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well this thread is taking off like wildfire...i also saw a couple of liberace videos on youtube though that were pretty cool; on one he does a samba, tico tico and on another explains how when he was growing up the big thing was the boogie woogie and then plays one. For some reason liberace always reminded me of bugs bunny.
Calbee219, for sure. He started playing at 16, same as me, and he does Final Fantasy music, too, which I also enjoy playing. =D He's an inspiration, in that it doesn't matter how old you are when you start.
Loc: Chicago, Illinois, USA
This thread has gotten me to discover youtube. My favorite is one that I was reminded of by chance. Try Time0207. Its Fabrizio Caligaris who I heard (every night)on The Norwegian Dawn (cruise)in February. Why is he my favorite? His style sounded so much like the way my uncle played that it got me back interested in playing the piano again. So I have a lot of catching up to do after a 35 year absense. Two other things- If it wouldn't be Frabrizio, I'd agree with Andy007 and say Stuart Jones and Martin Rowberry (sniper22b). They are especially worth a listen to hear the difference between Stuart's funk and boggie contrasted with the relaxation (is that the right term) music that he has recorded. Wonder about where "knightplayer" came from? I'm one of the folks that has an Alfred Knight piano. When I searched the site, all I could find is that most that posted thought they were over rated or flat out didn't like them. Mine is from 1961 and I love it.
Alfred Knight 30113 Schimmel K213 361426
Among current players, Brad Mehldau uses a lot of left hand melodic counterpoint.
True, you can also hear him more recently "getting away" from conventionally playing the melody in the right and playing chords in the left hand. Instead he will arpeggiate the harmony under the melody. He does this especially on more contemporary, pop oriented tunes that he has done.
Keith Jarretts Solo-Concert from 1984 in Tokyo. His playing is so sensitiv and outstanding. Harmonies are well balanced and devided carefully to both hands. Harmony is not "per se" a fact, it is outcoming of the horizontal lines which are found in both hands. A almost contrapuntal type of playing in his performance you can listen starting at 3:58.