, Alberta on August 25, 1942. Ron's first major musical mentor was Canadian Jazz pianist Tommy Banks. At age 17, Ron traveled to Toronto for an extensive study period with Oscar Peterson at the Advanced School of Contemporary Music. Greatly affected by the playing of Oscar Peterson and Bill Evans, Ron continues to be influenced by the current crop of Jazz pianists such as: Kenny Barron, Fred Hersch, Cedar Walton etc.. Pianistically, Ron is noted for his beautiful chord voicings, his touch and his impeccable time. Always in great demand as an accompanist and brilliant soloist, Ron is also a dynamic and prolific composer. Ron Currently lives in Vancouver, BC where he plays and records with his own group the "Johnston - Stafford Quartet" as well as the "Ian McDougall Trio" with Oliver Gannon. Ron has recorded and performed with many other notable Jazz musicians such as Clarke Terry, Paul Horn, Moe Koffman, Guido Basso & Rob McConnell. Discography: Pacific Salt, Pacific Salt Live, Three, RIO. @024 JP- Black, Miles \ Miles Black was born in Port Alberni, BC on April 13, 1966. At 27 years of age, Miles Black has become one of Canada's leading jazz pianists and composers. Miles began his musical training at the age of 12 in Victoria, BC. Although he was raised on folk and rock 'n roll, it was the music of such greats as Keith Jarrett, Oscar Peterson and Bill Evans that spurred him towards a career in Jazz. In 1987 Miles moved to Vancouver and enjoyed respect and support from the local music community. In 1988 he joined Paul Horn's band and toured the Soviet Union, and in 1989 he became a member of the award-winning jazz-fusion recording group Skywalk for which he became a contributing composer. The Miles Black Trio was formed in 1991 and has a dynamic and refreshing repertoire of both traditional and contemporary jazz standards and originals. The trio is currently enjoying critical acclaim as well as airplay on the CBC. Miles has performed in the Vancouver area with Fraser MacPherson, PJ Perry, George Robert, Oliver Gannon and Sweets Edison. Miles has gained prominent stature as a versatile instrumentalist and is much sought after as a leader, a sideman, and a session musician. He has played on a wide variety of records. He currently teaches at Capilano College. His accomplishments on saxophone, bass, and guitar, as well as piano lend depth to his arrangements and compositions. Discography: Larger Than Life. @9 MID kK7JP010 MID kS7f&JP011 MID k]7kJP012 MID 7 kx7JP013 MID x k7cJP014 MID ag7CJP015 MID k78~JP016 MID  k7"JP017 MID [ k7xJP018 MID k 8jyJPBIO0 TXT R*8JPMEMO0 TXT ^W8JPTRIVI0TXT V{8uOVFIX1 PRG 8_README TXT Dh8n@001 As Time Goes By, written by H. Hupfield, is performed in a solo stride style which incorporates many of the pianistic elements of Fats Waller and Art Tatum. It is played in a very straight-ahead manner, although the variation at bar 73 takes a few more melodic and harmonic liberties. Note the different methods of playing the bass notes; single note, octave, fifth, seventh, tenth, and tenth with a fifth. Stride playing is one of the "..fundamental things " that still apply to piano playing. This all time hit was the theme song from the movie Casablanca where at one point, a brooding Humphry Bogart says to the piano player, "...Play it Sam, you played it for her, now you can play it for me...". Key of Eb. Performed by: Miles Black. Picture of: Art Tatum. @002 Arthur's Theme, was written by Burt Bacharach, Christopher Cross, Carol B. Sager and Peter Allen. Performed in a solo Pop style, the melody is played and harmonized by the right hand while the left hand supplies the bass movement and counter-rhythms in ascending arpeggios. A useful technique to spice up a triad with the fifth in the lead is to add the 2nd (I.E. 1,2,3,5). This was the theme from the Dudley Moore movie "Arthur" and was recorded by pop singer Chris Cross. Key of A. Performed by: Ron Johnston. Picture of: Ron Johnston. @003 Bill Bailey, was written by H. Cannon. This old chestnut is played in the solo stride style of Fats Waller, James P. Johnson and Willie "the Lion" Smith. Note the descending scale in octaves in the intro which leads into the stride style featuring the left hand notes also in octaves. This gives a heavier sound to the bass than just the single note which is normally played. Many of the pianistic devices (e.g. bar 44) have been "invented" by the great early stride players, each adding their own little twist to what had gone before. Key of F. Performed by: Miles Black. Picture of: Fats Waller. @004 My Melancholy Baby, was written in 1911 with music by George Norton, lyrics by Ernie Burnett. The treatment here is an easy going cocktail style (like Dick Hyman's) with some occasional stride and locked hand technique. Note the effective use of re-harmonization (e.g. bar 9) to revitalize the more traditional fake book changes. Often thought of by musicians as a corny tune associated with an overly sentimental drunk asking the band to "... play Melancholy Baby", this tune is actually a love song with a pleasing melody and a tender lyric. Key of F. Performed by: Ron Johnston. Picture of: Dick Hyman. @005 Glow Worm, was written by Paul Lincke. This spirited solo-stride rendition, with elements of Fats Waller and Art Tatum, is full of pianistic gems. Check out the simple but effective intro and the delayed octaves (bar 21). Note the rhythmical use of tenths in a rolled style (e.g. going into bar 25). This tune was probably the most famous of the many tunes recorded by the Mills Brothers. Key of C. Performed by: Miles Black. Picture of: Fats Waller. @006 Alexander's Rag Time Band, was written by Irving Berlin who published the staggering number of 999 tunes in his lifetime. It is usually performed as a "razzmatazz" Dixieland tune, however here it is given a Dave McKenna, Dick Hyman treatment. The left hand plays a low-down bass line in "2" for the opening chorus with the right hand playing melody and chords. In the second chorus, the left hand bass notes are in "4". Note how the right hand is not only playing a solo, but also comping. To get this kind of right/left hand independence happening, check out the "Lessons: Blues Choruses" which features walking bass lines for blues in different keys. Key of F. Performed by: Miles Black. Picture of: Dick Hyman. @007 Blues in F, is a riff-type blues written by Oliver Gannon . This is played in the style of Wynton Kelly, Tommy Flanagan or Cedar Walton. A riff is a repeated, blues-type phrase that can be played over and over behind the changing chords. Because of its' 12 bar repeated nature, the blues is a good place to start when learning improvisation because the chord progression becomes so familiar. In bar 1, the 4th beat of the melody is an A. Notice how it is "blues-ified" by the addition of the C on top as well as rolling into the A with an Ab. This technique can be used on other non-blues tunes as well. Key of F. Performed by: Renee Rosnes. Picture of: Tommy Flanagan. @008 Begin the Beguine, was written by Cole Porter, one of the greatest of the American song writers. This is played in the solo-rubato-cocktail style of Dick Hyman and others. Bar 122 demonstrates an effective technique employing the major triads Eb and Db as a substitute for an altered G7. Cole Porter always wrote the lyrics and the music. He was known for his elegant chord progressions and witty lyrics. This tune was written when the "Beguine", a Latin dance was fashionable. It was played so often that the musicians were heard to say "..I wish they would END the Beguine..". Key of C. Performed by: Miles Black. Picture of: Miles Black. @009 Blue in Green, is credited to Miles Davis and Bill Evans. This thoughtful rendition is played in a solo-rubato style for the first chorus. The bass and drums enter around bar 40. In the piano style of Herbie Hancock and Bill Evans, note the use of half-steps within the chords (e.g. in bars 1 and 4). In several interviews, Bill Evans claimed that the tune was actually written by him alone and he wondered why Miles took credit for it. This is a haunting and sophisticated melody which seems to have a never-ending quality to it. Key of Dm. Performed by: Renee Rosnes. Picture of: Bill Evans. @010 Can't Help Falling in Love With You, was written by Weiss, Peretti and Creatore. Here it is performed in a swing-tempo, solo-cocktail style. Notice the blues flavor which permeates this rendition. This is an excellent example of how a non-blues can be made bluesy by playing blues licks over the regular changes. For example, in bar 1, the B is preceded by a Bb. In