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Top 10 jazz pianists of all time
In the spirit of Anthony Tommasini of the New York Times, I’ve decided, just for fun, to take a crack at the 10 greatest jazz pianists of all time. Greatest can mean most popular, or it can mean the most important in the development of the music. I have considered both in relatively equal measure in coming up with my list. Erroll Garner was one of the most popular and is in my own top 10 of favorites, but he’s not in my top 10 in terms of importance. Cecil Taylor and Paul Bley are certainly contenders for the top 10 in importance, but not in popularity. I have given a slight preference to pianists who are great composers, as what is improvisation but composition on the fly? And I’m limiting this to jazz with a swing perspective. Then I don’t have to deal with Eddie Palmieri (whew) or any of the great Latin jazz artists.
Here’s what I think.
#1 Art Tatum
This shouldn’t be a surprise. He took the legacy of Fats Waller completely to its outer limits and combined it with a virtuoso technique and a harmonic and rhythmic imagination not excelled by any jazz pianist since. And he was almost completely blind, to boot. If I had to pick one desert-island pianist, it would be Tatum.
This shouldn’t be a surprise. He took the legacy of Fats Waller completely to its outer limits and combined it with a virtuoso technique and a harmonic and rhythmic imagination not excelled by any jazz pianist since. And he was almost completely blind, to boot. If I had to pick one desert-island pianist, it would be Tatum.
#2 (tie) Bill Evans
Everyone who plays a ballad plays some Bill Evans, but his influence was so much more than that. He was one of the greatest composers of jazz standards and perhaps the most important interpreter of jazz standards from the Great American Songbook. And a multiple reinventer of the piano trio, first with LaFaro and Motian, then with Gomez and Morell, and last with Johnson and La Barbera. Evans took George Russell’s important harmonic theories, part of the structure of Miles’ “Kind of Blue,” and made them jazz piano mainstream, and incredibly beautiful. In addition, he was one of the first jazz pianists to bring the sonorities and aesthetics of classical music to jazz. He pretty much played only trio and solo, and, like Jamal, that was part of his genius, to know himself, what he wanted to do and should do.
Everyone who plays a ballad plays some Bill Evans, but his influence was so much more than that. He was one of the greatest composers of jazz standards and perhaps the most important interpreter of jazz standards from the Great American Songbook. And a multiple reinventer of the piano trio, first with LaFaro and Motian, then with Gomez and Morell, and last with Johnson and La Barbera. Evans took George Russell’s important harmonic theories, part of the structure of Miles’ “Kind of Blue,” and made them jazz piano mainstream, and incredibly beautiful. In addition, he was one of the first jazz pianists to bring the sonorities and aesthetics of classical music to jazz. He pretty much played only trio and solo, and, like Jamal, that was part of his genius, to know himself, what he wanted to do and should do.
#2 (tie) Herbie Hancock
This is also a no-brainer for the top 10, and, in my mind, he is the equal of Evans in influence. He is one of the great composers of jazz, from both popular and artistic perspectives. As a player, he is one of the truly great “compers” and is a true innovator as a soloist, in his ability to synthesize a creative vision out of merging hard bop and European classical music. And probably the greatest quintet pianist ever, in the greatest quintets of jazz: those of Miles Davis. As a leader, he had many triumphs, the early Blue Notes and the jazz/funk experiments of the ’70s probably being the most significant. Hancock is one of the most collaborative artists as well, and brings his sensitivities to many pop artists. Results are sometimes mixed, but that’s what happens when you’re an improviser, and Hancock has always embraced chance-taking. His use of electronics in jazz was pioneering, and often wonderfully innovative and satisfying.
This is also a no-brainer for the top 10, and, in my mind, he is the equal of Evans in influence. He is one of the great composers of jazz, from both popular and artistic perspectives. As a player, he is one of the truly great “compers” and is a true innovator as a soloist, in his ability to synthesize a creative vision out of merging hard bop and European classical music. And probably the greatest quintet pianist ever, in the greatest quintets of jazz: those of Miles Davis. As a leader, he had many triumphs, the early Blue Notes and the jazz/funk experiments of the ’70s probably being the most significant. Hancock is one of the most collaborative artists as well, and brings his sensitivities to many pop artists. Results are sometimes mixed, but that’s what happens when you’re an improviser, and Hancock has always embraced chance-taking. His use of electronics in jazz was pioneering, and often wonderfully innovative and satisfying.
#4 Bud Powell
If not underrated, definitely underappreciated because of his personal struggles and uneven recorded output. Bud Powell created a piano idiom completely parallel with that of the great Charlie Parker, but completely original. We all play the way we play now largely because of Bud, the first piano master of the modern improvised line. And a major composer as well.
If not underrated, definitely underappreciated because of his personal struggles and uneven recorded output. Bud Powell created a piano idiom completely parallel with that of the great Charlie Parker, but completely original. We all play the way we play now largely because of Bud, the first piano master of the modern improvised line. And a major composer as well.
#5 Thelonious Monk
Another of the easy ones to pick. Probably in the top five of most performed jazz composers, with an utterly original style grounded in the Harlem piano school but escaping to the outermost regions of logic and structure. He completely exemplified modernism within the bebop school, in an idiom melodically often quite separate from that of his close friend Bud Powell, who showed much of Monk’s influence in his own work. His style echoes in all great pianists today.
