By Alfred Brendel
'This booklet distils what, at my complicated age, i believe in a position to say approximately track, musicians, and concerns of my pianistic profession.'
Ever because Alfred Brendel bid farewell to the live performance degree after six many years of appearing, he has been passing on his perception and adventure within the type of lectures, readings and master-classes. This reader for fans of the piano distils his musical and linguistic eloquence and large wisdom, and may end up valuable to someone with an curiosity within the process, background and repertoire of the piano.
Erudite, witty, enlightening and deeply own, A Pianist's A to Z is the precise publication for all piano fanatics, musicians and track aficionados: infrequently has the device been defined in such an exciting and clever type.
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Additional info for A Pianist's A-Z: A piano lover's reader
Perfect musicianship slips on occasion, but most of the playing is spoton, especially Woods at his keyboards. Plus the man’s a good storyteller. The songs tend to be vintage: Roomful backs Woods on “Big Mamou,” Wainwright and Julia Magness help out on “Tain’t Nobody’s Bizness,” Castro rips it up on “Rip It Up,” Branch and Montoya put some extra bounce in “Boom Boom,” and Lucky Peterson and Roomful take “Bright Lights Big City” to wide blue ocean. ” As that’s how I often sign things rather than with my long-winded last name, I guess I’d be among pals on a future blues cruise.
Additionally, two bonus blues, the classy “Stormy Monday” and countrified “Floating Bridge,” complete the package, although I’d have preferred them placed properly in the context of the show. Regardless, the entire affair offers the feel of “being there,” and flows very impressively. Gregg Allman’s created himself a new landmark. – Tom Clarke ----------------------------- EUGENE HIDEAWAY BRIDGES Hold On A Little Bit Longer Armadillo The ear-splitting buzz in the national press (including the last issue of Blues Music Magazine) and social media outlets is about Leon Bridges and his Sam Cooke awakening.
With Taylor, Haynes, and Taylor Scott swapping guitar lines, the rest of the band fills in the corners with a breathtaking display of musicianship. The transgender tale “Peggy Lee” tackles the uncertainty of gender issues with intelligence and a gentle Piedmont blues vibe that features David Moore’s nimble banjo and Bill Nershi’s gorgeous acoustic guitar, while a sevenminute reprise of “Hey Joe” features Langhorne Slim on vocals for an entirely different take. The urgent “Cold At Midnight” benefits from Ron Miles’ haunting cornet, the strident final reprise of “Sunday Morning” sounding judgmental by contrast.