The
previous two posts indicate something of the range of pianism; in the
case of Justine Verdier, of a budding concert pianist in the
classical music tradition, who was incidentally playing some of my
favourite piano music by Beethoven and Ravel, then in the case of
Viktoriya Yermolyeva, of a pianist who obviously demonstrates both a
tremendous technique and a considerable body of work which fully
establishes the seriousness with which the musical material was
treated, despite what any of us might say about the initial value of
the original music. As it so happens, neither of these artists have
I met personally, though who knows? I might at some time in the
future have that pleasure.
This
time, I'm introducing my audience to someone I went to school with a
long time ago. Glenn Hardy has had a particular interest in American
piano styles reaching back into the ragtime era around the turn of
the last century. Here's an example:
Ragtime Piano: Scott Joplin's Maple Leaf Rag
Ragtime Piano: Scott Joplin's Maple Leaf Rag
When
Glenn and I used to get together in San Francisco, another lifetime
ago, he would casually pull out some complicated rag and play it as
one would a piece of Schubert or Mozart; with respect for the music,
and as if he were sitting for a recording or preparing just how he
would play it in public. Glenn's technique always impressed me.
Here's something else he plays with consummate ease from a live
performance:
Boogie-Woogie Times Three by Glenn Hardy
His notes are important: This illustrated “three different boogie-woogies...New Orleans, Kansas City, and another New Orleans. My own adaptations, of course...inspired by Professor Longhair, Albert Ammons and Pete Johnson, James Booker.”
Boogie-Woogie Times Three by Glenn Hardy
His notes are important: This illustrated “three different boogie-woogies...New Orleans, Kansas City, and another New Orleans. My own adaptations, of course...inspired by Professor Longhair, Albert Ammons and Pete Johnson, James Booker.”
These
are styles Glenn took the time, patience and effort to analyze, break
apart, determine their technical foundation, and then make them his
own. Glenn also plays jazz as if it was and is as timeless as
something officially more “classical”. Here's a good example,
Glenn plays a 1939 song from a Broadway show, Swingin' The Dream,
music by Jimmy Van Heusen and lyrics by Eddie DeLange. Here is
Glenn's adaptation of "Darn That Dream":
Darn That Dream
Darn That Dream
You can find out more about Glenn here: http://www.hardymuse.com
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