Another of the easy ones to pick. Probably in the top five of most performed jazz composers, with an utterly original style grounded in the Harlem piano school but escaping to the outermost regions of logic and structure. He completely exemplified modernism within the bebop school, in an idiom melodically often quite separate from that of his close friend Bud Powell, who showed much of Monk’s influence in his own work. His style echoes in all great pianists today.
#6 Keith Jarrett
One of the most spectacularly accomplished musicians of all time, Jarrett has made fine recordings of Bach, Shostakovich and Lou Harrison, some of the greatest jazz trio records ever, the wonderful European quartet recordings with Jan Garbarek, and the record “Spirits,” on which he overdubs himself on ethnic flutes, voice, soprano saxophone, guitar and percussion instruments. Furthermore, Jarrett invented a new genre of solo piano playing with events like the Köln Concert after he had shown complete mastery and individuality within traditional solo piano jazz and gospel music with the album “Facing You.” And that’s in addition to his contributions to Miles Davis’ groundbreaking ’60s and ’70s music.
One of the most spectacularly accomplished musicians of all time, Jarrett has made fine recordings of Bach, Shostakovich and Lou Harrison, some of the greatest jazz trio records ever, the wonderful European quartet recordings with Jan Garbarek, and the record “Spirits,” on which he overdubs himself on ethnic flutes, voice, soprano saxophone, guitar and percussion instruments. Furthermore, Jarrett invented a new genre of solo piano playing with events like the Köln Concert after he had shown complete mastery and individuality within traditional solo piano jazz and gospel music with the album “Facing You.” And that’s in addition to his contributions to Miles Davis’ groundbreaking ’60s and ’70s music.
#7 Fats Waller
Waller is the complete culmination of the Harlem stride piano school — the most important development of early jazz piano — and a great technical player and creative improviser. Jelly Roll Morton was important both as a composer and as a pianist, but Fats took it to the ultimate place. In my mind, James P. Johnson was a worthy rival and a fine composer as well. But if you have to pick one guy, Fats wins hands down, especially given his tremendous popularity as a bandleader and singer. And you wouldn’t have Tatum without Waller, as Tatum sometimes said. “Fats, that’s where I come from.” Sadly, a way-too-short career.
Waller is the complete culmination of the Harlem stride piano school — the most important development of early jazz piano — and a great technical player and creative improviser. Jelly Roll Morton was important both as a composer and as a pianist, but Fats took it to the ultimate place. In my mind, James P. Johnson was a worthy rival and a fine composer as well. But if you have to pick one guy, Fats wins hands down, especially given his tremendous popularity as a bandleader and singer. And you wouldn’t have Tatum without Waller, as Tatum sometimes said. “Fats, that’s where I come from.” Sadly, a way-too-short career.
#8 McCoy Tyner
Technically among the most proficient of the post-bop generation, Tyner developed, largely during his work with John Coltrane, a completely original style of harmony and melody that has affected almost all pianists since. A brilliant sideman with the great John Coltrane, he later led many wonderful groups that kept the flame alive. A compelling composer as well, McCoy would have been known as a major talent just for the first five or six records he recorded as a leader for Impulse.
Technically among the most proficient of the post-bop generation, Tyner developed, largely during his work with John Coltrane, a completely original style of harmony and melody that has affected almost all pianists since. A brilliant sideman with the great John Coltrane, he later led many wonderful groups that kept the flame alive. A compelling composer as well, McCoy would have been known as a major talent just for the first five or six records he recorded as a leader for Impulse.
#9 Chick Corea
Another amazing musician’s musician, Corea has ranged from delicate quasi-classical solo piano and chamber music to some of the greatest jazz trio music of all time (“Now He Sings, Now He Sobs”), to wonderfully free-spirited duo projects with Herbie Hancock, to compelling Brazilian-influenced jazz, to pioneering jazz-rock-fusion. Although some find the latter category uneven in inspiration, it’s hard to argue that Chick isn’t the most dexterous and soulful lead synth player on the planet. Chick has his imitators these days, but far fewer than when I was in music school. Nevertheless, he remains, today, an astoundingly great pianist.
Another amazing musician’s musician, Corea has ranged from delicate quasi-classical solo piano and chamber music to some of the greatest jazz trio music of all time (“Now He Sings, Now He Sobs”), to wonderfully free-spirited duo projects with Herbie Hancock, to compelling Brazilian-influenced jazz, to pioneering jazz-rock-fusion. Although some find the latter category uneven in inspiration, it’s hard to argue that Chick isn’t the most dexterous and soulful lead synth player on the planet. Chick has his imitators these days, but far fewer than when I was in music school. Nevertheless, he remains, today, an astoundingly great pianist.
