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<DIV style="FONT: 10pt arial">----- Original Message ----- </DIV>
<DIV
style="BACKGROUND: #e4e4e4; FONT: 10pt arial; font-color: =
black"><B>From:</B>
<A title=tsheehan@nyc.rr.com =
href="mailto:tsheehan@nyc.rr.com">Thomas A.
Sheehan</A> </DIV>
<DIV style="FONT: 10pt arial"><B>To:</B> <A =
title=pianotech@ptg.org
href="mailto:pianotech@ptg.org">Pianotech</A> </DIV>
<DIV style="FONT: 10pt arial"><B>Sent:</B> Saturday, May 24, 2003 =
12:40
PM</DIV>
<DIV style="FONT: 10pt arial"><B>Subject:</B> Re: Ahmad Jamal</DIV>
<DIV><BR></DIV>
<DIV>I am continually appalled by the lack of good,<BR>solid tuning in =
jazz
piano recordings from the 50s and 60s. E.g., "Time Out"<BR>by the Dave =
Brubeck
Quartet swings like crazy, but there's one ballad -<BR>"Strange =
Meadowlark" -
that's so clearly out of tune that it's enough to<BR>almost make your =
toes
curl.<BR><BR> Jazz and blues recordings are =
absolutely rife
with out of tune pianos! Even in the studios of big labels like
Columbia, and even for greats such as Art Tatum and Erroll =
Garner.
And if it's recorded "live" in a club, the piano's almost always out =
of
tune. I saw Keith Jarrett at the famed Village Vanguard in the =
70's and
he had to come in early and touch up octaves and unisons himself, =
knowing the
club owner wouldn't spring for it. In my experience, the places =
least
willing to pay for piano service and tuning are bars, clubs, and
hotels.</DIV>
<DIV> And regarding the thread re: classical =
vs. jazz
pianists, jazzers have to put up with pianos in much worse shape than
classical artists, and with noisier audiences, and less certainty =
about
receiving their money </DIV>
<DIV> --David Nereson, RPT, & jazz & =
blues
fan <BR></DIV></BLOCKQUOTE></BODY></HTML>