This kid has a lot of talent. I especially like “Cold Pressed.” Thanks!
Here’s something a bit different you might like. I’ve been working on Clare Fischer’s “Morning” and came across these three different versions. I actually found a YouTube channel labelled “todas las versiones de [all the versions of] morning de clare fischer” with 25 videos.
The first is from Eddie Higgins and is the most similar to the PianoGroove basic style. I vaguely remember Hayden mentioning Higgins as someone to check out.
The second is from the percussionist Poncho Sanchez, where Fischer himself is playing a Fender Rhodes as a sideman. Fischer’s solo begins at 2:45 and again at 5:50.
The last is from Charlie Barreda on vibes. I don’t know who his pianist is, but he makes great use of montunos in his style.
wOW Beautiful albums thanks so much @scott1 sharing all those !! Clare Fisher even dont know his name … victor Gould same … wonderful thanks
ye Morning a beautiful song i will add in my repertoire too
i came across Lyle Mays and discover he just died this year in february , dont read anything about it. He is well known as Pat Metheny partner but here s another context where i love his playing even more
Lyle Mays is certainly a fine keyboardist, multi-faceted. And on that album, he’s got one great trio with Marc Jonson and Jack DeJohnette. Kristeta certainly did make a good find with Robert Dimbleby. Thanks for sharing. (Agreed, we old guys have to keep working. )
Thanks for sharing Pierre. I also had not heard of the passing of Lyle Mays, sad news!
I remember studying his tune “Bill Evans” many years ago with my first jazz teacher. I believe Lyle Mays quoted Bill Evans as his biggest influence and this record was obviously written in hommage.
An another note, this tune reminds me a little of Bill Evan’s tune “Time Remembered”:
Both tunes contain lots of the lydian / major #11 flavour which I like.
Lovely tune from Bill Evans, but then what else would you expect.
Here’s the look at Clare Fischer’s Latin side and his use of electric keyboards that I mentioned in my earlier post on him.
(The citations that follow aren’t documented, but are just a bit of me and cut and paste—something that my students often did and got nailed for. Here there is less rigor.)
Note: if this seems like a Too Long;Didn’t Read entry, skip to the bottom for the music from Fernando Gelbard! There are some brilliant Rhodes solos.
Just like Hancock and Chick Corea he was a pioneer on the electric keyboard, and in that capacity he joined vibraphonist Cal Tjader’s group. The reunion with Tjader gave a new impulse to Fischer’s love of Latin-American music. He started his own group with Latino musicians, "Salsa Picante,” which showed great eclecticism in musical styles. Later he expanded to include four vocalists billed separately as "2 + 2,” which won a Grammy in 1981.
Here’s “Guarabe” from Salsa Picante (1979 by MPS Records in Germany, the album’s U.S. release came the following year on the Trend/Discovery) using an electric piano and Yamaha Ex-42 organ, which apparently was the world’s first commercial polyphonic synthesizer.
Fischer wrote two tunes that now have become standards, “Morning” and “Pensativa.” Here’s Fischer on “Morning,” (a different version from what I posted earlier) followed by Art Blakey and the Jazz Messengers on “Pensativa” with, among others, Wayne Shorter, Freddy Hubbard, and Cedar Walton.
Another album that has drawn attention is Lembranças (1990 Concord Picante). One noted that it
awakened my ears to other harmonic possibilities. His unique voicings on the electric keyboards caused me to wonder if it was even remotely possible to explore such things on the guitar. His voicing style has a way of speaking better on either of those electric instruments than on an acoustic piano. You could try any particular voicing or sonority and play it first on your keyboard with a Rhodes-like sound, and then go and play the exact same voicing on an acoustic piano, and I am confident that you would hear what I’m talking about. There’s just a way that certain small clusters, or groups of intervals, blend on an electric keyboard, where they might not function the same way on an acoustic piano.
Another said of the album:
One ought never listen to Clare Fischer’s music in the background - until perhaps one has already heard it many times over - otherwise some of the many hidden treasures may remain undiscovered. Each time I listen to this one I hear new things that must have always been there but were not staring me in the face. Dr Fischer found a unique voice in his Latin explorations and this recording shows some of the many vistas and moods he could evoke - contrast the evocative ‘Endlessly’ or the gentle ‘Gilda’ with the brighter ones like 'Fina’and ‘Coco’. His complex rhythms and meters and special harmonies are everywhere on this recording. Clare could inject great complexity into his melodies and the harmonies underneath them, yet they would emerge with their own charm and stand up on their own as very singable melodies. There is a great deal of understated greatness in this Fischer recording…fine ensemble playing from players intimately involved in Clare’s musical conceptions, including his young son Brent on bass… there is fine playing from Clare himself on various keyboards… and special mention for Dick Mitchell’s marvellous flute soloing. This is an understated recording of some of the finest Latin Clare Fischer creations. A must-have recording for the seasoned a-Fisch-ionado and a very listenable one to start with for the uninitiated listener.