#10 Ahmad Jamal
When I was at Eastman, I was a member of the Sonny Clark school (he would be in my top 20 on this list and in my personal top 10). We would just say his name and ooh and ahh. Same with Ahmad Jamal. Important, absolutely. Miles stole much from Ahmad, especially his use of space and time, and Ahmad’s rejection of traditional hard bop was a revolutionary statement worthy of Monk. His ’70s output of electric jazz is solid and interesting, but not compelling like his acoustic music, and he’s a fine composer, but not on the level of some of the others. Yet if you want to elect a guy with a magnificent technique and an artistic conception, who practically invented the modern piano trio, you have to give Ahmad the vote. And this guy, at 82, still can play 90 minutes of music that an audience has largely never heard before, and at the end they are screaming and standing and applauding rapturously, and it’s not cheap or bombastic or shallow. His use of space, sound and texture are unique. He has always done his own thing and not been much of a collaborator, and that’s perhaps why he’s only #10.
When I was at Eastman, I was a member of the Sonny Clark school (he would be in my top 20 on this list and in my personal top 10). We would just say his name and ooh and ahh. Same with Ahmad Jamal. Important, absolutely. Miles stole much from Ahmad, especially his use of space and time, and Ahmad’s rejection of traditional hard bop was a revolutionary statement worthy of Monk. His ’70s output of electric jazz is solid and interesting, but not compelling like his acoustic music, and he’s a fine composer, but not on the level of some of the others. Yet if you want to elect a guy with a magnificent technique and an artistic conception, who practically invented the modern piano trio, you have to give Ahmad the vote. And this guy, at 82, still can play 90 minutes of music that an audience has largely never heard before, and at the end they are screaming and standing and applauding rapturously, and it’s not cheap or bombastic or shallow. His use of space, sound and texture are unique. He has always done his own thing and not been much of a collaborator, and that’s perhaps why he’s only #10.
On the edge
Oscar Peterson
I struggled with this one. Certainly one of the most popular. But important? I think so. He was technically the greatest pianist of his time, had a ballad touch and swing feel that were completely his own, and was a major figure in the development of the piano trio. The knock on him has always been the lapse into cliché in the improvising, and I sadly have to agree. Tatum had his stock phrases too, but the breathtaking creativity of it all made it work for me. But it remains that Oscar’s pianism is near flawless in execution and swing, and full of passion. And he has many, many followers. My favorite pianist in my formative years.
Duke Ellington
Probably the most important composer in jazz, Duke was also one of the most important and innovative pianists. He made the transition from Fats Waller-era Harlem piano to avant-garde piano minimalism effortlessly; every big band pianist has to go through him and Bill “Count” Basie. It seems to me you wouldn’t have Monk without Duke, even though Monk rarely cited him as an influence. His few trio records, such as “Money Jungle,” are revelatory. With some misgivings, we place the Duke “on the edge.” But we love him madly.
Probably the most important composer in jazz, Duke was also one of the most important and innovative pianists. He made the transition from Fats Waller-era Harlem piano to avant-garde piano minimalism effortlessly; every big band pianist has to go through him and Bill “Count” Basie. It seems to me you wouldn’t have Monk without Duke, even though Monk rarely cited him as an influence. His few trio records, such as “Money Jungle,” are revelatory. With some misgivings, we place the Duke “on the edge.” But we love him madly.
Brad Mehldau
Brad has captured the imagination of the jazz press, and of the public as well, with his marvelous trio records and strikingly creative solo piano playing. I really enjoy the collaborative records as well, such as those with Pat Metheny. A true innovator harmonically, rhythmically and melodically, Mehldau may crack the top 10 as time passes.
Brad has captured the imagination of the jazz press, and of the public as well, with his marvelous trio records and strikingly creative solo piano playing. I really enjoy the collaborative records as well, such as those with Pat Metheny. A true innovator harmonically, rhythmically and melodically, Mehldau may crack the top 10 as time passes.
Near misses
Nat “King” Cole
Easily the greatest of the transitional pianists from the swing to the bebop era, and perhaps the inventor of the modern piano trio (with guitar and bass). Because Cole left serious instrumental jazz in the ’50s, we leave him off the list, with a reluctant sigh.
Easily the greatest of the transitional pianists from the swing to the bebop era, and perhaps the inventor of the modern piano trio (with guitar and bass). Because Cole left serious instrumental jazz in the ’50s, we leave him off the list, with a reluctant sigh.
Teddy Wilson
Along with Count Basie, perhaps the most important pianist in the swing era, inspiring a whole raft of imitators and innovators such as Jess Stacy, Joe Bushkin and Mel Powell. To me, not a major innovator on the level of the top 10, although I’d accept some arguments on this issue. His touch and style were unique and unsurpassed.
Along with Count Basie, perhaps the most important pianist in the swing era, inspiring a whole raft of imitators and innovators such as Jess Stacy, Joe Bushkin and Mel Powell. To me, not a major innovator on the level of the top 10, although I’d accept some arguments on this issue. His touch and style were unique and unsurpassed.
Tommy Flanagan
The most lyrical and personal of the post-Powell generation, he spent much of his career as accompanist for the great Ella Fitzgerald. But his presence on the scene was always felt as an important sideman and as a leader of one of the greatest trios in jazz for about 30 years.
The most lyrical and personal of the post-Powell generation, he spent much of his career as accompanist for the great Ella Fitzgerald. But his presence on the scene was always felt as an important sideman and as a leader of one of the greatest trios in jazz for about 30 years.
