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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 love jazz because I enjoy the freedom.
I was first exposed to jazz when I was 17.
I met Cedar Walton at a concert in San Paulo.
The best show I ever attended was Helio Jambao trio.
The first jazz record I bought was Witchcraft by George Benson.
My advice to new listeners is listen to the old school first.