Aaron Diehl with the New York Philharmonic.
Re: Aaron Diehl, Concert with the Rhode Island Philharmonic, October 20, 2018
I am aghast and outraged by Channing Gray’s ignorant, small-minded, and perhaps even racist review in the Providence Journal.
This insanity has to stop. (If people are more comfortable with the word “dysfunctionality,” that is OK by me. But nobody should be comfortable with the current state of affairs.)
As far as I know, Channing is a failed keyboard performer who (based on a mountain of evidence), has never gotten over it. Furthermore, I surmise that Channing’s specialty was early keyboard music (he played the organ at the wedding of an acquaintance of mine–that’s called gigging). In his review of Aaron Diehl’s performance, he wore his classist ignorance of jazz on his sleeve.
Aaron Diehl’s performance was the most magnificent piano performance I have ever heard from a soloist with the RIPO. From the first notes it was obvious that Mr. Diehl had not only enviable technique, but also something that is increasingly rare these days, that being: Excellent musical taste. Continue Reading →
Aaron Diehl’s 2013 CD The Bespoke Man’s Narrative, his début on Mack Avenue Records, fell like a thunderclap upon the jazz landscape, reaching No. 1 on the JazzWeek Jazz Chart.
Something about the advance publicity must have caught my eye or ear, because I asked for a pre-release press copy of the CD. Upon playing it, I was so gobsmacked that I asked my friend and colleague Steve Martorella to come over to listen to it. Steve was a protégé of Leonard Bernstein’s, and his principal piano teacher was Murray Perahia, so I think that it is fair to say that Steve probably knows a little about piano playing. While he was listening to the climax of Diehl’s piano-trio version of “Bess, You Is My Woman Now,” Steve was definitely getting tears in his eyes. His comment: “I didn’t know that there was anyone new who could play like that.”
In due course my comments on The Bespoke Man’s Narrative appeared in Stereophile magazine. Since then, Aaron Diehl has released another small-group recording as well as a solo project. Next weekend (October 19 and 20) he will appear with the Rhode Island Philharmonic (under the direction of Bramwell Tovey) playing Gershwin’s Rhapsody in Blue. Mr. Diehl graciously agreed to answer a few questions.
Questions, answers, and a sound sample can be found after the jump. Continue Reading →
Photo credit: Geoff Zagarola of La Naranja eBay auctions.
I find it hard to believe that 2018 marks the 30th anniversary of the recording session for Arturo Delmoni’s legendary 1988 Water Lily solo-violin recital.
Recorded at night in a monastery chapel, Delmoni’s compelling performances combine thrilling technique with thought-provoking musical insights. This minimalist-audiophile, two channels from two microphones, analog-tape and tubed-electronics production remains a reference for the recorded sound of a violin.
The violin in question was made by J. B. Guadagnini in 1780. I am very certain, based on reliable oral-history testimony, that in 1949, Dr. Delmoni’s Guadagnini was played on Charlie Parker with Strings by Max Hollander, the concertmaster of that string section. How about them apples?
The Delmoni-Water Lily project was my idea. I also helped bring it to fruition. And I now own the master tapes… . Therefore, I am not about to argue with eBay seller Bob La Naranja, who wrote of the (used) Delmoni Water Lily LP he recently sold (for more than $100):
Incredible solo-violin renditions of Bach, Kreisler, and Ysaÿe.
Perhaps one of the greatest solo-violin audiophile records—the recording is sublime.
(Except, I might have left out the word “perhaps”… .)
My current project is to arrange for a 11.2mHz/DSD256fs (“Quad DSD”) transfer of the master tapes, selling the download files via an informal crowdfunding venture. How that works, and for more on what all the above means, please click on the jump link, where you will also find generous sound samples. Continue Reading →