File: MP3@320K/s
Time: 46:32
Size: 107,4 MB
Art: Front
( 3:33) 1. Parisian Thoroughfare
( 2:35) 2. Wail
( 3:34) 3. Isn't It Romantic
( 4:43) 4. Sleepin' Bee
( 3:26) 5. Yesterdays
( 4:39) 6. Stompin' At The Savoy
(11:47) 7. Strayhorn Medley
( 3:04) 8. Con Alma
( 3:23) 9. If You Could See Me Now
( 2:59) 10. Ruby My Dear
( 2:43) 11. Lover
Tommy Flanagan was known for his tasteful, flawless and swinging piano playing. He added class to every session that he was involved with and fortunately it was well documented during the latter part of his career. Solo Piano was not initially released until decades after its 1974 recording. It is significant historically because this outing was the pianist’s first recording as a leader in 13 years and, most importantly, because it is very good music.
Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.
When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.
That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.” On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.
To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.” By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. https://storyvillerecords.bandcamp.com/album/solo-piano-2
Until the long delayed release of Solo Piano, it was believed that Tommy Flanagan’s “comeback” began with 1975’s The Tokyo Recital for the Pablo label and that his only full-length album of unaccompanied piano solos was 1977’s Alone Too Long which was released by Denon in Japan. Solo Piano forced a slight readjustment of the jazz history books and, most importantly, offers listeners some very enjoyable music from the great pianist. It also includes a few surprises, particularly for those listeners who think of Flanagan as primarily a bop stylist.
When swing was succeeded by bop as jazz’s modern mainstream, the function of the piano changed from being a timekeeper to take part of the rhythm section. While the pre-1945 styles of jazz piano had the pianists keeping time with his or her left hand, usually by striding back and forth between bass notes and chords, in bebop that role is usually handled by the string bassist. Bop pianists use their left hands to hit chords on a more unpredictable basis, accenting beats like a drummer “dropping bombs,” while their right plays hornlike lines.
That approach works perfectly in trio settings but can leave some pianists sounding incomplete when taking unaccompanied solos. Bud Powell, the leader in the field, was able to imply the beat and slightly adjust his style when playing solos. In the case of Tommy Flanagan, his ability to play swing was a major asset and in a solo setting he often added a modified stride, as can be heard on his version of “Sleeping Bee.” On swing-oriented numbers such as “Isn’t It Romantic,” “Sleeping Bee” and “Yesterdays,” Flanagan always kept the melody close by even while creating improvised variations. One never has a problem knowing where the pianist is for he builds his improvisations off of the melody rather than simply discarding the theme in favor of jamming over its chord changes. He follows those classic songs with an infectious version of “Stompin’ At The Savoy” that manages to sound both vintage and modern.
To conclude the enjoyable program, Flanagan performs a song apiece by three great composers of the bebop era (Dizzy Gillespie’s “Con Alma,” Tadd Dameron’s “If You Could See Me Now,” and Thelonious Monk’s “Ruby, My Dear”) before ending the set with a joyful rendition of “Lover.” By the time Tommy Flanagan left Ella Fitzgerald’s backup band in 1978, his series of trio recordings had reminded the jazz world that he was a brilliant and very musical pianist. He worked steadily during the next 23 years, touring Europe and Japan while being based in New York and remaining one of the most consistently satisfying of all jazz pianists. Flanagan passed away on Nov. 16, 2001 at the age of 71 but he has never been forgotten. Tommy Flanagan is remembered with love, respect and admiration for his playing and his classy nature. Solo Piano adds to his impressive musical legacy. https://storyvillerecords.bandcamp.com/album/solo-piano-2
Solo Piano
Thank you always Giullia!
ReplyDeleteThank you Bill!
DeleteThank you!
ReplyDeleteThank you Kiken!
DeleteThanks very very much Giullia!!!
ReplyDeleteHey Teo: Thank you !
Deleteexcellent... there is also part 2 ?
ReplyDeletehttps://www.discogs.com/Tommy-Flanagan-Solo-Piano/release/10202995
Hey Brian, there is a note in the link, you kindly brought to our attention, that says:
Delete"Previously unissued solo sessions recorded February 25 & 26, 1974, first released in 2005. Tommy Flanagan only appears on tracks 1-10, the identity of the pianist on tracks 11 to 20 is unknown, though he or she shows some Art Tatum-influenced chops at times (and it obviously isn't Tatum)."
So, maybe there won't be a part 2 unless Storyville finds out the identity of the pianist on tracks 11 to 20.
please refer to: https://www.storyvillerecords.com/products/solo-piano-1018491
and also:
Deletehttps://storyvillerecords.bandcamp.com/album/solo-piano-2
i was looking at the Bruyninckx pages where is listed more tracks... thanks for helping me understand
ReplyDeleteBrian, the pleasure was all mine!
DeleteAnd, by the way, there is a very good explanation by Ken Dryden, at AllMusic, to what happened to the first release of this album:
Deletehttps://www.allmusic.com/album/solo-piano-mw0000701908
"Tommy Flanagan spent a good part of his career accompanying Ella Fitzgerald between 1965 and 1978, so few jazz fans had an idea how capable a pianist he was until he went out on his own in 1978. These previously unissued solo performances (recorded in Zurich in 1974) are a welcome addition to his discovery, mixing bop favorites with a few standards. The bop material includes a pair each of compositions by Bud Powell and Thelonious Monk, along with an elegant treatment of Dizzy Gillespie's "Con Alma." But a problem came up in the assembly of this CD. Evidently another pianist's work, who has a definite Art Tatum influence, is heard on the last ten tracks, especially in "Caravan" (borrowing Tatum's heavy chords and striding left hand), "Just One of Those Things," and the playful "Willow Weep for Me." The spirited stride piano rendition of Earl Hines' "Rosetta," complete with chime-like chords, would have made both Tatum and Hines smile in approval, though this hardly sounds like Flanagan. The rollicking "St. Louis Blues," obviously inspired by Hines' famous "Boogie Woogie on the St. Louis Blues," is yet another twist. Storyville quietly removed Solo Piano from their catalog when the error was discovered, but the mystery of the second pianist's identity (possibly Adam Makowicz?) remains." (Ken Dryden)
Thank you Nobody'sTunes!
Delete