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If every great jazz pianist needs a "Live at the Village Vanguard" album, made with a fine trio, the time is ripe for Geri Allen.
She has brought to writing something of the same freshness that springs from the sort of unending discipline a classical pianist needs.
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The analogy about the great pianist needing artisans to carry the piano applies.
Mr. Hill, more than most regularly performing jazz pianists, needs a careful structure around him, usually one of his own making.
To approach Bach's keyboard music by way of his cantatas might seem an odd way of going about things, but Mr. Aimard insists that as a pianist, he needs to familiarize himself thoroughly with what a composer has achieved outside the realm of the piano.
As a creative rather than interpretive pianist, he needed an atmosphere in which he could maintain absolute creative control, free of the limited expectations of his live audiences.
Then again, pianist Jeremy Denk hardly needs an introduction these days.
In the early 70's, he began exploring this repertory in a chamber music series called "Music With Jens Nygaard," in which he was the pianist, joined as needed by members of the New York Philharmonic and young freelancers.
Schumann's Sonata No. 1 in F sharp minor (Op. 11) needs a pianist's help more than any of the Beethoven sonatas.
His gospel and ballad sound has an affectingly bluesy fragility, but he brings a free-jazz edginess to more urgent material, is a gifted composer, and has the perfect band for his needs, including pianist Jason Moran and drums firebrand Eric Harland.
They needed a pianist and finally took on Irma Kohler.
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CEO of Professional Science Editing for Scientists @ prosciediting.com