bar 4, instead of playing D7 for a whole bar, an A 13 chord proceeds the D7. There are more of these harmonic re-harmonizations through-out the tune. Gene Harris, Dave Brubeck, Dick Hyman and others have always been able to make the most out of tunes which might not be thought of as great standard material. First recorded by Elvis Presley and later by Corey Hart, this pop tune is normally played in 12/8 with a heavy backbeat. Key of G. Performed by: Miles Black. Picture of: Dave Brubeck. @011 Carnival, or Manha de Carnival, was written by Brazilian guitarist Luiz Bonfa. The first chorus is played in solo rubato (out of tempo) style. The bass and drums join in, in a Latin interlude which leads to the second and third choruses. This rendition has a Chick Corea flavor to it. Note the characteristic melodic appogiaturas which are common to Chick's style. It is one of the many beautiful songs from the Brazilian movie Black Orpheus which also featured the tune, Samba de Orpheu. It was released with an English lyric and title (by Carl Sigman) as, "A Day in the Life of a Fool". Key of Am. Performed by: Renee Rosnes. Picture of: Chick Corea. @012 Come Rain or Come Shine, was written by the great American song writer Harold Arlen with lyrics by the equally prolific Johnny Mercer. Originally a torch song, this rendition, in a Horace Silver, Latin style, features a lighter, more up-tempo jazz approach. Notice the left-hand comping, rhythmically working against the melody in the first chorus. Horace always brings a feeling of blues and funk and an overall feeling of optimism to everything he plays and writes. This stimulating chord progression has always been a favorite with jazz musicians. The piece ends with a funky 2 - 5 (Dm7 to G7) vamp. Key of F. Performed by: Renee Rosnes. Picture of: Renee Rosnes. @013 The Days of Wine and Roses, was written by Henry Mancini with lyrics by Johnny Mercer. This trio performance is played in the Oscar Peterson tradition. The 2 bar break at the end of the first chorus is pure Oscar. The arrangement alternates between 16 bars in the key of F, modulating to 16 bars in Ab. Oscar's style has always been blues-rooted. The last chorus in Ab, builds to a big band, riff-type, shout chorus (also typical O.P.), ending with a traditional 3 - 6 (Cm7 to F7) tag ending. The piece ends with a clich ascending chord progression starting from the #4 minor7(b5). This was the theme from the movie of the same name which starred Jack Lemmon and Lee Remick. This standard has long been a favorite of musicians. Key of F and Ab. Performed by: Miles Black. Picture of: Oscar Peterson. @014 East of the Sun (and West of the Moon), was written in 1934 by Brooks Bowman. This version begins with a solo rubato chorus in the style of Tommy Flanagan and Oscar Peterson. The next chorus is played in a Hank Jones, solo stride fashion. Originally intended as a ballad, it is usually performed as a medium-tempo tune, as it was in the Sinatra version which still holds up as one of the classic renditions. Many jazz artists have paid tribute to Frank's consistently great statement of melodies. Key of G. Performed by: Miles Black. Picture of: Tommy Flanagan. @015 Easy to Love, was written in 1936 by Cole Porter for the musical "Born to Dance". The intro has that marvelous Nat Cole, relaxed and cozy feel. The melody is stated in block-chord style of which Nat was one of the earliest exponents. George Shearing made this, his signature style, famous in the 50's and 60's. The Shearing sound had the vibes and guitar doubling the melody, the latter, an octave below. The block-chording style is also carried through to the solo section. Key of C. Performed by: Renee Rosnes. Picture of: Nat "King" Cole. @016 Evergreen, was written by Paul Williams and Barbra Streisand. Here is a beautiful rendition of this hit tune played in a solo, cocktail style. The term "cocktail style" piano doesn't necessarily have to be derogatory and it certainly is not here. It can apply to pianists of all levels, playing solo lounge gigs. Streisand not only co-wrote the tune but had the hit recording of it. Key of A. Performed by: Miles Black. Picture of: Miles Black. @017 Falling In Love With Love, was written in 1938 by the great song writing team of Richard Rodgers and Lorenz Hart for the musical "The Boys From Syracuse". This trio performance is in the jazz-waltz idiom. The pianistic style has many of the elements of Herbie Hancock. Notice the reharmonization near the end of the first 16 bars. The normal Bb chord with a D in the lead is spiced up by a deceptive cadence (Bm7 to E7, Cm7 to F7). This device is carried through to the solo section as well. One thing Herbie likes to do with his voicings is to include a half-step interval at the lower end of the chord. Key of Bb. Performed by: Renee Rosnes. Picture of: Herbie Hancock. @018 A Foggy Day, was written by George and Ira Gershwin in 1937 for the Broadway musical "A Damsel in Distress". This trio version illustrates the pianistic style of Errol Garner. The left hand plays four-to-the-bar chords in rhythm guitar style while the right hand handles the melody, either harmonized, in octaves or octave with a fifth. The left hand stays on top of the beat while the right hand plays in a lazy, laid-back fashion. Notice the bass plays a very basic "two" feel. Errol Garner, the composer of "Misty", was immensely popular in the 50's and 60's. The Gershwins later recalled that this tune was inspired by their good friend Oscar Levant who was visiting London for the first time and had cabled to say that he was feeling lost and lonely. This tune has been recorded by many artists including the great Ella Fitzgerald. Key of Ab. Performed by: Miles Black. Picture of: Miles Black. @019 Good Bait, was written by Tadd Dameron and Count Basie (although many publications credit Dizzy Gillespie). This version is pure Shearing...... locked-hand style throughout this arrangement. Notice that the melody is harmonized throughout and the melody is doubled by the left hand. Nat King Cole and George Shearing were exponents of this technique. Key of Bb. Performed by: Miles Black. Picture of: Nat Cole. @020 I Can't Get Started, was written in 1935 by Vernon Duke with lyrics by Ira Gershwin. This solo arrangement is played in the style of Tommy Flanagan and Hank Jones. Vernon Duke, incidentally has written a great book called "The American Popular Song". This is a must for anyone who is interested in learning about the great standard tunes. It is probably available from most libraries. In the first chorus, the arrangement uses the original chords , while in the solo section the chromatic reharmonization is used in the third and fourth bars. Key of C. Performed by: Ron Johnston. Picture of: Tommy Flanagan. @021 I Could Write a Book, was written in 1940 by Richard Rodgers with lyrics by Lorenz Hart for the musical "Pal Joey". It is played here in solo stride style like that of Art Tatum. Notice in the left hand the combination and the voice leading of the tenths and sevenths. Some of the great exponents of stride have been: the stylish James P. Johnson, the outrageous Fats Waller who was also a great showman, Willie "The Lion" Smith who was arrogant and had great chops and Art Tatum who probably took stride to it's highest level. Current exponents are: Dick Wellstood, Dave McKenna and Dick Hyman. Key of C. Performed by: Miles Black. Picture of: Art Tatum. @022 I Concentrate on You, was written in 1939 by Cole Porter. This trio arrangement has some of the characteristics of Keith Jarrett's playing, especially in the second chorus. Cole Porter, one of the most prolific writers of the American popular song, was known for writing 64 bar tunes such as this one, (most standards are 32 bars). Key of Eb. Performed by: Miles Black. Picture of: Keith Jarrett. @023 I Didn't Know What Time it Was, was written in 1939 by Richard Rodgers and Lorenz Hart and is played here in a Cedar Walton, Herbie Hancock, Kenny Barron trio style. The intro echoes the "time bells" in a minor key. Notice the voicings; the Em9(b5) for the first chord, the F# adds a nice flavor; also the use of half steps in the chord voicings. The left hand never over shadows the right but compliments it. In the 8th bar the arrangement incorporates a reharmonization by substituting an Fm7, Bb7 for the Gm7, C7 before the Em7 of the 9th bar. Reharmonization like this, if it's done tastefully and not used to excess, can be very effective. The reason this works here is that Fm7, Bb7 moves logically and musically to Em7, AND there is no conflict with the melody. Key