gypsy tail windWillst Du es wirklich wissen?
Sie spielt ohne Rhythmus und Nuancen, ohne jegliche Idee von Phrasierung, Betonung – wenigstens in „Strike Up the Band“, in „Woody’n You“ ist das alles stellenweise viel besser, aber sie fällt auch da immer wieder ins Einheitsmus zurück.
naja, jedem sein schwarzes loch.:lol:
in STRIKE UP… ist das tempo natürlich mörderisch (viele nuancen höre ich da auch beim saxophon nicht mehr), ansonsten höre ich das tatsächlich völlig anders, auch wenn ich die bopperin alice nicht brauche (youtube-kommentar: „surprise – she actually can play!“ usw.).
Alice McLeod’s bebop piano playing with Terry Gibbs in the early 60’s is legendary. Very little of it is on tape, but those that saw it live still talk about this pretty young girl tearing it up Bud Powell-style.
At that time, her boyfriend was Joe Henderson. Shortly afterwards, she starting going with John Coltrane. Unlike Coltrane’s previous wife, Naima, Alice agreed to learn to play the harp, an instrument that fascinated Coltrane. They married in 1966.
At the piano, she abandoned her Powell style and studied McCoy Tyner’s fourth-chords and pentatonic flurries. Rather than imitate Tyner exactly, she put all that new modal information in the service of free-form rhythm. The John Coltrane records with Alice show her fitting in Trane’s late style much better than Tyner did. Tyner said he left the band because he couldn’t hear himself, but you can hear Alice on the ’66 and ’67 recordings just fine. It’s too bad Alice isn’t on Ascension and Kulu Se Mama, because she would have hooked up those dates much more than Tyner, who sounds a little irritated.
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