Horace Parlan playing is remarkable...

[Hardbopjazz]

Has anyone seen Horace Parlan live? I just watch a Lou Donaldson video that was from a Geneva jazz and Blues Festival sometime in the 80s. Horace Parlan was on piano. His limitation with right hand do to polio can't be detected. A lot of the runs in his soloing were played with his left hand crossing over his right hand. He used the 2 to 3 fingers on his right hand to play the chords. Does anyone know if he contacted polio before playing piano or was it when he was already a musician?

[jazztrain]

Several bios on the web say that he contracted polio at age 5.

[kh1958]

I saw him perform in 1983, at the Caravan of Dreams in Fort Worth, with the Mingus Dynasty, for two nights (four sets)--with Ricky Ford, Johnny Coles, Richard Davis and Dannie Richmond.

[Van Basten II]

Saw him with Archie Shepp a few years ago, gotta say was amazed by how he used his hands , it was mostly ballads and old blues so technically it was as not as hard paced as some of his other works but it still was mesmerizing to say the least.

Edited April 12, 2011 by Van Basten II

[brownie]

The Lou Donaldson video with Horace Parlan that Hardbop mentions...

http://www.youtube.com/watch?v=FAwnKH7jCh4&feature=related

[Stereojack]

I saw Horace Parlan a couple of times back in the 1960's, one time within view of the keyboard from front row seats. The way he has compensated for the polio damage to his right hand is absolutely amazing. The left hand is exactly as hardbopjazz describes. If one closes one's eyes, one has no idea of his right hand limitation, with which he has little to no flexibility, and basically utilizes it for percussive effects while the left hand moves up and down to keyboard performing the usual functions of both hands. A truly amazing musician!

[David Ayers]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

[Dan Gould]

One man's "blunt" is another man's ignorance.

[Stereojack]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

Well, to characterize Parlan, or anyone, as a "bebop" musician, severely diminishes his talents as an all around musician. I saw him with Coleman Hawkins and with Roland Kirk, and he provided excellent accompaniment for both.

[medjuck]

I really like his playing with Mingus and on Pepper Adams's Ephemera.

[Peter Friedman]

There is a very good DVD I would strongly recommend to those who like the playing of Horace Parlan.

Horace Parlan By Horace Parlan

Jazz Times called it "An intimate and touching portrait", and i completely agree with that view.

This 58 minute DVD was filmed in June 1999 at Horace's home in the Danish countryside.

Parlan plays beautifully in a duo stting with bass player Jimmi Pedersen. There is also a highly interesting

interview. Horace's wife, Norma Parlan, also appears in the DVD.

[cymbalgroove]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

Not to be mean David and I don't want to start an arguement here but can you elaborate on this statement? Do you mean you don't have to have a lot of chops to play bebop? Just curious.. I would answer with what about Bud Powell, Monk and also Phineas Newborn, Barry Harris, Wynton Kelly, Sonny Clark, Kenny Drew? I wouldn't dare call those guys " simple single-note doodlers" Bebop is the hardest music in the world to play period! I'm talking about playing it RIGHT! You can hide a lot of stuff in a lot of notes. You can't lie behind your instrument or playing bebop.

[Dave James]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

"...narrowing the capabilities of the piano." Huh? Bebop/bop requires the ability to improvise on the fly as well as provide accompaniment for those who are doing so. By its very nature this sort of playing demands full and complete control of the keyboard. If it's doing anything, it's expanding the capabilities of the instrument. April Fools Day was two weeks ago. What's up with this?

Edited April 16, 2011 by Dave James

[Big Wheel]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

"...narrowing the capabilities of the piano." Huh? Bebop/bop requires the ability to improvise on the fly as well as provide accompaniment for those who are doing so. By its very nature this sort of playing demands full and complete control of the keyboard.

Mentally, but not physically. Even in comparison with playing Cherokee at breakneck speed in B major, an average Beethoven sonata places far more demands on both hands (especially the left). Are we really going to try and claim that comping behind yourself with the left hand maximizes the capability of the instrument as much as a Bach 3-part invention?

None of this is to denigrate the abilities of Horace Parlan, whose playing I very much enjoy. Nor the great bebop pianists, many of whom had plenty of technique to spare. But to anyone who has spent more than a little time with the instrument it's pretty clear that bebop piano is pretty minimalist compared to other styles.

[fasstrack]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

Well, to characterize Parlan, or anyone, as a "bebop" musician, severely diminishes his talents as an all around musician. I saw him with Coleman Hawkins and with Roland Kirk, and he provided excellent accompaniment for both.

Accompaniment someone finally nailed it. He's known as a top accompanist and that's why he's hired and cherished. He's a great listener and supporter and that's what it's about---not whether he plays cross-handed or standing on his head. Those things are of ancillary interest---at least to me they are.

I like a date he led: Glad I Found You. All I remember is Thad and I'm pretty sure Eddie Harris. They played Bud Powell's Oblivion and I think a tune of Thad's. Good record and Horace smelled like a rose on it, comping or soloing.

Edited April 17, 2011 by fasstrack

[fasstrack]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

"...narrowing the capabilities of the piano." Huh? Bebop/bop requires the ability to improvise on the fly as well as provide accompaniment for those who are doing so. By its very nature this sort of playing demands full and complete control of the keyboard.

Mentally, but not physically. Even in comparison with playing Cherokee at breakneck speed in B major, an average Beethoven sonata places far more demands on both hands (especially the left). Are we really going to try and claim that comping behind yourself with the left hand maximizes the capability of the instrument as much as a Bach 3-part invention?