of Dm. Performed by: Renee Rosnes. Picture of: Herbie Hancock. @024 I Get a Kick out of You, was written by Cole Porter. This trio rendering begins with a Kenny Barron approach. Note the arranging device at the end of the first chorus. The solo section pays tribute to the great Bebop playing of Bud Powell. Frank Sinatra sang the definitive version. The 64 bar length is typical of Porter. Key of Eb. Performed by: Miles Black. Picture of: Bud Powell. @025 I Love You (Accompaniment), was written by Cole Porter. This is a piano-accompaniment treatment to illustrate a typical medium tempo piano with horn or vocal duo concept. The left hand walks throughout while the right hand comps. In the middle chorus, the piano plays a solo while the left hand continues to walk. Vibes or jazz guitar generally sound good for the horn or vocal sound. Key of F. Performed by: Ron Johnston. Picture of: Ron Johnston. @026 Indian Summer, was written by Victor Herbert and Al Dubin. This is a solo cocktail reading of this old standard in the style of Hank Jones, Tommy Flanagan and Nat Cole. There is a loose (but in time) feel to the first chorus. Musically this tune is distinguished by the augmented chord in the second bar and the half step 2 - 5 progression near the end. Key of Bb. Performed by: Miles Black. Picture of: Nat Cole. @027 It's All Right with Me, was written in 1953 by Cole Porter for the movie "Can Can". It's played here in an up-tempo, solo Bebop fashion. Bud Powell , who was a great exponent of this kind of playing, was known for his amazing speed and musical imagination. This 64 bar tune is always associated with Sinatra. Key of Cm. Performed by: Miles Black. Picture of: Bud Powell. @028 I Want to be Happy, was written by Youmans and Caesar. This trio interpretation echoes the locked-hand style of George Shearing, Nat King Cole, and Oscar Peterson. Notice the deceptive cadence in the tag at the ending. This kind of device can add a feeling excitement to an arrangement. Originally thought of as a light and frivolous tune, it can sound good when given a medium-swing treatment. Key of C. Performed by: Ron Johnston. Picture of: Oscar Peterson. @029 Oh Lady Be Good, was written by George and Ira Gershwin. Here is a solo in the style of players like Dick Hyman and Hank Jones. Dick Hyman is a superb solo pianist working out of the New York area. Along with scoring and playing in a number of Woody Allen movies, he has published a much recommended fakebook of songs which show the correct basic changes as well as frequent substitutions. Another one of the wonderful Gershwin tunes which musicians enjoy playing on because it has such a natural feel. This almost starts off as a blues but in fact has a 32 bar structure. Key of F. Performed by: Ron Johnston. Picture of: Dick Hyman. @030 Love Walked In, was written by George and Ira Gershwin in 1938. This trio treatment features some of the playing elements of Kenny Barron, Herbie Hancock and Cedar Walton. Key of F. Performed by: Renee Rosnes. Picture of: Herbie Hancock. @031 The Man I Love, was written by George and Ira Gershwin. This tune is played in tempo throughout although it implies a free and unconfined rhythmic concept. Very much in the style of Bill Evans, this arrangement demonstrates the solo conception which Bill developed. Originally written as a ballad, it is most often played in an up-tempo mode. Key of Eb. Performed by: Miles Black. Picture of: Bill Evans. @032 Have You Met Miss Jones, was written by Richard Rodgers and Lorenz Hart. This trio arrangement begins with a rubato solo chorus followed by a funky Latin treatment. Notice the reharmonization in the seventh bar to Abm7 - Db9. Frequently played in the jazz repertoire, it is known for it's ever modulating bridge which some speculate might have been an inspiration for John Coltrane's "Giant Steps". Key of F. Performed by: Renee Rosnes. Picture of: Renee Rosnes. @033 The More I See You, was written by Warren and Gordon. This pretty ballad is given a solo Bill Evans treatment. Notice the second 16 begins with a reharmonization. Instead of playing the F chord, a Bm7(b5) is substituted. Key of F. Performed by: Ron Johnston. Picture of: Bill Evans. @034 Nardis, was written by Miles Davis. Here is a solo rendition of this jazz classic played here in the Bill Evans style. The melody features some locked-hand work with accompanying bass lines. In the solo section the right hand is punctuated by bass notes played sparsely and off the beat. Key of Em. Performed by: Renee Rosnes. Picture of: Bill Evans. @035 Nice Work if You Can Get It, was written by George and Ira Gershwin in 1937 for the musical "A Damsel in Distress". This solo rendition is definitely styled after Thelonius Monk. Monk's roots were in stride piano, (James P. Johnson and Duke Ellington). Even though he later became harmonically and rhythmically "liberated", he never lost his feel for stride, especially when playing solo ballads. Notice the frequent high trills and half steps in the melody as well as displaced time etc. This tongue-in-cheek rendition also illustrates Monk's sense of humor and his love of the unusual. As he said himself: "wrong is right." Key of Bb. Performed by: Miles Black. Picture of: Thelonius Monk. @036 Night and Day, was written by Cole Porter. This trio rendering begins with an out of tempo first chorus. When the bass and drums join in at the second chorus, the tempo is medium-up and the style is very much McCoy Tyner. Notice the Coltrane changes in the bridge. For more on Coltrane changes, see the lesson "Coltrane turnaround changes". Key of D. Performed by: Renee Rosnes. Picture of: McCoy Tyner. @037 Old Devil Moon, was written by Burton Lane and E.Y. Harburg in 1946 for the musical, "Finian's Rainbow". Here is a trio conception played with the style elements of McCoy Tyner, Herbie Hancock and Wynton Kelly. In the statement of the melody not the locked-hand counter melodies. Key of G. Performed by: Renee Rosnes. Picture of: McCoy Tyner. @038 Our Love is Here to Stay, was written by George and Ira Gershwin. This trio treatment is in the style of Nat Cole and Oscar Peterson. It is bluesy in flavor and has the typical break at the end of the first chorus. By the third chorus it builds to an almost big band arranged sound and the ending has a fairly typical three-time repetition of the last phrase. Key of Eb. Performed by: Renee Rosnes. Picture of: Nat Cole. @039 People, was written by Julie Stein and Bob Merrill in 1963. This solo rendition is played with a Bill Evans approach. The arrangement starts out in the rather difficult and infrequently played key of B and then has an unusual modulation DOWN to Bb. It's very effective because it's unexpected. Note the "rhythmacizing" in the left hand and the lush voicings and voice-leading which is typical of the Evans style. Barbra Streisand had the major hit on this one. Keys of B and Bb. Performed by: Ron Johnston. Picture of: Bill Evans. @040 The Rose, was written by A. McBroom and is the theme of the movie of the same name which starred Bette Midler. This reading begins very gently in a tender mood in the key of C. After the first melodic statement the bass and drums join in the key of Ab. The arrangement builds in intensity and modulates to the key of A for the third chorus. The tune winds down to it's original mood for the ending. A nice example of the use of dynamics. The pianistic style is that of Keith Jarrett. Key of C. Performed by: Miles Black. Picture of: Keith Jarrett. @041 Secret Love, was written by Fain/Webster for the Broadway play and movie "Calamity Jane". Here is a solo interpretation in the style of Gene Harris, Hank Jones or Tommy Flanagan. The intro has the bass pedaling on the fifth while the right hand is soloing on a 1-6-2-5 based progression. The seventh and eighth bars of the intro set the beginning of the tune up by going to a more chord based approach. Notice the Coltrane changes in the second bridge. Key of E. Performed by: Miles Black. Picture of: Tommy Flanagan. @042 September In The Rain, was written by Harry Warren and Al Dubin. This is a very relaxed solo stride reading of this old standard in the style of Art Tatum, Dave McKenna or Hank Jones. Notice that there are a lot of tenths being played in the bass. This slower tempo permits this kind of left hand approach. Dinah Washington had a hit recording of this tune in the mid-fifties. Key of F. Performed by: Miles Black. Picture of: Art Tatum. @043 Someone To Watch Over Me, was written by George and Ira Gershwin. This is a sensitive rendition of one of the most touching of the