Ahmad Jamal

[Classic Touch Ent]

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On Sunday, May 25, 2003, at 12:46 PM, Sarah Fox wrote:

> Hi Rich!

Hi Sarah (fascinating questions and observations)
> =A0
> I wonder if some of the difference might be that jazz pianists are so=20=

> often envelope pushers -- in the same sense that Franz Liszt was an=20
> envelope pusher.=A0
Do you mean in the composer, improviser or performer sense or all three?
Are we talking composition, technique, 'sound' sculpture, voicing? all=20=

of them? The answers (observations, extrapolations, wags) could=20
probably fill a book or two, hotly debated by all. Perhaps I'm=20
misunderstanding the focus of the question, but it just seems there are=20=

so many variables many of which point in the 'which comes first, the=20
chicken or the egg?' direction.
>  What they are able to write/perform depends very much on the=20
> technology beneath their fingertips.=A0
I'm sure that this is true much of the time, but some composers seem to=20=

conjure sounds, and textures, articulations, voicings, temperaments=20
without regard to whether or not the instruments, technology, or=20
performers are capable of producing it. Sort of 'I have this idea ( by=20=

the way the system for notating this hasn't been created yet) and I'll=20=

describe it as best I can: can you figure out a way to make it happen?'
>  Classical pianists, on the other hand, are performing what has=20
> already been written -- within the limitations of existing piano=20
> technology.=A0
Perhaps this is why we see more 'classical' pianists crossing over or=20
outright switching to jazz. Either way all are performing within the=20
limitations of existing tech, until they aren't.
>  I suspect there may be more enthusiasm on the part of a jazz musician=20=

> when his instrument is suddenly able to "do" more than it did before.=A0=
=20
> In the world of jazz, including composition and improvisation, that=20
> means expanding the "vocabulary" with which they can work.=A0 For a=20
> classical pianist, that means being able to play better what has=20
> already been played before.
For sure the classical pianists performance role is more limited (jazz=20=

pianists is expanded). I don't know if 'better' is the word I would use.
I remember Shura Cherkasky saying *(late 70's/early 80's) in a NY Times=20=

interview ~ 'I never play it the same way twice, it depends how I'm=20
feeling in the moment'.
> =A0I'm also captivated by the expressiveness of jazz piano.=A0 (As a=20=

> classical pianist, I'm rather envious of the jazz masters and wish I=20=

> could "do" the things they do!=A0 But I'm also that way about all =
forms=20
> of expression, like opera -- wow!)=A0
>  I wonder if the abundant "enunciation" and "punctuation" of jazz=20
> piano requires more of the instrument.=A0 Or perhaps it only requires=20=

> *different* things of the instrument.=A0 I'm not versed in jazz=20
> performance, so I don't really know.
Ditto. What is leaving me increasingly awestruck are the 'concert tech=20=

masters' and their ability to make a creation as liquid as a piano=20
action
'behave'.
> =A0
> I've often wondered why performance pianos don't ship with multiple=20
> actions for different performer preferences.=A0 Take out one, slide in=20=

> the other.=A0 Different piano!=A0 Two pianos at far less the cost of =
two.=A0
I know of pianists who have second ('practice') actions, so I can't=20
imagine a manufacturer would refuse such a request. Just a matter of=20
writing the check? Probably easier to do this when piano is new.=20
Otherwise I'm guessing the 'catch 22' is that you would have to ship=20
your action to the manufacturer (or say Kluge) for duplication. Issues=20=

for institutions might include safe (from damage) flat, secure storage=20=

(and writing that check)? I'm guessing there might be issues associated=20=

with actions sitting dormant (for extended periods)?
>  It would make sense to me...
> =A0
> Peace,
> Sarah Diane Fox, Ph.D., NPT
> Columbus, Ohio, United States of America
Best,

Rich Olmsted
> =A0
>
>
>

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