Hank Jones
Often mentioned in the same breath as Tommy, Jones was an astoundingly great solo and trio pianist, with a distinctive sound, and is regarded as an important transitional figure from swing to bebop. He dabbled in modernism, with an arranger’s touch, and is more consistently good, in my opinion, than any pianist, dead or alive. Manny Albam once said, “There’s no jam that Henry can’t get himself out of.” And do it with style.
Often mentioned in the same breath as Tommy, Jones was an astoundingly great solo and trio pianist, with a distinctive sound, and is regarded as an important transitional figure from swing to bebop. He dabbled in modernism, with an arranger’s touch, and is more consistently good, in my opinion, than any pianist, dead or alive. Manny Albam once said, “There’s no jam that Henry can’t get himself out of.” And do it with style.
Erroll Garner
During his lifetime, the most popular jazz pianist alive, a great composer (“Misty”) and a completely distinctive sound as a solo and trio pianist, with unrivaled octave technique and a unique “four-on-the-floor” left hand and time feel. After his passing, it seems that no one mentioned his name, at least not in music schools. But remnants of his wonderfully fun and enjoyable style remained, in pianists such as George Shearing. Definitely in my top 10 “most enjoyable” pianists to listen to. And people still love him.
During his lifetime, the most popular jazz pianist alive, a great composer (“Misty”) and a completely distinctive sound as a solo and trio pianist, with unrivaled octave technique and a unique “four-on-the-floor” left hand and time feel. After his passing, it seems that no one mentioned his name, at least not in music schools. But remnants of his wonderfully fun and enjoyable style remained, in pianists such as George Shearing. Definitely in my top 10 “most enjoyable” pianists to listen to. And people still love him.
Sonny Clark
Hampered by a lifestyle that triggered a premature demise, Clark fell into obscurity in the ‘70s, but his reputation has been refurbished by the reissuing of all of his Blue Note output, which is amazingly good and consistent. Equally great as a trio and a quartet/quintet pianist, he was an inspired soloist and a great comper. Frank Morgan told me he kept both Carl Perkins and Clark in his band, because he loved Perkins’ comping and Clark’s soloing. When Clark complained about the bread being low, Morgan told him, man, get your comping together. And he did!
Hampered by a lifestyle that triggered a premature demise, Clark fell into obscurity in the ‘70s, but his reputation has been refurbished by the reissuing of all of his Blue Note output, which is amazingly good and consistent. Equally great as a trio and a quartet/quintet pianist, he was an inspired soloist and a great comper. Frank Morgan told me he kept both Carl Perkins and Clark in his band, because he loved Perkins’ comping and Clark’s soloing. When Clark complained about the bread being low, Morgan told him, man, get your comping together. And he did!
Wynton Kelly
Another of Clark’s generation, Kelly turned in marvelously swinging trio, quartet and quintet records and was a major contributor to Miles Davis’ late-’50s ensembles. Wish he had lived longer too.
Another of Clark’s generation, Kelly turned in marvelously swinging trio, quartet and quintet records and was a major contributor to Miles Davis’ late-’50s ensembles. Wish he had lived longer too.
Dave Brubeck
A fine pianist and bandleader, Brubeck has also been a true innovator as a composer. I was slow to warm to Brubeck’s greatness as a pianist, but when you listen to Dave the way you might listen to Monk, it all makes marvelous sense. He brought out the best in his sidemen, particularly the underrated (these days) Paul Desmond, and has been a great advocate of swinging yet innovative jazz.
A fine pianist and bandleader, Brubeck has also been a true innovator as a composer. I was slow to warm to Brubeck’s greatness as a pianist, but when you listen to Dave the way you might listen to Monk, it all makes marvelous sense. He brought out the best in his sidemen, particularly the underrated (these days) Paul Desmond, and has been a great advocate of swinging yet innovative jazz.
http://billcunliffe.wordpress.com/2012/03/29/bill-cunliffes-top-10-jazz-pianists-of-all-time/
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The 30 Greatest Jazz Pianists!
1. Oscar Peterson
The number one pianist in the WAER listener poll is a native of Montreal, Canada. He studied classical piano as a child, and started performing professionally in his teens, including radio appearances and with the Johnny Holmes Orchestra. Jazz impresario and record producer Norman Granz invited him to play in a concert at Carnegie Hall in 1949, and from there his career took off. He formed his own trios based on the piano-guitar-bass format pioneered by Nat King Cole, became a prolific composer, and in later years started to concentrate more on solo performances. His virtuosity is among the greatest in the history of jazz piano. Despite health problems that left him unable to use his left hand for playing, he still records and makes some appearances, and his work in recent years has taken on a more introspective quality. He is Oscar Peterson, one of the piano legends heard here on WAER.
2. Art Tatum
Pianist number 2 in the WAER listener survey was severely visually impaired, and learned to read sheet music using Braille and special glasses, but was largely self-taught as a musician. His biggest influences as a pianist were Fats Waller and Lee Sims. He started playing professionally in 1926, and was soon appearing on radio. He went to New York in 1932, and soon became accompanist for singer Adelaide Hall and made his first recordings. By the late 1930s, he had become one of the leading pianists in jazz, and after hearing Nat King Cole's trio, he adopted the trio format as well. He even played in films and at the Metropolitan Opera House, but did not get the public recognition he deserved until he made a number of solo and small-group recordings under the direction of Verve Records founder Norman Granz. His incomparable technique and sense of harmony influenced many pianists of later generations, and his improvisations also influenced players of other instruments, such as saxophonist Charlie Parker. He is Art Tatum, one of the greats of the piano heard here on WAER.