Gershwin ballads. The two choruses are played in a solo rubato mode. A few points of interest are, the descending bass line in the first phrase, the phrase which connects the two choruses and the very pretty ending. Key of Bb. Performed by: Renee Rosnes. Picture of: Renee Rosnes. @044 Sweet Georgia Brown, was written by Bernie and Pinkard in 1925. This "old standard", a perennial favorite of jazz musicians and singers, is performed here in a very relaxed, solo stride manner. The first chorus emulates the style of Nat Cole, whereas the second and third choruses are more in the Errol Garner tradition (4 to the bar left hand chords). This tune has been performed in all different styles of jazz, from Dixieland to modern and has had many Bebop heads or melodies based on it's changes. It is usually performed quite up-tempo but here the treatment is relaxed and "swingin ". Key of Ab. Performed by: Miles Black. Picture of: Nat Cole. @045 Tea for Two, was written by Youmans and Caesar. Here is a solo, swing treatment of this well known standard (which is also often performed as a Cha Cha). It is played in a stride style with pianistic elements of Art Tatum, Fats Waller, Duke Ellington and Dick Wellstood. Wellstood, one of best living exponents of stride, points out that the essence of stride is the left hand. "That's where the pulse is. With stride you play tensions off your left hand." This is definitely happening in this version. Also, check out Thelonius Monk's solo version of this tune which has some very hip reharmonization. Key of Bb. Performed by: Miles Black. Picture of: Fats Waller. @046 They Cant Take That Away From Me, was written by George and Ira Gershwin. Here is a relaxed version played in the solo style of Tommy Flanagan, Hank Jones or Dick Hyman. Notice that the melodic "holes" are filled by the bass motion. The ending re-capitulates the initial melodic phrase. Key of Eb. Performed by: Ron Johnston. Picture of: Tommy Flanagan. @047 This Can't Be Love, was written by Richard Rodgers and Lorenz Hart in 1938 for the Broadway show "The Boys From Syracuse". This solo is played in the style of Dave McKenna, Oscar Peterson, Gene Harris and Dick Hyman. Dave McKenna in particular, is a master of the left hand walking bass with the right hand soloing and comping. It's amazing to notice how many lasting standards were written for the Broadway stage in the thirties and forties by the likes of Rodgers and Hart, the Gershwins, Cole Porter, Irving Berlin and later, Rodgers and Hammerstein. Key of G. Performed by: Miles Black. Picture of: Oscar Peterson. @048 You'd Be So Nice To Come Home To, was written in 1942 by Cole Porter for the Broadway show "Something to Shout About". McCoy Tyner's style dominates this version of a tune that always been a favorite of jazz instrumentalists and vocalists. Notice in the intro some of the trademarks of McCoy's style, the powerful left hand pedals with chord voicings in fourths moving in a parallel and polytonal mode. In general, this is a good demonstration of "outside" and "inside" playing. Key of Cm. Performed by: Miles Black. Picture of: McCoy Tyner. @049 You Go to My Head, was written by Gillespie and Goots. This great tune is presented here in the solo style of Bill Evans or Hank Jones. This is beautiful jazz playing with lush voicings, solid harmony and good root motion. Notice the deceptive cadence at the very end, and Fm11 rather than an Fmaj9 is played. One of the most sensual recordings of this ballad was by the great Billie Holiday. Key of F. Performed by: Ron Johnston. Picture of: Bill Evans. @050 When I Fall In Love, was written by Young and Heyman. This thoughtful solo rendition is played in the style of Bill Evans or Tommy Flanagan in the not often used key of Gb. Notice how both hands are working rhythmically and melodically against each other in a complimentary manner. Key of Gb. Performed by: Miles Black. Picture of: Bill Evans. @051 Where or When, was written by Rodgers and Hart in 1937 for the Broadway show "Babes in Arms"....another great standard from the heyday of the American Popular Song. This is played in the easy-going solo cocktail style of Dick Hyman, Tommy Flanagan, Hank Jones etc. Key of Eb. Performed by: Miles Black. Picture of: Dick Hyman. @052 When Your Lover Has Gone, was written by in 1931 by E.A.Swan. This trio rendition begins with a chorus of solo piano in time. The bass and drums join in for the second and third choruses which are pianistically played in the style of George Shearing and Nat King Cole. Key of Bb. Performed by: Ron Johnston. Picture of: Nat "King" Cole. @053 Wind Beneath My Wings, was written by Henley and Silbar and recorded by Better Midler. This is given a Keith Jarrett trio treatment. The first chorus is played solo in tempo. When the bass and drums enter at the second chorus, the feel is a loose, funk-Latin typical of Keith. Notice how this tune builds to a crescendo and drops down just before the ending which incorporates a vamp which in turn rises and falls in intensity. Key of E. Performed by: Miles Black. Picture of: Keith Jarrett. @054 Young and Foolish, was written by Arnold B. Horwitt and Albert Hague in 1954. Performed here in the solo style of Bill Evans or Tommy Flanagan, this rendition begins with the out of tempo verse which starts in the key of Eb and modulates to a few different tonal centers, before ending with a Db9 which leads into the tune in the key of C. Notice the use of reharmonization (e.g.: in the 2nd bar, going to Ab9 before the G7). Many of these chordal tricks were pioneered by the great pianistic innovator Bill Evans. Tony Bennett had the big hit on this one. Key of C. Performed by: Ron Johnston. Picture of: Bill Evans. @055 Danny Boy, the traditional Irish ballad is performed in a beautiful and sensitive solo Bill Evans style. The first chorus is played out of tempo. Notice the exquisite voicings, reharmonization and voice leading, also the choice of bass notes and where they lead. Key of Eb. Performed by: Ron Johnston. Picture of: Bill Evans. @056 Blues for Dr. John, was written by Miles Black. This is a solo bar-room boogie blues played in the style of Dr. John, Champion Jack Dupree and others. It incorporates many of the devices and tricks which have been invented and passed down over the years. Notice the variation at bar 43. Key of C (of course!). Performed by: Miles Black. Picture of: Miles Black. @057 Boogie Blues, was written by Miles Black. This exuberant solo blues is played in Ray Bryant or Dr. John style. The left hand lays down the bass and the rhythm in a simple and repetitive groove. All the variation comes from the right hand. All the great blues piano players had something unique to contribute to the art form. This performance encapsulates many of these pianistic devices. Key of C. Performed by: Miles Black. Picture of: Miles Black. @058 My Funny Valentine, was written by Rodgers and Hart in 1937. Here is a sensitive rendering of one of the most loved and often performed ballads in the jazz repertoire. A solo version played out of time, it incorporates many of the stylistic elements of Herbie Hancock. Notice the modulation to the second chorus. Keys of Cm and Fm. Performed by: Renee Rosnes. Picture of: Herbie Hancock. @059 Ray's Mood, was written by Miles Black. This is a gospel piece in the style of Ray Charles. Although it is not a blues, this tune has a gospel-blues feel throughout. Some of the pianistic devices played here were pioneered by the great Earl "Fatha" Hines. Notice the use of triads with "blues-ified" approaches in the right hand and the laid-back rhythmic feel. Key of G. Performed by: Miles Black. Picture of: Earl Hines. @060 You Made Me Love You, was written by Joe McCarthy and James Monaco in 1913. Here is a solo stride version which is played in an easy listening cocktail style. Many Art Tatum-isms are present, such as when the tempo is seemingly suspended while a fairly impressive run is executed. Other exponents of this style are Dave McKenna and Oscar Peterson. Key of F. Performed by: Miles Black. Picture of: Art Tatum. @061 My Funny Valentine (Accompaniment). This Rodgers and Hart piece is performed here as a duo for piano and horn (or vocal). The piano accompaniment begins in a "two" feel. In the second chorus, the left hand plays in "four". Please note: For further study in these techniques, check out the "Lesson : Blues Choruses." Key of Cm. Performed by: Ron Johnston. Picture of: Ron Johnston. @062 September in the Rain (Accompaniment), was written by Warren and Dubin. This piece is performed here as a duo for piano and horn (or vocal). The piano accompaniment consists of the left hand playing a strong "four", while the right hand is comping sparsely. For further study in these techniques, check out the "Lesson : Blues Choruses." Key of F. Performed by: Ron Johnston. Picture of: Ron Johnston. @063 Old Devil Moon (Accompaniment). This Harburg and Lane tune is performed here as a duo for piano and horn (or vocal). Note how the Bossa feel is rhythmically generated by the piano accompaniment. The melody instrument will sound best if set to Vibes or Jazz Guitar. Key of F. Performed by: Miles Black. Picture of: Miles Black. @064 The More I See You (Accompaniment). This Gordon and Warren piece is performed here as a duo for piano and vocal or horn. Played in a medium swing groove, the piano accompaniment begins with a "two" feel and then moves into "four". Key of Bb. Performed by: Miles Black . Picture of: Miles Black. @065 I Didn't Know What Time It Was (Accompaniment). This Rodgers and Hart piece is performed here as a duo for piano and horn or vocal. The accompaniment starts out with a relaxed, spacey two-feel. Melodic holes are filled with the right hand. Notice how the voice-leading always compliments the melody (as opposed to getting in the way). Performed by: Miles Black. Picture of: Miles Black. @066 Lesson: Blues Choruses. In this lesson, the blues is played with a left hand walking-bass while the right hand comps. At the end are a series of (1,6,2,5) turnarounds. The keys and number of choruses (in brackets) are; G (4), C (4), Bb (3), F (2), Turnarounds. In the second chorus of the blues in C, notice this often played variation of the usual chord progression; (C...Bm7(b5).E7.Am7.Ab9.Gm7.C7.F9 etc...). This lesson is ideal for those who wish to get their walking-bass chops together. The voicings get more complex with each chorus. Performed by: Miles Black. Picture of: Miles Black. @067 Lesson: II-V-l Licks. Right-hand improvisation (hot-licks) is the focus of this lesson. The chord progression is II - V - I in two major keys and two minor keys as follows; 1. Gm7...Cm7...Fmaj7.......(8 times), 2. Cm7...F7...Bbmaj7.......(8 times), 3. Am7(b5)...D7(b9)...Gm 6/9.......(8 times), 4. Dm7(b5)...G7(b9)...Cm 6/9.......(8 times). Notice lots of arpeggios with appogiaturas (approaching a chord tone or target note from above and/or below). Performed by: Miles Black. Picture of: Miles Black. @068 Lesson: "Rhythm Changes" Voicings. This lesson deals with voicings played in a trio setting (i.e. with bass and drums). This 32 bar chord progression, which, next to the blues, is the most frequently played in jazz, is referred to as "Rhythm changes", because it is based on the tune "I Got Rhythm." Three choruses in Bb and one in F are played. The first chorus uses the left hand only. All other choruses use both hands in increasing difficulty. Performed by: Miles Black. Picture of: Miles Black. @069 Lesson: Scale Voicings. This lesson deals with the different methods of harmonizing a scale. The keys dealt with are; C, F, Bb, Eb, D, G, Db, and Gb. Each scale has the following harmonization technique; 1..Single line, 2..Sixths, 3..Close position, melody doubled, 4..Drop-2 (2nd voice is dropped an octave), 5..Flat-nine (or diminished a half-step above), 6..Voicings in 4ths., 7..Ascending, 8..Tenths, 9..Diatonic and diminished approach. This lesson ultimately leads to harmonizing melodies in a locked hand approach. Performed by: Ron Johnston. Picture of: Ron Johnston. @070 Lesson: ll-V-l Chording. This lesson deals with the II-V-I progression played in bossa rhythm, trio style, in all keys. The focus is on two-handed melodic comping. The order of keys is; C, Bb, Ab, Gb, E, D, Db, B, A, G, F, Eb. Performed by: Ron Johnston. Picture of: Ron Johnston. @071 Lesson: Coltrane Changes. This lesson is advanced. The four bar II - V - I progression Dm7...G7...Cmaj7........ may be reharmonized as Dm7.Eb7.Abmaj7.B7.Emaj7.G7.Cmaj7... This 4-bar progression is played two times each in the following keys; C, F, Bb, Eb, Ab, Db, Gb, B, E, A, D, G. This chord substitution is generally referred to as playing " 'Trane changes". Performed by: Miles Black. Picture of: Miles Black. @ V{8uOVFIX1 PRG 8_README TXT Dh8n@001 The pianist who is most associated with bassist Stanley Clarke is: \Keith Jarrett \*Chick Corea \Richie Beireck \Marcus Roberts ^The Corea and Clarke relationship goes back to the album "Light as a Feather". Clarke was the bass player in Chick's group, Return to Forever. <1 @002 This pianist made the cover of Time Magazine in the 50's. He was: \*Dave Brubeck \Thelonius Monk \Oscar Peterson \Errol Garner ^Brubeck's quartet, featuring Paul Desmond on Alto, enjoyed great success with the general public during the 50's. <1 @003 Jazz impresario Norman Granz discovered this unknown pianist on a radio broadcast (which he heard in a cab) while visiting his home city. That pianist is; \Bill Evans \Art Tatum \Ahmad Jamal \*Oscar Peterson ^Oscar, aged 23 at the time, was brought to New York by Granz where he performed at Carnegie Hall in a spectacular debut with "Jazz at the Philharmonic". <3 @004 Name the pianist who was considered to be the first major jazz composer. \*Scott Joplin \Jelly Roll Morton \Eubie Blake \Duke Ellington ^Born in 1868, Joplin was the most celebrated composer of instrumental Ragtime. <2 @005 "Ferdinand Joseph La Menthe" was the real first name of; \*Jelly Roll Morton \Fats Waller \"Fatha" Hines \Thelonius Monk ^Jelly Roll was born in 1885 of Creole heritage. He was one of the first great pianists and arrangers and the first jazz theorist. <3 @006 With which pianist was guitarist Wes Montgomery associated? \Bill Evans \*Wynton Kelly \Monty Alexander \Mulgrew Miller ^The greatest of Wes' groups consisted of Wynton, Paul Chambers on bass and Jimmy Cobb on drums. The album 'Smokin' at the Half Note' is a typical example of just how hard this group cooked in a live setting. <1 @007 In 1948, this pianist formed a quartet out of San Francisco that was to become world famous. He was: \Errol Garner \George Shearing \*Dave Brubeck \Oscar Peterson ^"Take Five ", which was written by Paul Desmond in the time signature of 5/4, became the quartet's most famous hit. <2 @008 This pianist was known for his eccentric stage mannerisms, funny hats and dark glasses. Name him. \Fats Waller \*Thelonius Monk \Pete Barbuti \Jelly Roll Morton ^Monk used to dance, trance like and in circles during the tenor solos. <1 @009 This pianist used to place a Manhattan Telephone book on the piano bench to raise himself to a comfortable height to play. His name was; \Fats Waller \Count Basie \Art Tatum \*Errol Garner ^Garner was one of the most popular jazz pianists in the 50's. <1 @010 Name the pianist who performed with the Chicago Symphony Orchestra at the age of 11: \Scott Joplin \Art Tatum \*Herbie Hancock \Keith Jarrett ^Herbie was a child prodigy who, like Keith Jarrett, started with the classical repertoire before turning to jazz. <3 @011 Who said: "If jazz continues the way it is going today then I don't want to be a part of it very much longer"; \Richard Clayderman \*Oscar Peterson \George Shearing \Nat Cole ^Oscar was referring to the 50's outbreak of jazz junkies and the "imbecilic cultists" who fawned on them. <3 @012 Which of the following jazz pianists had a runaway hit album which went "gold" in the 70's and ultimately sold over a million records. \Bill Evans \*Herbie Hancock \Dave Brubeck \Errol Garner ^The album was entitled "Head Hunters". Hancock said of this record that it was musically more accessible to the general public than the material that he had previously been playing. The album featured funky arrangements of Herbie's tunes, Chameleon and Watermellon Man <2 @013 Which of the jazz pianist below was the son of slaves. \"Jelly Roll" Morton \*Scott Joplin \J.P.Johnson \Fats Waller ^Although his parents had been slaves, Joplin, who was born in 1868, studied classical piano as a child. <1 @014 Miles Davis asked this piano player to give him the sound of Ahmad Jamal when he joined the group. \John Lewis \Wynton Kelly \*Red Garland \Bill Evans ^Miles said, "That was the kind of piano player I was looking for...Red played his best when he played like that." <3 @015 Name the piano player on John Coltrane's classic recording of 'Giant Steps'. \*Tommy Flanagan \McCoy Tyner \Herbie Hancock \Errol Garner ^Flanagan on seeing the piece for the first time at the session, assumed that, because of its unusual and complex chord progression, it must be a ballad. He was rather surprised when Trane counted it in, in a fast tempo. <2 @016 The