Here’s “On Green Dolphin Street” from that album.
Finally, I offer two tunes from his album The Music of Fernando Gelbard (2016 Liquidjazz). Gelbard is an Argentine keyboardist. It’s a solo piano album, and it’s amazing how he handles the Rhodes. As was noted above, working with the Rhodes offers a bit of a challenge at times because beautiful transcriptions on the acoustic often get very unacceptably muddy. Fischer is a master.
@Scott Thank you. For some reason, I can’t remember why the “Morning” song is very familiar to me haha …i really love that one and thanks so much for sharing the various versions here too! this tune brightens my mood
I agree @Kristeta sound so familiar to me too … harmony is pretty common to other songs probably but even the melody somes already well known
another song i come across is " You look good to me" i am pretty sure to have sang this song but really dont know where i could have hear it and know this song so well… irritating
@Pierrot …lol … I’ve also watched his video back when he was probably just starting to record videos on YT (he was much younger) and you’ll see how much he has progressed … I have a ton to learn … made me rush back to PG to check the Jazz lessons hhahaah
@Pierrot - the “You look good to me” video … i love it - wow on the bass and drums too! this piano version I’d like to learn! Thanks very much for sharing!
Wow…such a beautiful piece to listen to! … - Thanks very much for sharing! I’ve started listening to jazz tunes with more concentration recently and slowly seeing the difference and unique effects of 7, 9, 11, 13 chords… am totally amazed
PS sorry, still learning how to quote - so I don’t have to post multiple times
Here are a couple of tunes from Mark Levine’s One Notch Up (1997 Heavywood). Yea, it’s that Mark Levine (The Jazz Piano Book, The Jazz Theory Book). The first is one of his own tunes, “Linda Chicana.” The other is his version of Clare Fischer’s “Pensativa.” The whole album is not Latin-based, and the title track, Mulgrew Miller’s “One Notch Up” is well worth a listen. I couldn’t find a video to share. At any rate, enjoy.
FROM THE CREATOR OF iREAL PRO
(Sorry for the emphasis; just thought no one would pick up on this otherwise.)
I wasn’t sure where to put this. It’s modern; it has an organ; it has a killer sax player. At any rate, here’s “Smile” from Incontre (2020 SounderScore). This version of the old standard is by Massimo Biolcati, a Swedish/Italian/American bassist and creator of the iReal Pro app. It features one of my favorite sax players, Dayna Stephens, and Sam Yahel on keys.
What a sweet find! I’d never heard of Ruiz before. Now he’s on my ever-lengthening watch list. Just checked him out on Wiki–apart from performing his own music, he’s toured and recorded with some greats from both jazz and rock. Thanks!
Here’s “Arabesque,” an improvisation he did trying out the VST Keyscape. And then his Grammy-nominated version of "The Girl from Ipanema.
A Cuban-born pianist, Omar Sosa is a player I return to often. He received a lifetime achievement award from the Smithsonian Associates in Washington, DC in 2003 for his contribution to the development of Latin jazz in the United States and has been nominated for and won several awards throughout his career.
In the first video, he offers something perfect for these trying, uncertain times of illness and social unrest. Following that are a few examples of his work. The first is an interesting take on Chet Baker’s “Blue Room” incorporating Baker’s actual vocals into the mix. And the last is a “must listen” with Sosa and the classically-trained violinist Yillian Cañizares on vocals.
thanks @scott1
This man and soul so beautiful … this is the man playing for elephants in Thailand … so meanful story and life … very talented and soulful his painting and music is beautiful , looking for the beauty of life
With Paul Barton we can again think in the human part of the man … believe in humanity … and looking for more beauty around us !
I discover him sometimes ago and look pretty all his videos … transporting acoustic piano in the nature to play for old elephants … feeding them … crazy grand !
pfff… 
back working for it 
)
… made me rush back to PG to check the Jazz lessons 
hhahaah
Thanks very much for sharing!