3. Thelonious Monk
The third pianist in the WAER poll first gained notice when he became the house pianist at Minton's Playhouse, the legendary cradle of bebop. He made his first recordings with Coleman Hawkins in 1944, and that same year also saw the first recording of "Round Midnight," which would become the most famous of his many compositions. Three years later, he made his first recordings as a leader, and in the coming years he would also record with such greats as Charlie Parker, Sonny Rollins and Miles Davis. In the 1950s, he became the subject of controversy for his highly individual style, and was soon very busy as both a pianist and a composer. However, he went into seclusion in the 1970s, and performed only occasionally until his death in 1982. His innovative use of rhythm, use of development and very individual sound still stand out today, and his compositions have become some of the greatest standards in the jazz repertory. He is Thelonious Monk, one of the legends of the piano heard here on WAER.
4. Bill Evans
Artist number 5 in the WAER listener poll attended college in Louisiana, and didn't begin his jazz career in earnest until after some occasional jazz gigs and a stint in the Army. He made his first recording as a leader in 1956, and soon worked with Charles Mingus and Miles Davis. His time with Davis led to his being one of the two pianists on the legendary album "Kind of Blue" in 1959. He led several excellent trios over the years, but also tried such things as two albums with Tony Bennett and "Conversations with Myself," an album where he played alongside his own prerecorded tracks. His style was noted for its lyricism and sensitivity, but he could also perform in a more up-tempo style, and he also wrote such compositions as "Waltz for Debby," "Peri's Scope," and "Letter to Evan." Although a drug problem affected his personal life and led to his death at 51, he performed and recorded until shortly before his passing, and his playing influenced such players of today as Keith Jarrett and Chick Corea. He is Bill Evans, just one of many great pianists featured on WAER.
5. Dave Brubeck
Pianist number 5 in the WAER listener poll received early classical training, but was also playing jazz at age 13. In his college years, he led a band, and also studied composition with Darius Milhaud (pron: ME-yoh). During World War II, he led a service band while in the Army. After the war, he formed an experimental group, which recorded in 1949 as the Dave Brubeck Octet. He formed a trio that same year, and when saxophonist Paul Desmond was added in 1951, the group became the first version of the Dave Brubeck Quartet. The group's combination of tuneful melodies, time signatures that were unusual for jazz, and first-rate playing made it one of the biggest draws in jazz history, and its 1959 recording of "Take Five" was the first million-selling jazz instrumental record in history. Brubeck has continued with small groups and solo recordings over the years, and has written such extended works as a Broadway musical, jazz liturgical music, and ballets. Still active and popular in his 80s, this pianist and composer has brought millions of listeners to jazz. He is Dave Brubeck, one of the great jazz pianists you can hear often on WAER.
6. Bud Powell
Our 6th pianist in the WAER listener poll played in jam sessions at the legendary Minton's Playhouse in New York while in his teens, and attracted the attention of such stars as Cootie Williams and Thelonious Monk. His health and career were hampered by the effects of a serious head injury suffered during a racial incident in 1945, but despite his disability and unhappy personal life, he became one of the most influential pianists of the second half of the 20th century thanks to his innovative harmonic and melodic sense. He spent some years in Paris, where he became a legend among French jazz fans, and his experiences there were part of the inspiration for the famous jazz film "Round Midnight." Although his poor mental and physical health caused him to leave music, and contributed to his early death at age 41, his place in the history of jazz piano is undisputed. He is Bud Powell, one of the great jazz pianists you can hear on WAER.
7. William "Count" Basie
Pianist number 7 in the WAER listener poll was a New Jersey native who came under the musical influence of James P. Johnson and Fats Waller after arriving in New York. Before he was 20, he was serving an apprenticeship in vaudeville that gave him valuable experience. He was stranded in 1927 in Kansas City and earned money playing for silent movies, but soon found himself with such Kansas City bands as Walter Page's Blue Devils and the Bennie Moten Kansas City Orchestra. After Moten's death, this artist organized his own big band, which became well-known thanks to radio broadcasts, and which soon got big breaks with national tours and a recording contract. He had to disband for a time and toured with a small group, but eventually got back into the big band business bigger and better than ever. Whether with the big band or with smaller groups, his trademark style was deceptively simple, and what sounded easy was actually carefully devised to help along group improvisation with perfect timing by generating momentum. He was William "Count" Basie, one of the fine pianists WAER is proud to bring you.
8. Earl "Fatha" Hines
Our number 8 artist in the WAER pianist countdown learned trumpet from his father, but learned piano from his mother and other teachers, and found his real gift was at the keyboard. He moved to Chicago, played with many great bands of the 1920s, and met Louis Armstrong. Although they opened a jazz club that soon went broke, they also made great recordings together. In late 1928, he formed his first band, which became famous thanks to the new medium of radio and to nationwide tours. His bands included such greats as Charlie Parker, Dizzy Gillespie, Billy Eckstine, and Sarah Vaughan in their early careers, and his help of these young innovators contributed to the rise of bebop. After disbanding in 1948 when big bands were having problems, he reunited with Louis Armstrong as a part of the All-Stars, and later formed his own small groups. He kept a busy performing and recording schedule until his death at nearly 80. He is Earl "Fatha" Hines, and he is one of the great pianists we play on WAER.