composer of the opera "Treemonisha" was; \Duke Ellington \Chick Corea \*Scott Joplin \George Gershwin ^Although he wrote 41 rags as well as songs, marches, and the opera Treemonisha, Joplin was never acknowledged as a serious composer in his own lifetime. Recognition came posthumously, however, with the republication (1972) of his music. Some of his Rags were used the soundtrack for the movie 'The Sting'. <3 @017 Who made the trio recording of "Billy Boy" ? \*Red Garland \Oscar Peterson \Errol Garner \Dave Brubeck ^This version was recorded by Red on the Miles Davis album, 'Milestones'. <2 @018 Earl "Fatha" Hines; \was the greatest of the early ragtime pianists. \was exclusively a soloist. \died of tuberculosis at the age of 23. \*said that his purpose was pleasurable communication. ^Hines, one of the leading jazz pianists for over 50 years, lived to be 78 <1 @019 Name the solo piano player who picks his repertoire for a set 'on the fly' by picking a word or a theme (such as "June" or "Cities" or "Romance" etc.). \Keith Jarrett \Dick Hyman \Dick Wellstood \*Dave McKenna ^Dave, who can sound like a whole band, will play one long medley for the set by choosing a common word or theme. For example, 'Taking a Chance on Love' and "I Don't Stand a Ghost of a Chance' etc. <3 @020 The pianist who claimed to have "invented" jazz was; \Fats Waller \Scott Joplin \*Jelly Roll Morton \Earl "Fatha" Hines ^Jelly Roll said that he had "invented jazz around 1905". He was ridiculed by other musicians for this arrogant claim. <1 @021 Name the pianist who was the first to use multi-track recording on a solo album. \Nat Cole \*Bill Evans \Chick Corea \Keith Jarrett ^The name of the album was "Conversations with Myself". Bill laid down a solo track and then over-dubbed a second track. <1 @022 With whom is the trio recording of "Poinciana" associated? \Errol Garner \Dave Brubeck \George Shearing \*Ahmad Jamal ^Miles Davis was a big admirer of Ahmad's. He said of him "All my inspiration today comes from Ahmad--listen to the way he uses space". <2 @023 To whom was Bill Evans referring when he said that, "He is an exceptional, uncorrupted and creative talent." \Art Tatum \*Thelonius Monk \Duke Ellington \Keith Jarrett ^Miles Davis said of Monk..."Man, Monk taught me more about music than anyone else on 52nd Street." <3 @024 In the 50's, this pianist's recently formed trio was an opening act for Benny Goodman's group in a two week engagement in New York City. Name him; \Nat Cole \Errol Garner \Oscar Peterson \*Bill Evans ^Bill recounts that drummer Philly Joe Jones was getting too much applause for his solos, so Benny asked him to cut the drum solos. Evans, of course, refused. <3 @025 This pianist has toured and performed with Freddie Hubbard, Wynton Marsalis and Pat Metheny. Name him: \Keith Jarrett \Horace Silver \*Herbie Hancock \Lyle Mays ^Herbie worked many times with Freddie Hubbard, including in the band "V.S.O.P." He was instrumental in bringing Wynton Marsalis to world attention. He recently toured with Pat Metheny. <3 @026 The following musicians were associated with which pianist; Art Blakey, Hank Mobley, Joe Henderson and Tom Harrell: \*Horace Silver \Herbie Hancock \George Shearing \McCoy Tyner ^Horace has maintained a wonderful, hard swinging, long lasting quintet over the years. The group has the two horn sound of trumpet and tenor. <3 @027 Name the pianist whose recording of an outdoor concert in Carmel, California, in the late 50's, was released with the title "Concert By The Sea". \George Shearing \Dave Brubeck \Oscar Peterson \*Errol Garner ^This album became one of the top selling jazz records of the decade. <1 @028 Which of the following pianists was most associated with guitarists Barney Kessel and Herb Ellis? \*Oscar Peterson \Nat Cole \Dave Brubeck \George Shearing ^Oscar's first trio was with Barney Kessel and Ray Brown. Later, Herb Ellis occupied the guitar chair. Drummer Ed Thigpen, in turn, replaced Ellis. <1 @029 This piano player is known for playing walking bass lines in the left hand: \Bill Evans \Monty Alexander \Chick Corea \*Dave McKenna ^Dave's right hand takes care of the melody and the comping. <2 @030 Which of the following pianists performed his first concert at the age of six? \Scott Joplin \Horace Silver \Herbie Hancock \*Keith Jarrett ^Keith started studying classical piano at a very early age and soon became a child prodigy. He later studied at Boston's Berklee School of Music. Herbie Hancock was also a child prodigy, but he was the ripe old age of eleven when he performed with the Chicago Symphony Orchestra. <3 @031 Ahmad Jamal, \is one of the few jazz pianists to have hailed from Egypt \favors a heavy, busy approach \prefers to play his own compositions exclusively \*was one of Miles Davis' favorite piano players ^Ahmad was born with the name Fritz Jones <1 @032 Who recorded the album "Life Between the Exit Signs"? \Chick Corea and Return to Forever \*Keith Jarrett \Mulgrew Miller \Kenny Kirkland ^This is one of Keith's first great records. <3 @033 Name the pianist who, at the age of 17, wrote the jazz classic "Lush Life": \Art Tatum \Duke Ellington \Cedar Walton \*Billy Strayhorn ^Strayhorn presented this tune (for which he also wrote the very sophisticated lyrics) as his introduction to Duke. He became Duke's right hand man in arranging and composing. <3 @034 Duke Ellington, \*wrote only one of his hit tunes completely by himself \used to travel in the bus with the other guys in the band \studied composing and arranging at Julliard \was aloof and unapproachable to the general public ^Almost all of Duke's tunes were collaborations with others. His compositional genius was in taking the undeveloped themes of others and making masterpieces out of them. Incidentally the one tune he did write by himself was "Solitude" which he scribbled out while waiting in line to get into a restaurant. <3 @035 Duke Ellington learned the stride style of the great James P. Johnson by; \studying with him at five dollars a lesson \*slowing down a piano roll to see the keys being pressed \hearing him play on one occasion only \none of the above ^Duke aquired James P's piano roll version of 'Carolina Shout". He slowed down the machine and saw which notes were being played. This is how he learned stride. He always idolized James P. and Willie "the Lion" Smith. <2 @036 This piano player has been most associated with guitarist Pat Metheny; \*Lyle Mays \Richie Beireck \Keith Jarrett \Chick Corea ^Lyle and Metheny have performed together many times throughout their careers. <2 @037 Who was the first Jazz pianist to improvise an entire concert in non-stop, solo form? \Art Tatum \Earl "Fatha" Hines \Oscar Peterson \*Keith Jarrett ^In 1971 Keith released the following albums: Koln Concert and Solo Concerts, Bremen and Lausanne. These were milestone recordings because Jarrett seemingly improvised the entire concerts without any stopping and yet managed to remain very melodic. <2 @038 The following pianist was heard by the Jazz public at large, performing with Charles Lloyd on the album Forest Flower. Name him: \*Keith Jarrett \Kenny Barron \Benny Green \Chick Corea ^Keith's playing on this record recorded in 1966, took the Jazz world by storm. His solos on "Forest Flower" and "East of the Sun" are classics <2 @039 The tune "Filthy McNasty" was penned by: \Thelonius Monk \Dr. John \*Horace Silver \Marion McPartland ^Some other great tunes by Horace were; Song For My Father, Opus de Funk, Nica's Dream, Peace, Quicksilver, Cookin' At The Continental, Doodlin', The Preacher; Strollin'. <2 @040 Which of the following pianists was born "Fritz Jones" and later changed his name? \Chick Corea \Tete Montoliu \Thelonius Sphere Monk \*Ahmad Jamal ^ Ahmad who is a Muslim, changed his name for religious reasons <1 @041 Name the pianist whose first gigs were with the Latin groups of Willie Bobo and Mongo Santamaria. \Dave Grusin \George Duke \Keith Jarrett \*Chick Corea ^Chick, whose father was a jazz musician, studied classical piano and was influenced by Horace Silver and Bud Powell. <3 @042 In the 70's, this acoustic jazz pianist abruptly switched (very successfully) to an electronic, funk style. His name is: \Horace Silver \McCoy Tyner \*Herbie Hancock \Cedar Walton ^Herbie's album, Head Hunters, ultimately sold over a million records at a time when jazz artists were selling 10 to 30 thousand records. <2 @043 A series of albums with the word "Standards" in the titles are associated with: \Oscar Peterson \Errol Garner \Bill Evans \*Keith Jarrett ^Keith teamed up with his old friends, bassist Gary Peacock and