By Peter Ind
Lennie Tristano used to be one in all jazz's such a lot awesome innovators, owning an outstanding piano procedure and an amazing musical mind's eye. Unheralded by means of most people, the blind pianist's paintings used to be respected through many jazz greats together with the mythical Charlie Parker. Tristano's persuasive character made him a terrific instructor, and he proved that (against the accredited thought of the time) jazz improvisation should be taught. His counsel performed an important half within the improvement of many instrumentalists together with saxophonists Lee Konitz and Warne Marsh and double-bassist Peter Ind. it's Ind's lengthy, direct involvement together with his topic that makes this this sort of revealing publication: the tale of an English musician going to big apple to review with an unsung Jazz big. within the procedure, Tristano's genius is tested and his attractiveness revalued, with Ind creating a persuasive case for the pianist to be put on the centre of jazz advancements within the mid-20th century.
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Additional info for Jazz Visions: Lennie Tristano and His Legacy
I wonder if he ever had any inkling of what it was really like in those days of the early to mid-fties? For the reality was that of musicians dedicated to the music; it meant a lot of hard work practicing, getting together and talking about issues we saw as important, coupled with the everyday struggle to get gigs or suffering the demoralizing effect of taking temporary mundane “day gigs,” usually low-paid, unskilled work. The focus was on playing whenever and wherever. I am reminded of the story of the jazz musician taking temporary employment at a circus, cleaning 4 other influences 43 elephant dung from the animal pens.
We became friends until his death in January 1979. So I had this technical advantage, stemming from my early days with James Merrett, but many bass players were far ahead of me in their conception. And what I desired was to develop that kind of conception. My goal was to be able to play time like Ray Brown and solos like Oscar Pettiford. It took a number of years, not only to develop something like that kind of ability, but also to nd my own voice; more precisely, to recognize what that was in me.
As I said, he seemed to love such marathons. But Lennie always treasured time to himself and began to restrict his teaching in the studio to one or two days a week. For the rest of the time he played, listened to music or to talking book tapes. I have mentioned the lack of privacy when studying with Lennie at his home in Flushing. But when he started teaching at the Manhattan studio, this problem was resolved, as the soundproong between the main studio and the control room was good. He normally used the studio control room to teach – except, of course, for piano players – and if students arrived early they would then wait in the control room.
Jazz Visions: Lennie Tristano and His Legacy by Peter Ind