9. James P. Johnson
Pianist number 9 in the WAER listener poll learned his first music from his mother, and while growing up in New York was exposed to classical, blues, ragtime and theatre music. While still a teenager, he played in clubs in the Hell's Kitchen neighborhood, and developed the stride piano sound for which he became famous. In the 1920s, he made many records of his own, and also with such singers as Bessie Smith and Ethel Waters. He also wrote Broadway musicals such as "Runnin' Wild," composed over 200 songs, and wrote extended works in the 1930s, including an opera and a symphony. With the revival of interest in traditional jazz, he was again in demand as a pianist, making recordings for the new Blue Note label, and appearing in concerts and on radio. His revived career was cut short by a stroke that left him unable to play, but his stride piano style influenced artists ranging from Fats Waller to Duke Ellington and Thelonious Monk. He is James P. Johnson, one of the many piano legends that only WAER brings to you in Syracuse.
10. Erroll Garner
Artist number 10 in the WAER listener poll of pianists started out in his hometown of Pittsburgh, and came to New York in his early 20s. He soon became a substitute for Art Tatum, and then formed his own trio. This pianist became one of the most popular jazz musicians of his day, making many recordings and TV shows, as well as appearing in live concerts. Although he never learned to read music, he composed one of the great jazz standards, "Misty." His virtuosity and inventiveness made him very hard to imitate, and he is still widely admired almost a quarter-century after his death at age 55. He is Erroll Garner, one of the many great jazz pianists featured on WAER.
11. Hank Jones
Pianist number 11 in the WAER listener poll is from a very musical family; he and his two brothers all became leading jazz musicians. He studied piano while growing up in Michigan, and became a professional when he was 13. Saxophonist Lucky Thompson invited him to New York, where he took in the styles of the great bebop musicians and worked with many of them. He began touring with Norman Granz's famous Jazz at the Phiharmonic concerts, and worked with Ella Fitzgerald and Charlie Parker. Although he played in radio and TV staff orchestras, for Broadway show pit bands, and with big bands, he also kept a solo and small-group career going. His work as musical director for the show "Ain't Misbehavin'" showed his musical versatility, and he continues to record and to appear for appreciative audiences. He is Hank Jones, one of the piano legends you can hear on WAER.
12. Ahmad Jamal
The 12th artist in the WAER pianist poll began life in Pittsburgh with the name of Fritz Jones. He started playing professionally at 11, and quit high school to become a full-time musician. His first trio attracted the attention of the great jazz promoter and record producer John Hammond, and he has been a leading jazz figure ever since. His spare style of playing got the attention of such jazz leaders as Miles Davis, and his famous recording of "Poinciana" was a big hit among jazz fans. Still active in his 70s, this pianist continues to have a devoted following around the world. He is Ahmad Jamal, and he is one of the great jazz pianists you can hear on WAER.
13. McCoy Tyner
Artist number 13 in the WAER pianist poll started serious musical study at 13, and became the pianist for the Art Farmer/Benny Golson Jazztet when he was just 20. He attained world fame as the pianist for John Coltrane's legendary quartet from 1960 to 1965, and also made a great series of recordings for Blue Note. For a while, he had some lean years leading his own small groups, and even worked for Ike and Tina Turner for a while. However, Tyner eventually came into his own, and has made many recordings as a soloist, group leader, and even with his own big band. His great technical skill, trademark harmonic sense, and use of unusual scales and rhythms has made him one of the most influential pianists of the past 40 years. He is McCoy Tyner, one of the great pianists we feature on WAER.
14. Mary Lou Williams
Pianist number 14 in the WAER listener poll began playing as a child in her native Pittsburgh. When she was only 19, she became the deputy pianist and arranger for Andy Kirk's big band. She was first known as "The Pest," but when her talent became obvious, she got her lifelong nickname of "The Lady Who Swings The Band." She became famous in jazz circles for her fine piano playing, and also for the compositions and arrangements she did for Kirk and many other big bands. She eventually went out on her own with a small group, and when bebop came along, she wrote for Dizzy Gillespie's band. She left the music field for a while to pursue religious and charitable causes, but returned as a pianist, composer of sacred jazz works, and teacher. She led the way for women to be taken seriously as jazz instrumentalists and composers, and her influence as a teacher has left its mark on jazz musicians of both sexes. She is Mary Lou Williams, one of the piano legends you can hear on WAER.
15. Jelly Roll Morton
Pianist number 15 in the WAER poll learned piano as a child, and was playing in the notorious Storyville district of New Orleans at the age of 12. Working as a traveling musician, he got as far as New York and Los Angeles. He claimed to have invented jazz, and was in fact one of its first great composers, combining such diverse influences as the blues, ragtime, hymns, and the "Spanish tinge" of the music of the Caribbean islands. Although his style of playing was considered old-fashioned for a while, he was rediscovered and recorded late in his career, and the records and piano rolls he left behind show what an important player and composer he was. He is Jelly Roll Morton, one of the legendary pianists you can hear on WAER.