drummer Jack DeJohnette for this series of records with titles like, "Standards" and "Standards Live" etc. <1 @044 Bassist Scott La Faro was associated with: \*Bill Evans \McCoy Tyner \Keith Jarrett \Richie Beireck ^Evans, La Faro and drummer Paul Motian formed Bill's first version of his great trio. The "Village Vanguard Sessions" record is a prime example of their work together. <1 @045 Which of the following pianists failed to complete the first North American Jazz Trio Tour of the Soviet Union? \Nat King Cole \Thelonius Monk \*Oscar Peterson \Keith Jarrett ^Oscar became dissatisfied with the Russian hotels and quit halfway through the tour. <3 @046 Who did Miles Davis call "the greatest young piano player in the world"? \Ahmad Jamal \*Bud Powell \Herbie Hancock \Bill Evans ^Bud Powell was Bebop's foremost pianist and was one of the most moving players in all of Jazz. <2 @047 Which of the following is not known as a stride piano player; \Dick Wellstood \James P. Johnson \*Barry Harris \Willie "the Lion" Smith ^Barry Harris is primarily from the bebop school. <3 @048 Name the pianist who said "I grew up with the piano, I learned its language while I learned to speak"; \Art Tatum \Denny Zeitlin \Herbie Hancock \*Keith Jarrett ^Keith, a child prodigy, performed his first concert at the age of six. <3 @049 Name the piano player on the track "Freddie the Freeloader" from the Miles Davis record "Kind of Blue". \Bill Evans \Red Garland \Victor Feldman \*Wynton Kelly ^Bill Evans, who had quit Miles' band a short time before, was asked to play on this record. He played on all cuts except for this one, played by Wynton Kelly who Miles had just hired to replace Evans. <3 @050 Which pianist was cracked on the head with a pistol, suffered a serious injury and never fully recovered? \Jelly Roll Morton \*Bud Powell \Thelonius Monk \Lenny Tristano ^In 1946 a bouncer at a club cracked Bud's head open with a pistol. Miles recounts that Bud's playing was never quite the same after that. He started doing a lot of dope and booze and began to act in an unusual manner. He received shock treatment at the Bellevue Psychiatric Ward in NYC. After this, to quote Miles: "Bud was never the same as a musician and as a person". <3 @051 Bassist Gary Peacock is most associated with; \*Keith Jarrett \Herbie Hancock \George Shearing \Kenny Kirkland ^Gary and Jack DeJohnette perform with Keith his recent "Standards" group. <2 @052 Playing chords in a four-to-the-bar rhythm guitar style while laying back in the right hand is characteristic of; \Dave Brubeck \Oscar Peterson \Dave McKenna \*Errol Garner ^Errol made this style famous in the 50's. <2 @053 This pianist was also a night club owner, a vaudeville comic and a pool shark. He was; \Nat "King" Cole \*Jelly Roll Morton \Pete Barbuti \Fats Waller ^Morton, who was one of the first great jazz pianists and arrangers, learned his art in the New Orleans bordellos. <2 @054 To whom was George Shearing referring when he said, "Shaking hands with him was like grabbing a bunch of bananas"? \*Fats Waller \Art Tatum \Oscar Peterson \Dave McKenna ^Fats had very large hands which were capable of spanning 13 keys. <1 @055 Who wrote the tune "Spain"? \Tete Montoliu \*Chick Corea \Horace Silver \Monty Alexander ^This is one of Chick's most famous Latin pieces. <1 @056 Which of the following pianists has performed on and scored a number of Woody Allen movies; \Herbie Hancock \Dave Grusin \*Dick Hyman \George Shearing ^Hyman who is based in NYC is a great solo pianist. <2 @057 To whom was sax legend Coleman Hawkins referring when he said, "He could write tunes as fast as he could play the piano"? \Scott Joplin \*Fats Waller \Duke Ellington \Thelonius Monk ^Fats who wrote "Honeysuckle Rose" and "Ain't Misbehavin'", was also reputed to have written "On the Sunny Side of the Street" and to have promptly sold the rights to it for $50. <2 @058 Which piano player said to Bud Powell, "Anything you play with your right hand, I'll play with my left"? \*Art Tatum \Red Garland \Vladimir Horowitz \Oscar Peterson ^Bud Powell had shown up at a "cutting contest" with Tatum, in an inebriated condition. Tatum told him to come back when he had sobered up. <2 @059 Oscar Moore was the guitarist who was associated with: \Count Basie \*Nat Cole \Oscar Peterson \George Shearing ^Nat had a very successful piano/guitar/bass trio in the 40's. The guitar chair was held successively by Irving Ashby and Oscar Moore. <2 @060 Which pianist is most associated with John Coltrane? \Jim McNeely \Herbie Hancock \Cedar Walton \*McCoy Tyner ^McCoy was the pianistic force in Trane's classic group. <1 @061 In 1957, who played piano on the track "Sid's Ahead" from the Miles Davis album "Milestones"? \Red Garland \Bill Evans \Wynton Kelly \*None of the above ^Red Garland, who was on the date, got mad at Miles for telling him how to play and stormed out of the studio. So Miles played piano on this track. Red was replaced in the band by Bill Evans. <3 @062 Alto Sax player, Paul Desmond is most associated with; \*Dave Brubeck \George Shearing \Oscar Peterson \Kenny Barron ^The Brubeck and Desmond association lasted from the late 40's into the 60's. <1 @063 Which of the following pianists was one of the first "outside" or atonal stylist; \Keith Jarrett \Richie Beireck \Phineas Newborn \*Cecil Taylor ^Cecil was "doin' his thing" back in the late 50's. <3 @064 Guitarist Jim Hall is most associated with; \Oscar Peterson \*Bill Evans \Herbie Hancock \Keith Jarrett ^Their duo album "Undercurrent" is a classic. <2 @065 Bass player Ray Brown has been most associated with: \Dave McKenna \Duke Ellington \Kenny Barron \*Oscar Peterson ^The Oscar Peterson Trio of the 50's and 60's consisted of Ray on Bass and Ed Thigpen on drums. This trio made countless records and was very successful with the critics and the public. One of their most famous recordings was "West Side Story". <1 @066 This pianist's "second career" was inadvertently launched when, just to oblige a nagging club owner, he sang a tune. His name; \Fats Waller \*Nat Cole \Mose Allison \Billy Joel ^Nat went on to become the first black singer of popular songs to be accepted by the general public. He sold countless records and had his own TV. series (which has been re-run recently). <1 @067 The Miles Davis record, "My Funny Valentine" is considered by many to be on their top 10 list. Who was the piano player on this album? \Bill Evans \Wynton Kelly \*Herbie Hancock \Keith Jarrett ^Herbie is in a very impressionistic mood on this wonderful record of ballads and standards recorded in the mid 60's. <2 @068 In 1957 Miles Davis replaced Red Garland with Bill Evans. The reason for this was; \Red was strung out on drugs and was messing up. \Miles just wanted to form a completely new band. \Miles fired him for walking out on the "Milestones"session. \*Miles felt that Bill was more suited to his modal direction. ^In fact Red worked with Miles on several occasions after the "walking out" incident <3 @069 To whom was George Shearing referring when he said that currently.. "He's my favorite player" \Keith Jarrett \Elton John \*Dave McKenna \McCoy Tyner ^McKenna currently lives in Cape Cod and works out of the Boston or NYC areas. He has made many records on the Concord label. <2 @070 Bass player Ron Carter has performed on many occasions and recordings with: \Dave Brubeck \Wynton Kelly \Keith Jarrett \*Herbie Hancock ^Ron and Herbie's musical relationship began when they were both hired by Miles Davis in the mid 60's. They still perform and record together. <2 @071 The solo piano recordings of "Tea for Two", "Don't Blame Me" and "Just a Gigolo" are associated with; \Cecil Taylor \Richie Beireck \Fats Waller \*Thelonius Monk ^Any one who has not yet heard Monk's solo piano renditions is in for a great treat. <3 @072 The album "The Village Vanguard Sessions" was performed by; \Art Tatum (Solo) \*The Bill Evans Trio \Chick Corea and "Return to Forever" \The Keith Jarrett Trio ^This two record set was recorded by Bill with Scott LaFaro and Paul Motian <2 @073 Thelonius Monk, \never played standards \disliked playing solo piano \had an exquisitely delicate touch \*came from the stride style of J. P. Johnson and Duke ^On many solo performances, often played in stride style, Monk in fact favored standards. <3 @074 Which Miles Davis alumnus piano player was nicknamed "Moe" \Red Garland \*Bill Evans \Wynton Kelly \Herbie Hancock ^Bill replaced Red Garland in the group in 1957. <3 @075 The piano style of Earl Hines \*had a horn-like approach \featured a left hand comping, four to the bar throughout \was