The Great Jazz Pianists

In a welcome departure from the usual interview-book format, veteran jazz-journalist Lyons (The 101 Best Jazz Albums) fills in the context for these 27 brief talks with jazz-pianists - by first surveying (in less than 40 pages) the jazz-piano traditions: he efficiently sketches the developments from ragtime to stride to band-related swing; he notes the pivotal position of Art Tatum but also stresses the underrated influence of Milt Buckner and Nat "King" Cole; he reflects the variety of postwar trends. And the interviews themselves, each prefaced by a brief biography/appreciation, are strong on nuts-and-bolts material. All the players are asked about training, exercises, teaching, preferred instruments. (Only the late Mary Lou Williams, who bemoans the state of modern jazz, totally rejects the possible usefulness of classical training in jazz-piano.) The pianists discuss their influences - from Tatum and Teddy Wilson (himself an interview-ee) to lesser-knowns. George Shearing discusses braille music, names Dave McKenna as "the best pianist playing right now." (McKenna is, unfortunately, not among the subjects; see Whitney Balliett's profile instead.) Oscar Peterson, in the most densely technical of the interviews, reveals that his awesome agility was the result of obsessive 18-hour-a-day practice. Jimmy Rowles talks about accompanying singers, Ran Blake explains Third Stream, Randy Weston muses on his use of African sources. And all the artists - who also include John Lewis, Dave Brubeck, Marian McPartland, Bill Evans, Keith Jarrett, Cecil Taylor, and Chick Corea (a Scientology devotee) - express their widely divergent feelings about electronic instruments. Not for those who look for anecdotes or eloquence in musician-chats - but a solid, unpretentious source of technique/artistry viewpoints for aspiring pianists and serious fans. (Kirkus Reviews)