16. Red Garland
Number 16 in the WAER listener poll of pianists started out on clarinet and sax, but changed to piano when he was 18. Among his influences as a young musician in New York were Count Basie, Nat "King" Cole, Art Tatum and Bud Powell. After some years of work with many of the jazz greats such as Billy Eckstine and Charlie Parker, he gained international fame as a member of the Miles Davis Quintet's rhythm section from 1955 to 1958. He also led his own successful small groups, but returned to his native Texas for a time after his mother's death. He came out of semi-retirement in the late 1970s and made a number of late-career recordings before his death in 1984. He is Red Garland, one of the great pianists you can hear on WAER.
17. Edward Kennedy "Duke" Ellington
Number 17 in the WAER pianist poll grew up in our nation's capital, and his father worked at the White House. Although he nearly went into art, he found that his talents lay in music, and made his professional debut at 17. On the advice of Fats Waller, he relocated to New York with a band called the Washingtonians, which he expanded into an orchestra. His appearances and radio broadcasts at the Cotton Club brought him nationwide fame, and his band became the showcase for his original compositions, which used the special talents of his band members as well as his unique piano style. He attained new heights after an appearance at the Newport Jazz Festival, and kept his big band going until his death in 1974. His originality put him "beyond category," into the first rank of American musicians of all kinds. He is Edward Kennedy "Duke" Ellington, and he is one of the great jazz pianists you can hear on WAER.
18. Chick Corea
Artist number 18 in the WAER pianist poll learned music from his father, and began playing at the age of four. He listened to many artists, but was most influenced by Bud Powell. He first gained notice with his work with Mongo Santamaria, Willie Bobo, Blue Mitchell, and Sarah Vaughan, but really attained stardom through his work with Miles Davis as one of the pioneers of jazz fusion. His rock-influenced work with Return to Forever was widely heard in the 1970s, and his Elektric Band was popular in the 1980s, but he also remained active with acoustic jazz. His compositions such as "Spain" and "Crystal Silence" have taken their place as jazz standards. He remains very active with his Chick Corea New Trio going into a new millennium, and shows no signs of stopping. He is Chick Corea, one of the many great jazz pianists heard every day on WAER.
19. Marian McPartland
Pianist number 19 in the WAER listener poll was born in England, and left music school in London to
join a vaudeville act with four pianos. When she played to entertain troops during World War II, she met American trumpeter Jimmy McPartland, and she married him and came to America. She encountered resistance on the U.S. jazz scene because she was female and from another country, but
rose above it thanks to her talent and hard work. After many years with her own small groups, working in jazz education, and also playing classical music, she found a whole new career as a broadcaster with her award-winning show on National Public Radio, "Piano Jazz." She is Marian McPartland, and you can hear her and other great jazz pianists on WAER.
20. Keith Jarrett
Our 20th artist in the WAER pianist poll began playing at the age of 3, and was composing, improvising and giving recitals by the time he was 7. He went to the Berklee College of Music at 17, and then left school to join the jazz scene in Boston. After some time in New York, he was noticed by Art Blakey and joined the Jazz Messengers, followed by a stint with Charles Lloyd. He also worked with Miles Davis and formed his own groups, becoming famous for his improvisation and for sticking with acoustic piano when his contemporaries were using electronic keyboards. He has also performed classical music, including with our own Syracuse Symphony. He had health problems with chronic fatigue syndrome that slowed his career for a while, but recorded an album at home, "The Melody At Night, With You," that became a huge seller. He is Keith Jarrett, one of many great jazz pianists you can hear on WAER.
21. Les McCann
Pianist 21 in the WAER listener poll taught himself piano as a youth in Kentucky, and after winning a
talent contest in the Navy as a singer, he appeared on Ed Sullivan's TV show. He became a well-known
jazz figure after settling in California, becoming quite popular with his soulful, gospel-influenced style. His appearance with Eddie Harris at the Montreux Jazz Festival resulted in the famous album "Swiss Movement," and he performed more in the R & B style through the 1970s. He recorded very little for many years, but was still a popular live performer, and had a successful 1994 reunion tour with Eddie Harris. He was out of action for a while due to a stroke, but since his recovery has returned to performing and recording. He is Les McCann, one of the many great jazz pianists you can hear on WAER.
22. Herbie Hancock
Pianist number 22 in the WAER poll began as a child prodigy who studied classical music. He became interested in jazz while in high school, and by the time he graduated from college, he was playing with masters like Donald Byrd and Coleman Hawkins in his native Chicago. After recording with Byrd for Blue Note, the label gave him his own contract, and one of his recordings, "Watermelon Man," became a big jazz hit. He spent five years with Miles Davis' quintet, and while there wrote such jazz standards as "Maiden Voyage" and "Cantaloupe Island." He later branched out into his own brand of fusion music, incorporating world music influences and the use of electronic instruments, and also tried more pop-influenced music with the group Headhunters. He returned to more jazz-oriented projects in the 1980s with the group V.S.O.P., wrote the score for the film "Round Midnight," and recorded "The New Standard" in which he took 1990s popular music and reinterpreted it in the jazz idiom. His "Gershwin's World" gave a fresh interpretation of some of the great Gershwin standards. Whether as composer or performer, this artist never stands still. He is Herbie Hancock, one of the many great jazz pianists we feature on WAER.