almost exclusively stride \was sloppy but rough ^Hines started out as a stride player but switched to a more horn like approach. <3 @076 Of the following pianists, with which one would you most associate bass player Paul Chambers? \Herbie Hancock \Thelonius Monk \*Wynton Kelly \Chick Corea ^Paul Chambers played in Wynton's trio during the 60's. They had previously worked together with Miles Davis. <3 @077 Art Tatum, \was a legendary sight reader \*had chops which made classical virtuosos listen in awe \only performed in a quartet setting \was quite insecure about his playing ^Virtuosos Vladimir Horowitz and Walter Gieseking were said to have sat in amazement listening to Tatum playing at the Onyx Club on 52nd St. in NYC. <2 @078 Name the most celebrated composer of Ragtime: \J.P.Johnson \*Scott Joplin \Jelly Roll Morton \Muddy Waters ^In 1899 Joplin's "Maple Leaf Rag" became the most popular piano Rag of the period and this tune gave him a modest lifetime from royalties. He published 41 Rags. <1 @079 Name the composer of "Jitterbug Waltz", "The Joint is Jumpin'" and "Black and Blue": \*Fats Waller \Duke Ellington \Earl Hines \Horace Silver ^Fats also wrote "Ain't Misbehavin'" and "Honeysuckle Rose". <3 @080 Duke Ellington had a personal dislike for: \Thelonius Monk \Count Basie \*Jelly Roll Morton \Keith Jarrett ^Morton had a very arrogant attitude. Because of his Creole background he used to distance himself from the rougher playing of the "black Negroes'. <3 @081 Fats Waller... \didn't like to drink on the gig \*was the protg of James P.Johnson \could not stretch a tenth \lived his life by the rule "early to bed ..early to rise" ^Fats had a great sense of humor and a big appetite for food, drink and high living. <2 @082 Scott Joplin, \Couldn't read a note of music \Surprisingly only wrote 2 Rags \Made little or no money from his music \Wrote 41 Rags ^His Rags gave him a modest lifetime income from royalties <1 @083 This piano player was the music director (and a performer) in the movie "Round Midnight". He was: \Bud Powell \Duke Ellington \Thelonius Monk \*Herbie Hancock ^This movie is the story of a tenor sax player (played by Dexter Gordon) who, disillusioned by the US, moves to Paris. <2 @084 Who played piano "with" Charlie Parker in the movie, "Bird"? \Thelonius Monk \Bud Powell \Al Haig \*Monty Alexander ^Charlie Parker's sax playing was electronically extracted from the existing recordings. A studio-assembled rhythm section "overdubbed" the rhythm section parts to Bird's playing. Monty Alexander was the pianist. <3 @085 Of the following pianists, with which one would you most associate tenorists Johnny Griffin and Charlie Rouse? \Red Garland \Horace Silver \Kenny Kirkland \*Thelonius Monk ^Griffin and Rouse along with John Coltrane were three of the most notable sax players who played with Monk during the 50's and 60's. <2 @086 Block-chord voicings are one of the trade marks most associated with: \Fats Waller \Dave Brubeck \Dave McKenna \*George Shearing ^The "Shearing sound" which was famous during the 50's and 60's consisted of the piano playing the melody or line in block chord style. The melody was doubled by the vibes and (an octave below) by the guitar. <2 @087 This piano player was the inspiration for the movie "Round Midnight". His name was: \Thelonius Monk \*Bud Powell \Teddy Wilson \Nat Cole ^The movie was in fact dedicated to the memory of Bud Powell. It was produced by Clint Eastwood. <3 @088 In 1959, this piano player moved from New York to Paris where he lived for 7 years. His name was: \*Bud Powell \Teddy Wilson \Earl Hines \Lennie Tristano ^Powell returned to New York in 1966 where died shortly later. The movie "Round Midnight" is slightly based on this and is dedicated to him. <3 @089 The movie "Straight, No Chaser" is about: \A jazz pianist who drinks himself to death \The life of Bud Powell \The life of a pianist who gets his life together \*The life of Thelonius Monk ^This excellent feature documentary about Monk was produced by Clint Eastwood and is available for rent in video stores. <2 @090 Around the turn of the century (1900) the most popular rag was: \The Tiger Rag \*The Maple Leaf Rag \The Entertainer Rag \The Jelly Roll Rag ^The Maple Leaf Rag was written by Scott Joplin in 1899. <1 @091 The phrase " ... a perfect translation of the Charlie Parker style to the keyboard" could best be applied to: \*Bud Powell \Lennie Tristano \Barry Harris \Red Garland ^Miles Davis said of Bud, "He was a genius piano player, the best there was of all the bebop piano players". <2 @092 This formerly well known jazz pianist fell into relative obscurity until, in the 60's, after a few concerts in New York, he was rediscovered by the critics. He was: \*Earl "Fatha" Hines \Art Tatum \Scott Joplin \Jelly Roll Morton ^Hines' career was totally revived and he remained busy until his death in 1983. <3 @093 This pianist wrote most of the material for his album "Time Out" which featured tunes in unusual time signatures. Name him: \Lennie Tristano \*Dave Brubeck \Chick Corea \Kenny Kirkland ^The 5/4 tune, "Take Five" written by Paul Desmond, was the big hit from this record. "Blue Rondo a la Turk" in 9/8 was one of the many tunes written by Brubeck. <2 @094 The album "Now He Sings, Now He Sobs" was one of the first important records of: \*Chick Corea \Keith Jarrett \Herbie Hancock \Richie Beireck ^Recorded in the late 60's, this is one of Chick's first and best records. <3 @095 This pianist led a band for twenty years who's members included Charlie Parker, Dizzy Gillespie, Billy Eckstine and Sarah Vaughan. His name? \Duke Ellington \George Shearing \*Earl "Fatha" Hines \Count Basie ^Hines' recordings with Louis Armstrong in the late 20's brought him to national recognition and he remained as one of the leading jazz pianists for fifty years. <3 @096 Name the pianist who composed Stardust, Lazy River, Old Rockin' Chair and Georgia. \Eubie Blake \*Hoagie Carmichael \Fats Waller \Duke Ellington ^After Stardust had hit the 100,000 copies in sales, Hoagie was initially offered a $ 25 weekly draw against royalties. Because of the phenomenal success of this classic, he achieved lifetime financial security. <1 @097 Who was the composer of 'Blue Rondo a la Turk' ? \Duke Ellington \Michelle Legrand \Scott Joplin \*Dave Brubeck ^This catchy quasi-classical piece was performed on the Dave Brubeck album "Time Out", featuring Paul Desmond. <1 @098 Name the piano player whose tune became the theme of the movie, "Play Misty for Me": \Henry Mancini \Herbie Hancock \Dave Grusin \*Errol Garner ^Errol wrote the immortal ballad "Misty" in 1954. It has been recorded by over 200 artists and has been a pop hit five times. He re-recorded it in 1971 for this Clint Eastwood movie. <1 @099 Which of the following piano players had his picture on the cover of "Time" Magazine in 1964? \Dave Brubeck \*Thelonius Monk \Errol Garner \George Shearing ^Monk was at the height of his career at this time. Brubeck made the "Time" cover in the 50's. <3 @100 Which piano player did Miles love because he was a combination of Red Garland and Bill Evans? \Ahmad Jamal \Keith Jarrett \Herbie Hancock \*Wynton Kelly ^Miles, Coltrane and Cannonball Adderley loved the way Wynton played behind the soloist. <3 @ MID [ k7xJP018 MID k 8jyJPBIO0 TXT R*8JPMEMO0 TXT ^W8JPTRIVI0TXT V{8uOVFIX1 PRG 8_README TXT Dh8n`*,oB?< NA\O/?< ?<"NNTO*@ #6*P#.NA\O .Ю?</?<1NAPO8g<0f:gJy:g 82lм#28 y*N y.B( 8м#2#*P:8Nu<<f0#*Nu<<g# *Nu#*Nu<<gQ:NuQ:/96Nu$@ JPMEMO0 TXT ^W8JPTRIVI0TXT V{8uOVFIX1 PRG 8_README TXT Dh8nNOTE!!!! The program OVFIX1.PRG **MUST** be in the AUTO folder of your boot disk. It is an Atari bug fix for all TOS versions. OVFIX1.PRG prevents keyboard overflow problems which are recognized as an annoying key click that doesn't stop until a key is pressed. Other than that... run the program and ENJOY!!! Kevin Houser, the Atari guru... ^W8JPTRIVI0TXT V{8uOVFIX1 PRG 8_README TXT Dh8n#a000000 #b000000 #c7770007000600070055200505552220770557075055507703111103 #d #K 4F 53 4C 00 46 42 43 57 45 58 00 00 00 00 00 00 00 00 00 00 00 00 00 52 00 00 4D 56 50 00 @ #E 98 03 00 06 #Q 41 40 43 40 43 40 #W 00 00 14 01 28 17 00 A:\*.*@ #W 00 00 02 0B 4C 09 00 @ #W 00 00 0A 0F 34 09 00 @ #W 00 00 0E 01 34 09 00 @ #W 00 00 04 07 4C 0C 00 @ #W 00 00 0C 0B 4C 09 00 @ #W 00 00 08 0F 34 09 00 @ #W 00 00 06 01 34 09 00 @ #N FF 04 000 @ *.*@ @ #D FF 01 000 @ *.*@ @ #G 03 FF 000 *.APP@ @ @ #G 03 FF 000 *.PRG@ @ @ #Y 03 FF 000 *.GTP@ @ @ #P 03 FF 000 *.TTP@ @ @ #F 03 04 000 *.TOS@ @ @ #M 00 00 00 FF A FLOPPY DISK@ @ #M 01 00 00 FF B FLOPPY DISK@ @ #T 00 07 02 FF TRASH@ @