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Show f f •V" ' ' -# DUARDO el BARRIO Keyboards .with LETTERS Send to: Contemporary Keyboard, 20605 Lazaneo, Cupertino, CA 95014. Just a brief note thanking you for the cover story interview in your February '80 issue, and thanking your readers for choosing me as the Best Pop Pianist in the 1979 Readers Poll [see CK, Dec. 79]. I'd like to clarify one thing, however. On page 58, in the second paragraph down in the first column, somebody's wires got crossed in my discussion of Art Tatum's playing. Where I'm quoted as saying that Art's playing "was a pattern that was repeated every octave after the other... I realized he was just doing his pattern over and over again," it should read the exact opposite. In fact, when 1 broke down what Tatum was doing, I discovered that he was creating melodic lines, each one improvised and distinct from what he played before and afterwards. Other than that, it was a dynamite article. Keep up your good work. Peter Nero Encino, CA I am pleased to see your very good article on Joseph Schiliinger [see CK, Jan. '80]. However, contrary to the author's assertion, it can indeed be verified that "Gershwin studied with Schiliinger for 4-1/2 solid years." In the preface to his book Kaleidophone, published in 1940 [now out of print], Schiliinger states, "When the late George Gershwin, who besides being an active student of mine for 4-1/2 years and a sincere admirer and enthusiast of my theory, met me for the first time, he was at a dead end of creative musical experience. He felt his resources, not his abilities, were completely exhausted." Vernon Duke, in his article "Gershwin, Schiliinger, And Dukelsky," published in 1947 by Musical Quarterly, was one of many, including Oscar Levant, who wrote of Gershwin's extensive studies with Schiliinger. Also, there is good reason to question that "Schiliinger is perhaps less widely known . . . than Schenker." Many thousands of Schillin-ger's books have been sold throughout the world, including Australia and South Africa, and I receive hundreds of inquiries and requests for information every year. Frances (Mrs. Joseph) Schiliinger New York, NY Paul Eliingson's letter [see CK, Feb. '80] really maBlTlfne"Ttop and think. I myself am only an unsophisticated rocker, so 1 must plead ignorance when the debate begins over whether reai jazz is horizontal or-vertical. It sounds much too bloody for me and my crude friends, who simply enjoy listening to Oscar Peterson. I would ask Mr. Eliingson this, however: If Oscar Peterson is as bad as you say he is, why does he receive so much acclaim? Why was he so lionized in the Soviet Union, whose audiences are known throughout the world for their musical sophistication? My friends and I are eagerly awaiting the release of your first album, Mr. Eliingson, to hear for ourselves just what we've been missing all this time. Until then, I hope you will keep your preaching to yourself. The fact that your letter was printed at all was probably due more to CK's broadmind- edness than to your contributions to the gospel of jazz. Patrick Bryant Norfolk, VA PauJEMjngson displays an unfortunate attttudT"*a^outmusic in general. There is no law that says you have to like Oscar Peterson's music, but a great deal can be learned from listening to as many different keyboardists as possible. The Chick Coreas and Keith Jarretts are fantastic musicians, composers, and arrangers. Oscar Peterson's forte happens to be playingthe piano. He can do things with the instrument that all pianists can appreciate. Mr. Eliingson also criticizes Oscar for having technique, which is often the cry of those who do not have the patience or the discipline to develop good, technique. Musicians only need the amount of technique required to express their own musical ideas. Oscar's ideas happen to be massive piano improvisations which always have direction and taste. So why the criticism? Why not enjoy and learn? If Mr. Eliingson or anyone else wishes to communicate with me on this matter, I would be more than happy to write. Peter Radd 126 N. Fourth River Falls, Wl 54022 I simply had to answer the fltingson letter, because when some dope Ee!ittles*Oscar Peterson, I am ready to do battle. This joker is way, way out. He must hate everything of quality, as I am quite sure he doesn't have the mentality to understand great talent. His idol would seem to be Keith Jarrett. If you like to hear a guy fake all evening long and stay on the same lick forever, then, my friend, you would like Keith. Even I admire him - for his body english. And when this character puts down Oscar and his "limited vocabulary of voic-ings," I have to say that I've used most of Oscar's excellent arrangements, transcribing them for synthesizer in seven voices and taping them on a multi-track TEAC tape deck purely for my own enjoyment. His Canadiana Suite [Mercury - now out of print] is just about the best thing that one can find. I am not sure just who^s-vertica! or-horrzontaiwhen it comes to jazz, and I'm sure this clown doesn't know the difference, if there are such categories. I don't even know if his brain is vertical or horizontal. Maybe this is just Eliingson s privatejargoh, or maybe it's just plain hot air. May my dumb little friend rest in peace, horizontal, in a straight jacket. O. D. Kincaid Boardman. OH Congratulations for your article on T. [see CK, Jan. '80]. I am a devoted fan ol hi-and I was extremely pleased to see tha? CK r,j> recognized this fine keyboardist. I had the gt,->o fortune of seeing the MGs at a New York City club in 1968, and it was a musical experience I'll never forget. Booker T. has always conveyed an Continued on page 32 |
