Mood Jazz In Hi-Fi
Decca DL 9205
From the back cover: The understanding of the emotional elements in a piece of music is the first step toward bringing it alive. In truth, the capacity to feel, then translate, and finally project emotion in its various hues, separates the men from the boys in any form of musical expression.
Pianist Ellis Larkins would be the first to subscribe to this premise, for he has always felt that a musician must, of necessity, "get close to his material." "Each piece of music carries with it the challenge to capture what the composer suggests, while lending something of your own. If the material is generally substantial, has interesting harmonies, beauty of line, one is certain to become more involved with it.
"The music of Victor Young has always been exceedingly appealing to me. Structurally interesting, and of a genuine beauty, it is the work of a man who felt the world around him."
Young had much of the impressionist in him. Primarily a creator of original scores for motion pictures, his job was to establish the mood for a film as a whole and each scene as an entity-a contributing vignette to the cogency of the whole. Consequently, it is no accident that his themes and songs have immediacy, emotional power; a rare completeness unto themselves.
"In interpreting this assemblage of repertoire by Mr. Young," said Larkins, "I felt simplicity, a starkness, the general lack of unnecessary pianistic adorn- ment in performance, would best underline the pristine beauty of the material. "I went to the length of learning the lyrics of all the songs, something I generally do anyway, and played with all the elements of each song in mind. Though simultaneously trying to flavor the material with touches of my own, I wanted, more than anything else, to capture the dominantly romantic, nostalgic Young quality; the basic sentiments, gradations thereof, within each selection."
Larkins, a soft-spoken, scholarly looking musician, inclined to be quite serious about his work, began his piano studies at the age of four. First studying with his father, then with teachers around his native Baltimore, he went on to study on the conservatory level at the Peabody Conservatory of music in Baltimore and the Juilliard School of Music in New York.
In 1940, just seventeen and still very much concerned with his studies at Juilliard, Larkins got his first job in New York at Cafe Society Uptown with the Billy Moore trio. Shortly thereafter, he formed his own unit and proceeded to work around town.
The latter months of 1943 brought an engagement at New York's Blue Angel, a club that has been his base of operations ever since.
A man of reputation both as a solo pianist and accompanist for vocalists, Ellis has spent the majority of his time in the latter capacity, for he feels "great joy" working with singers, drawing from his variety of experience in this area – Ella Fitzgerald, the late Mildred Bailey, etc. – what he considers a fuller understanding of pop and jazz repertoire.
Very much concerned with expressing his feelings in his own way, Larkins has fashioned a style that is identifiably his. However, like all musicians, he has been influenced by others.
"For me, it has always been Art (Tatum); he had all the technical equipment, a genius for using it in the most provocative manner, and classical discipline... Fats Waller and Teddy Wilson influenced and impressed me, but Art had everything."
Unlike many musicians who have an idol, a fountain of inspiration, Larkins has had the good sense to develop his own playing personality. Rather than taking on trappings natural to another, he has pursued a musical course compatible to his needs, paralleling his own sensitivities and gentility, and, in doing so, has evolved a meaningful, personal piano voice.
Of course, no player is an island unto himself, and bits and pieces of those admired have infiltrated Larkins' expression. However, these ideas and techniques have not been grafted upon, but assimilated into the parent style. In the "mainstream," categorically, this pianist finds identification in a quiet, almost prim symmetry, a subdued swing. Essentially a chordal stylist, Ellis uses his right hand to enhance, further delineate feeling established chordally. Rarely, if ever, does he veer to fleet embellishment in the right hand as did his idol, Art Tatum.
In opposition to the brittle aridity of many of the more percussively inclined jazz pianists, Ellis probes the natural potential of the piano, for his is a legato, orchestral form of expression that is filled with the colors, values inherent to his instrument.
Larkins improvisations are formidable in their economy. Giving the listener the essence of a song, he intimates so much more by his restraint, and capable handling of the material. Essaying rare control in utilization of overtones (loud pedal), and with full flowing lyricism, the predominantly impressionistic-ballad repertoire comes alive.
On the faster tunes, the beat is an underlying presence, the central value. But, again, the individuality of Larkins becomes apparent. The beat does not rudely break into your consciousness. It is lightly yet definitely felt: unobtrusive yet insistent.
Like most pianists who have been exposed to the convolutions of jazz, been part of the jazz scene for a length of time, Ellis is well-schooled in jazz's prime form, and the unique 'feel' associative with blues is constantly sneaking into his work . . . i.e. "Ghost Of A Chance," "Can't We Talk It Over."
Gossamer light and of definitive clarity, the Larkins touch has long lent a touch of 'class' to his playing. However, it is the combination of elements – understanding and transmission of emotional values of material, individuality of conception and projection, plus his tidy, pleasant touch and sound-that make this pianist's excursion into mood jazz an important event. – Burt Korall
Golden Earrings
A Love Like This
Sweet Sue, Just You
Blue Star
Love Me
My Foolish Heart
Love Letters
Stella By Starlight
Can't We Talk It Over
Very nice.
ReplyDeleteEllis Larkins is so much more than just another lounge pianist !
ReplyDeleteHe is one of the great masters of this instrument
His recordings are very rare so any additional tracks would be welcome