| | Sir Roland Hanna Solo Piano CD - Import Sir Roland Hanna Discography of CDs
Sir Roland Hanna is one of many great jazz pianists from Detroit. Despite a long, fruitful career, he deserves greater merit and critical acclaim than he has yet been granted. Classically trained but also a formidable bop stylist, Solo Piano was recorded in a private home in France during the summer of 1974. Eleven tracks appeared on an obscure LP issued by Hi-Fly, and two bonus tracks appear on this Storyville CD reissue; the latter are previously unreleased. The less-than-high-tech audio makes the session sound as if it had been recorded two decades earlier, though the piano is in tune and Hanna's performances are consistently at a high level. His wailing interpretation of "Stompin' at the Savoy" and the introspective, extended workout of "Willow Weep for Me" are extraordinary. The pianist turns on the afterburners in his flashy original "Anoné," and also revisits his dramatic ballad "Perugia." The bonus material includes the Gershwins' less-frequently played "Isn't It a Pity," and an inventive, lyrical, ten-minute workout of "All Things You Are." ~ Ken Dryden
Recording information: Annecy (07/04/1974/09/08/1974).
Photographer: Bengt H. Malmqvist.
Personnel: Roland Hanna (piano).
Liner Note Author: Scott Yanow.
Sir Roland Hanna Solo Piano Songs Solo Piano Review
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Purchase Solo Piano CD To buy, Click on price to add to cart | Miles Davis Kind Of Blue CD (1959) Bonus Track; Remastered
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$6.49 With BIRTH OF THE COOL, Miles Davis distilled a new tonal palette for jazz. As early as 1954, Miles reacted to the escalating chordal complexity of hard bop by fashioning an evocative blues based on a simple scalar pattern ("Swing Spring"). KIND OF BLUE was the ultimate fulfillment of this approach, with Miles providing his collaborators little more than outlines for melodies and simple scales for improvisation. By emphasizing the blues and the improvisor's melodic gifts, KIND OF BLUE precipitated a major stylistic development--modal jazz.
Charles Mingus had experimented with pedal points throughout the 1950s, and the melodic freedom of Ornette Coleman's Atlantic sides was also predicated on freedom from chord changes. But KIND OF BLUE was to prove the most influential, enduring work of its kind. There was just such a vibe about these 1959 sessions--Miles' lyric genius and burgeoning stardom, ...
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