Thanks Frank...I moved away from. the tradional jazz approach to a more free style of interpretation. For me it allows me to be more creative and more expressive. But given the chance I would sit down at the piano with some players like you and Tom and Chuck and Caesar in a heart beat .Down here I don't know anyone and I really don't want to play gigs in a club. Thanks again for listening
Thank you. I listened very closely to this. I get the distinct impression that you are running your well-practiced exercises in diminished scales and left hand chord stabs always on the ‘up’ after the one, with many right hand flourishes thrown in for good measure. The idea in jazz improvisation is to play the spontaneous feeling inside, not repeat exercises. Not throwing in the kitchen sink. The world doesn’t need another Liberace (that’s a compliment). Silence is strategic. But then you did not claim to be improvising. Thank you for that. If you can take a tip…this rendition is begging for the very last chord to be the 9th major triad on top of the I chord that you play. A simple C major on top of the Bb. I like the classical sound you play on the outro. It’s nice. I give this a thumbs up for your commitment. Please continue to play your heart out. Music is life.
Thank you for listening. I am a classically trained musician and have tried to bring some of my love for classical music in my stylings of the songs from the Great American Songbook. Besides Gershwin’s attempt to blend the sonorities of jazz with classical form, I liked the way George Shearing brought many ideas from the classical piano repertoire into his arrangements of standard tunes. I also like Don Shirley’s mixture of standards and classical. I must confess that my arrangement of Stella was indeed heavy on the diminished sound. And I wanted that diminished “sound” to dominate. (as evident in my final chord) I was using the diminished chords for color more than for function. I was attracted to the diminished scales after hearing Concerto for Orchestra by Bartok. Especially when the bassoons were playing the scales in thirds. You didn’t mention my use of the whole tone scales in this arrangement. I studied some of the piano preludes of Chopin and loved his use of the whole tone “sound” in his piano prelude, Voiles. Of course, my attempts at creating arrangements which bring in some classical influences are feeble compared to others, as you have suggested. But I do find it to be fun. I do not put my way of playing and creating into categories. I’ve performed in venues from Lincoln Center to dive bars in Jew Jersey. I never called myself a jazz pianist. I’ve always described myself as a dime a dozen piano player from NY City.
@@lukelucas1776 Luke, why did write those comments about my playing. I found your posture of arrogance to be unkind and hurtful. Especially when you laughed at me.
@ You are not a truthful person. I wasn’t arrogant, hurtful or unkind. I also did not call your attempt at jazz “feeble” as you claimed. You are intellectually dishonest. Many pianists such as you, are so thin-skinned that they simply can’t or won’t take any measure of suggestion or constructive criticism. That’s why I hesitate to answer your question. It will not make a difference. I read your puffed up reply and was not impressed with your sarcasm regarding the historical regurgitation of your classical knowledge. The fact is I took the time to listen to you. I gave you a measured opinion. You took insult because that is your nature, not the nature of a true musician who wants to learn. The advice I gave you was correct and if you would have opened up your tight little head, or ignored your fragile ego, you would have learned something. But you didn’t and here you are today, still writing me to defend a perceived insult. So, instead of learning from a highly experienced old school jazz pianist, teacher and composer, you chose to misquote me to suit your inability to take direction or a suggestion. You are musically stuck. Enjoy your bubble Dan.
Luke, everything you said about me is true. Next time you need to tell another piano player what's wrong with their playing, be a little more sensitive. Good bye Luke.
Another great performance...we made great music toghther with Chuck Wayne and Tom Butts...thanks for posting.
I love your free style!!!! Excellent!!!!
I love this expression of Stella!😂
Thanks Frank...I moved away from. the tradional jazz approach to a more free style of interpretation. For me it allows me to be more creative and more expressive. But given the chance I would sit down at the piano with some players like you and Tom and Chuck and Caesar in a heart beat
.Down here I don't know anyone and I really don't want to play gigs in a club. Thanks again for listening
Most enjoyable. Holy cow - I’m on a musical inebriation.
Thank you. I listened very closely to this. I get the distinct impression that you are running your well-practiced exercises in diminished scales and left hand chord stabs always on the ‘up’ after the one, with many right hand flourishes thrown in for good measure. The idea in jazz improvisation is to play the spontaneous feeling inside, not repeat exercises. Not throwing in the kitchen sink. The world doesn’t need another Liberace (that’s a compliment). Silence is strategic. But then you did not claim to be improvising. Thank you for that. If you can take a tip…this rendition is begging for the very last chord to be the 9th major triad on top of the I chord that you play. A simple C major on top of the Bb. I like the classical sound you play on the outro. It’s nice. I give this a thumbs up for your commitment. Please continue to play your heart out. Music is life.
Thank you for listening. I am a classically trained musician and have tried to bring some of my love for classical music in my stylings of the songs from the Great American Songbook. Besides Gershwin’s attempt to blend the sonorities of jazz with classical form, I liked the way George Shearing brought many ideas from the classical piano repertoire into his arrangements of standard tunes. I also like Don Shirley’s mixture of standards and classical. I must confess that my arrangement of Stella was indeed heavy on the diminished sound. And I wanted that diminished “sound” to dominate. (as evident in my final chord) I was using the diminished chords for color more than for function. I was attracted to the diminished scales after hearing Concerto for Orchestra by Bartok. Especially when the bassoons were playing the scales in thirds. You didn’t mention my use of the whole tone scales in this arrangement. I studied some of the piano preludes of Chopin and loved his use of the whole tone “sound” in his piano prelude, Voiles.
Of course, my attempts at creating arrangements which bring in some classical influences are feeble compared to others, as you have suggested. But I do find it to be fun. I do not put my way of playing and creating into categories. I’ve performed in venues from Lincoln Center to dive bars in Jew Jersey. I never called myself a jazz pianist. I’ve always described myself as a dime a dozen piano player from NY City.
@ Hahahaha. Have a nice day Dan.
@@lukelucas1776 Luke, why did write those comments about my playing. I found your posture of arrogance to be unkind and hurtful. Especially when you laughed at me.
@ You are not a truthful person. I wasn’t arrogant, hurtful or unkind. I also did not call your attempt at jazz “feeble” as you claimed. You are intellectually dishonest. Many pianists such as you, are so thin-skinned that they simply can’t or won’t take any measure of suggestion or constructive criticism. That’s why I hesitate to answer your question. It will not make a difference. I read your puffed up reply and was not impressed with your sarcasm regarding the historical regurgitation of your classical knowledge. The fact is I took the time to listen to you. I gave you a measured opinion. You took insult because that is your nature, not the nature of a true musician who wants to learn. The advice I gave you was correct and if you would have opened up your tight little head, or ignored your fragile ego, you would have learned something. But you didn’t and here you are today, still writing me to defend a perceived insult. So, instead of learning from a highly experienced old school jazz pianist, teacher and composer, you chose to misquote me to suit your inability to take direction or a suggestion. You are musically stuck. Enjoy your bubble Dan.
Luke, everything you said about me is true. Next time you need to tell another piano player what's wrong with their playing, be a little more sensitive. Good bye Luke.