Jazz Videos


(Updated July 19, 2015).

1.  Bill Evans


Incredible.  The complexity of his melodic improvisations and the, again, sparse use of his left hand make this a magical recording.  Don't forget the drummer (Philly Joe Jones) or bass player (Paul Chambers) creating such a solid swing rhythm for Bill to play over.  Listen to his use of space, his waterfall effects during improvisation (e.g. 1.22-1.25, the rolling beauty, or 1.49 to 1.50), his advancement of a melodic idea once he plays it once and then, seemingly because he enjoyed how it sounded, the development of that idea up and/or down the piano just after.  From Bill, one can learn a great deal about space and how you don't need to play fast all the time to sound sublime.


2.  Billy Taylor with Ramsey Lewis


This is quite brilliant.  For me, it highlights most how one must enjoy their own playing.  Ramsey (the one without glasses) is smiling the whole time (just like Oscar does).  He's playing for a pure purpose:  passion.  He's playing to get out a great feeling of happiness, not to show off skill.  His solo is actually well-paced, well-blues'ed at times and has some sweet licks in there.  Once Billy takes over at 1.41, Ramsey continues a great bass line.  How about the Billy does at 1.47?  Talk about going with the flow and not thinking about it!  Brilliant, unusual run at the right moment.  At 1.57, he does exactly what I have discussed both in my blog and in the eBook:  repetitive note on an interesting number.  The piece is in F and he repeats the G, the 9th.  A perfect example of a jazz legend doing exactly what I have discussed elsewhere in a live, improvised performance.


3.  Kenny Drew


I have included part 1 and 4 of this little gig but listen to it all in your own time.  My comments are for the first video because the second one is just there for you to listen to Niels-Pederson; the greatest Jazz bassist to have ever lived.  He's a monster.  However, a few favourites of the piano solo are:  0.53 when he goes out of key.  He doesn't care about keys, he just wants to get back to the beginning of the song to start bashing out some blues again.  Brilliant.  The blues note hit at 1.10 is also perfectly timed like he knew he wanted to do it.  Check out 1.58 in the right hand until 2.03... what a climbing lick that is!?  Perhaps the best bit is a long building tension from 2.31 until 2.57 but, more importantly, check out the drummer and how he responds to that tension.  You can see he feels it in his expressions then, how he increases the drumming tension to a sudden explosive stop back to swing and no tension on 2.57.  It's just a brilliant 24 seconds of jazz.


4.  Oscar Peterson


I have no words about this track.  It is simply the most incredible swing jazz blues ever played on the piano.  Listen carefully.


5.  Milt Bucker



I have recently been trying to find some jazz pianists who focus on 'Shearing'-style Block Chords.  I discovered this gentleman who seems to have played more on the organ than the piano but he has a beautiful bloch chord style.  Basically, and I mean basically, one plays the top note of the chord at the bottom of the chord, so G13 would be F, B, E with this E put in front of the F at the bottom.  The idea is to play like this as if you are playing one note.  It takes practice but it sounds great; Oscar does it a LOT.  I thought I'd share this discovery with you since he seems to be a distance memory which is a great shame.  Look at that smile.


6.  Bill Evans


What else is there to say?  Perfect solo piano.  Get his left hand accompanying ideas and his block chord changes.  If this doesn't get you hooked on Bill, nothing will.  The way he introduces the song using varied register, space, highlighted chord extension tones and rolling arpeggios is delightful.  Speed is not important.  Every note has been played for a purpose; such is the perfect pianist's technique.


7.  Alvin Queen Trio/Oscar Peterson Tribute




Oh.  My.  Goodness.  Headphones or sound system and melt into that piano solo on the drums and bass.


8.  Ella Fitzgerald and Mel Torme


I just happened across this as I was enjoying some Ella improvisation inspiration and was astonished.  The only thing I can say about this, apart from Mel Torme being INSANE despite standing next to Ella, is that you don't need to play fast to sound good.  This is an exceptional example of a standard jazz blues structure with swing feel and demonstrates how rapid scales, with any lead instrument, or voice, are unnecessary; it is WHAT note you play and HOW you play it and WHEN and WHY... I really hope you enjoy this video.  It may not be piano, but it is still single-note improvisation so can be applied to the piano.


9.  Count Basie


Blues bass, space on piano, timing.  Enjoy.


10.  Diana Krall




Krall's intro and solo later on in this piece are brilliant.  I strongly suggest listening to them at least 3 times to really appreciate them.  Notice her steady rhythm, notice her use of blues and space.  Also, her fingers are so beautifully placed above the keyboard that she is able to execute clean, fast runs at will



11.  Bill Evans


Listen to the purpose in his playing.  Study the development of his solo.  Listen to his left hand space.  Pay attention to his right hand crush/grace notes during the improvisation.  Notice how he never plays anything fast to show off, even though he can.


12.  Oscar Peterson


This is quite simply two parts of heaven; slow, gentle jazz with unbelievable lushnious followed by absolute swing of the highest order.  If this doesn't knock you out, nothign will, so give up with jazz entirely.


13.  John Lewis and Billy Taylor


What better than some smooth jazz piano?  This is Here's That Rainy Day and the walking bass provided by BT is beautiful under John's silky-smooth improvisation.  This video demonstrates that speed is not everything, and that is is WHAT you play and HOW you play it which matters; not how fast.


14.  Barbara Dennerlein:  Jazz/Blues Organ Swing on the Hammond B3


15.  Earl Hines


Only just discovered this wonderful jazz pianist.  Take note of his space, timing, sudden bursts of technique and very limited use of the pedal (something I endorse wholeheartedly).


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