Uh uh. It takes a lot of physical stamina---on any instrument---to keep up those tempos, execute, etc. It's a discipline and this is why there are relatively few dedicated bebop pianists. There are hardly any chances to play that music in the purest sense. The term 'bebop' itself is bastardized and now means just 'mainstream' to a lot of people---or nothing at all. But it---the true, undiluted thing---is as technically exacting---physically---as music gets.

I'm not even touching the mental part. We'll be out of here next Thursday....

[Chuck Nessa]

David is trying to become the board contrarian.

[king ubu]

Well, I guess David's point in short is that the piano wasn't conceived as a single-note/linear instrument and has many possibilities that go beyond that... and that too many pianists following Bud's "horn-like" playing don't make use of these possibilities.

Not too much fault in that observation, if you don't automatically make a value statement out of it.

Oh, and I do love Parlan's playing!

[Dan Gould]

Well, I guess David's point in short is that the piano wasn't conceived as a single-note/linear instrument and has many possibilities that go beyond that... and that too many pianists following Bud's "horn-like" playing don't make use of these possibilities.

Not too much fault in that observation, if you don't automatically make a value statement out of it.

"Simple single note doodles" is enough of a (ridiculous) value statement for me.

[Big Wheel]

Well, I don't agree. The bebop/bop style is a (dramatic) narrowing of the capabilites of the piano. It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

"...narrowing the capabilities of the piano." Huh? Bebop/bop requires the ability to improvise on the fly as well as provide accompaniment for those who are doing so. By its very nature this sort of playing demands full and complete control of the keyboard.

Mentally, but not physically. Even in comparison with playing Cherokee at breakneck speed in B major, an average Beethoven sonata places far more demands on both hands (especially the left). Are we really going to try and claim that comping behind yourself with the left hand maximizes the capability of the instrument as much as a Bach 3-part invention?

Uh uh. It takes a lot of physical stamina---on any instrument---to keep up those tempos, execute, etc. It's a discipline and this is why there are relatively few dedicated bebop pianists. There are hardly any chances to play that music in the purest sense. The term 'bebop' itself is bastardized and now means just 'mainstream' to a lot of people---or nothing at all. But it---the true, undiluted thing---is as technically exacting---physically---as music gets.

I'm not even touching the mental part. We'll be out of here next Thursday....

Sorry, but no. How much piano have you played? I've played for roughly 20 years now and can hang passably on an average straight-ahead gig. As much as I love what Bud/Haig/Hank Jones/Marmarosa/Monk do, and as much as I'd agree that there are technical demands the music puts on you (especially at that exalted level), it's just ridiculous to claim that the style "maximizes the capabilities" of the instrument. It doesn't, and it's a good thing for me that it doesn't, because I'm sure I'd really sound like shit if it did.

[Dave James]

It seems to me if you had two musicians who were equally accomplished within their own chosen genres and one played bop and the other, classical, the difference, and the challenge would arise in terms of playing notes, chords...whatever that are already written as opposed to basically winging it in an improvisational context. Point being, I think Brubeck would have a better shot at successfully dealing with Beethoven than Glenn Gould would have with Take Five. Just my two cents.

Edited April 17, 2011 by Dave James

[Big Wheel]

It seems to me if you had two musicians who were equally accomplished within their own chosen genres and one played bop and the other, classical, the difference, and the challenge would arise in terms of playing notes, chords...whatever that are already written as opposed to basically winging it in an improvisational context. Point being, I think Brubeck would have a better shot at successfully dealing with Beethoven than Glenn Gould would have with Take Five. Just my two cents.

Probably, but that's not really what we're talking about. Would Horace Parlan be able to play the Hammerklavier? Almost certainly not. Which is not to say that Parlan sucks. Or that anyone who can play the Hammerklavier and get the notes right is a musical genius. It just means that the style that Parlan plays in doesn't make nearly the same physical demands of him as does Beethoven. That doesn't mean that style sucks. How is this controversial?

[Dan Gould]

That doesn't mean that style sucks. How is this controversial?

Perhaps because of the additional comment from the original post by Mr. Ayers:

It says it all that you don't need a fully functioning right hand to play the simple single-note doodles that pass for the substance of a 'piano solo'. Sorry to be blunt.

And I further note that he hasn't returned to his thread crap to in anyway defend his attack on bebop piano solos. The hallmark of a troll, or at least trollish behavior, I believe.

[Noj]

I love Parlan's playing, and it had been so long since I read any biographical information on him that I wouldn't have remembered the polio if asked. It isn't evident in his playing to my untrained, non-musician's ears. On The Spur Of The Moment and Us Three both kick ass.

[David Ayers]

I've said this before and I'll say it again. I don't think much of bop piano solos which rely on sparse and usually fairly simple chording in the left hand and simple one-note picking in the right, usually all in the middle register of the instrument. All very pretty but hardly overwhelming. I can enjoy it but I will never be persuaded that it is a technical or musical miracle. I basically said that Parlan can play that style - sometimes by just playing melody in the left and not playing with the compromised right at all - because the technical demands are quite low compared to what is actually possible on a piano. While the single note style imitates the horns as to musical function it really struggles to reach the expressive level of the horns, which is probably why in a quintet pianists get to go third (before the bass admittedly but lets not even GO there...), why early free jazz often dropped piano and maybe - and I am always saying we need to think about this - part of why most people don't care for jazz. I guess its also why for some decades the top jazz or jazz-descended pianists have no longer played that way.