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Name of a one-time recording band
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Tuesday, April 12, 2011
REVIEW - JESSE GELBER
The Time: April 3, 2011, 2:00 p.m. to 4:00 p.m.
The Place: Community Arts Center, 414 Plush Mill Road, Wallingford, PA 19086
Jesse Gelber, piano
There was a term in the 1980’s, defining a future generation of modern jazz musicians: the young turks. If the definition was applicable to those practitioners of traditional jazz, Jessie Gelber is definitely one of them because Mr. Gelber is young enough to carry this art form to the next generation. A classically trained musician, he uses this foundation as a springboard to deliver his interpretation of early traditional jazz piano standards. Jessie plays stride at a lower energy (slower) than most masters of keyboard who have performed for TriState Jazz in the recent past. There may be a reason for this approach.
It has been argued, that the early recordings were originally created at 58 rpm, then played back at 78 rpm, giving the final results a faster, jazzier sound. This gave the performer the ability to improvise in the key of G, then have the recording played at 78rpm so it was much faster and in the key of C. Also, according to one source, with the tempo more relaxed, this allowed the recorded musicians to improvise at a slower, comfortable tempo, thus allowing for fewer mistakes (and costly re-takes). [1]
Gelber opened with a familiar rag by Chris Smith, "Ballin’ the Jack" played interpretively very slowly with great chord improvisation to woo the audience and set the mood for the afternoon. He followed with J. C Johnson’s “Louisiana”, then the familiar “Stardust” and lots of our favorites.
Some pianists have played songs with such acceleration so fleeting they don't have time to interpret, just show off outstanding technique. By Gelber’s relaxed pianistic gait, the richness of the songs’ qualities were sustained long enough to evoke their intent.
All this writing of relaxed tempi does not imply that Mr. Gelber cannot perform in the higher numerals of the metronome. In fact, the finale, Cole Porter's "Just One of Those Things” was played at the accelerated speed of a Cliff Lee fastball. Only a seasoned pro, who are comfortable at this level, could hope to compete with this presentation. In response to a well deserved standing ovation, he ended the day with "Sweet Lorraine" as if Lorraine was the girl of his dreams.
Stride piano interpretation just doesn't get any better than Jessie Gelber. - Chic Bach
[1] Alabone, Richard. “1920’s Jazz: At 78 RPM?” City of London Phonograph and Gramophone Society Ltd (CLPGS) Journal. Reprinted on website “Sandy Brown Jazz” 2011. N.P., April 05, 2011. < http://www.sandybrownjazz.co.uk/forumjazzat78rpm.html >
The Place: Community Arts Center, 414 Plush Mill Road, Wallingford, PA 19086
Jesse Gelber, piano
There was a term in the 1980’s, defining a future generation of modern jazz musicians: the young turks. If the definition was applicable to those practitioners of traditional jazz, Jessie Gelber is definitely one of them because Mr. Gelber is young enough to carry this art form to the next generation. A classically trained musician, he uses this foundation as a springboard to deliver his interpretation of early traditional jazz piano standards. Jessie plays stride at a lower energy (slower) than most masters of keyboard who have performed for TriState Jazz in the recent past. There may be a reason for this approach.
It has been argued, that the early recordings were originally created at 58 rpm, then played back at 78 rpm, giving the final results a faster, jazzier sound. This gave the performer the ability to improvise in the key of G, then have the recording played at 78rpm so it was much faster and in the key of C. Also, according to one source, with the tempo more relaxed, this allowed the recorded musicians to improvise at a slower, comfortable tempo, thus allowing for fewer mistakes (and costly re-takes). [1]
Gelber opened with a familiar rag by Chris Smith, "Ballin’ the Jack" played interpretively very slowly with great chord improvisation to woo the audience and set the mood for the afternoon. He followed with J. C Johnson’s “Louisiana”, then the familiar “Stardust” and lots of our favorites.
Some pianists have played songs with such acceleration so fleeting they don't have time to interpret, just show off outstanding technique. By Gelber’s relaxed pianistic gait, the richness of the songs’ qualities were sustained long enough to evoke their intent.
All this writing of relaxed tempi does not imply that Mr. Gelber cannot perform in the higher numerals of the metronome. In fact, the finale, Cole Porter's "Just One of Those Things” was played at the accelerated speed of a Cliff Lee fastball. Only a seasoned pro, who are comfortable at this level, could hope to compete with this presentation. In response to a well deserved standing ovation, he ended the day with "Sweet Lorraine" as if Lorraine was the girl of his dreams.
Stride piano interpretation just doesn't get any better than Jessie Gelber. - Chic Bach
[1] Alabone, Richard. “1920’s Jazz: At 78 RPM?” City of London Phonograph and Gramophone Society Ltd (CLPGS) Journal. Reprinted on website “Sandy Brown Jazz” 2011. N.P., April 05, 2011. < http://www.sandybrownjazz.co.uk/forumjazzat78rpm.html >
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