It’s an interesting concept. Let the piano chords paint images for you and ignore most of the other elements that make music what it is. Tonal relationships offer impressions. Most of us agree on the various moods that can be portrayed. A happy-go-lucky stroll through daisy-covered fields? No problem. The impending violence that issues from a demonic winter storm? Easy.
Ernesto Diaz-Infante’s latest album follows the pattern of his itz’at in that he provides only sustained piano chords throughout the program. They’re repeated, arpeggiated, altered, given plenty of time for the impression to sink in, and then it’s time for another snapshot. The inspiration comes from Diaz-Infante’s residency at The Ucross Foundation in Ucross, Wyoming. Dividing his journal into 30 tracks to represent different aspects of the wide-open rural landscape, the composer deals with impressions common to all of us. High plains, rolling fields, a winding creek, rutted roads, gray skies, and new fallen snow offer the same distinct mental pictures to all of us. Similarly, the pianist’s impressionistic offering gives the listener a relationship that is familiar to all. A creative artist, Diaz-Infante relates to the listener through a specific but familiar means. A brief biography is available over the ‘net.
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St
I was first exposed to jazz by my father, who was a rabid fan when he was younger, in the early to mid 1950's. We lived in NYC and he was a regular at places like the Village Vanguard and Birdland. One of his favorite stories involved meeting Charlie Parker and Miles on 52nd St. Needless to say, Jazz and Blues were always on the stereo in our home. I was steeped in these exciting sounds, and they make up some of my earliest memories.