23. Nat "King" Cole
Artist number 23 in the WAER pianist poll was born in Alabama and grew up in Chicago, where he gained a reputation as a fine pianist while still a teenager. After working with his brother and with other groups, he formed the King Cole Trio with a guitarist and bassist, one of the most important groups in the history of small-group jazz. His piano style influenced artists ranging from Oscar Peterson and Bill Evans to Red Garland and Diana Krall. Although his later success as a singer tended to overshadow his work as a pianist, he was one of the most influential ones in jazz history. He's Nat "King" Cole, one of the many great pianists you can enjoy on WAER.
24. Horace Silver
Pianist 24 in our WAER listener poll became interested in music after learning Cape Verdean folk music from his father. In high school, he studied piano and sax, and was influenced by the blues and boogie-woogie. After Stan Getz engaged his trio to tour with him, he was on his way in jazz. He began his famous series of recordings for Blue Note in 1952, and played with Art Blakey in their cooperative band called the Jazz Messengers, but in 1955 struck out on his own as one of the pioneers of hard bop. His ensembles provided a training ground for stars from Joe Henderson to Tom Harrell, and his many original compositions include such jazz standards as "Sister Sadie," "Song for My Father," and "Nica's Dream." Silver is still active in his 70s, and his nickname in his later years became the title of one of his CDs: "The Hard Bop Grandpop." He is Horace Silver, one of the many greats of the jazz piano we play daily on WAER.
25. HAMPTON HAWES
Pianist number 25 in the WAER poll attained fame in his 20s, playing in his native Los Angeles with Dexter Gordon, Wardell Gray, and Shorty Rogers. His career was on hold for five years due to his imprisonment on drug charges, but after a pardon from President Kennedy, he returned to the music world on both acoustic and electronic keyboards, made many recordings, and led trios until his death from a stroke at age 49. He is Hampton Hawes, one of the great pianists we feature on WAER.
26. WYNTON KELLY
Artist number 26 in the WAER pianist poll left his native Jamaica at the age of four to settle in Brooklyn. By his early 20s, he had already worked with such greats as Dizzy Gillespie, Dinah Washington and Lester Young. A few years later, he would achieve lasting fame through his work with Miles Davis, and was one of the two pianists featured on Davis' legendary "Kind of Blue" album. He also worked with Wes Montgomery and with his own trio, which had been the rhythm section for Miles Davis' group. He only lived to be 39, but in his short career, he influenced such later artists as Herbie Hancock, McCoy Tyner and Benny Green. He is Wynton Kelly, one of the many fine jazz pianists you can count on WAER to bring to you.
27. GENE HARRIS
Pianist number 27 in the WAER poll taught himself to play boogie-woogie piano as a child, and got his first professional musical experience while in the U.S. Army. After his service, he formed the Three Sounds, a popular jazz trio, with bassist Andy Simpkins and drummer Bill Dowdy. He kept the group going through several changes of personnel, and showed an increased R & B influence. He retired to live in Boise, Idaho, but bassist Ray Brown got him to come out of retirement. His work with Brown and with his own groups gave him a whole new career and audience, which still misses him after he died last year while awaiting a kidney transplant. He is Gene Harris, one of the many great jazz pianists you can hear every day on WAER.
28. PHINEAS NEWBORN, JUNIOR
Artist number 28 in the WAER listener poll started out on the R & B scene in his native Memphis. Although he did some early work with Lionel Hampton and Willis Jackson, he gained his first real fame after moving to New York in the 1950s. After a few years of excellent work with Charles Mingus and with his own small groups, he fell victim to various health problems that sharply curtailed his career. However, he occasionally surfaced to perform and record with various artists, including fellow Memphis residents B.B. King and Cybill Shepherd. His work has influenced such younger artists as James Williams, Geoff Keezer and Mulgrew Miller. He is Phineas Newborn, Junior, one of the many great jazz pianists you can hear on WAER.
29. TOMMY FLANAGAN
Pianist number 29 in the WAER listener poll began his musical education by studying the clarinet, but took up the piano when he was 11. As a young musician in his native Detroit, he played with the likes of Milt Jackson and the Jones brothers, Elvin and Thad. After coming to New York, he absorbed the influence of Charlie Parker and was soon in demand as a recording artist. He spent many years as Ella Fitzgerald's accompanist, and was also Tony Bennett's music director for a time, but has since come into his own as a soloist and leader of small groups. He is Tommy Flanagan, and you can hear him and the other great jazz pianists here on WAER.
30. SONNY CLARK
Artist number 30 in our pianist poll was born with the name of Conrad Yeatis. He started playing as a child, and became a jazz fan after hearing Count Basie and Duke Ellington on the radio and the records of Art Tatum and Fats Waller. However, his greatest influence was Bud Powell. He only lived to be 31, but in his short life, he worked with stars ranging from Dinah Washington to Sonny Rollins, as well as making some classic recordings as a leader of his own group. He is Sonny Clark, and you can hear his music and that of the other great jazz pianists here on WAER.
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