© -Steven
Cerra , copyright protected; all rights reserved.
Piano is such an
intriguing instrument. Not only can one pound the hell out of it, but it can
also be played softly, almost caressingly, to a point that one wonders if it’s
the same instrument.
Gene Lees, the
eminent Jazz story-teller, recounts a time when he and pianist Bill Evans
walked into a club to catch a set by Oscar Peterson who could, and often did,
play the piano very aggressively. During
a lull in the performance, Gene turned to Bill and asked him why Oscar didn’t
employ Bill’s method of understated and implied chords voicings. Bill replied:
“It wouldn’t fit with what he was doing.”
Since the piano
doesn’t have a personality, one’s approach to the instrument may have more to
do with a player’s own personality than the instrument itself.
Although Oscar
Peterson could certainly play quiet ballads on the piano, he preferred to play
it in a percussive manner often employing riotous tempos and the full orchestral
range of the instrument through the use of highly accented and syncopated
rhythmic riffs. At times it seemed that his style of piano trio Jazz could
generate the intensity of an entire big band.
Indeed, there are
a couple of example of recordings featuring Oscar with big bands in which
Peterson gave the entire band a run for its money! Oscar, who at times could seem as big [both
physically and in terms of his aura] as the piano itself, appeared to have a
personality that sought out the instrument’s more percussive qualities, not to
mention that, in Oscar’s case at least, employing 10 ‘fingers’ onto
eighty-eight keys could generate many notes flying by at a very rapid
pace.
When I’m in the
mood for it, there’s nothing I like better than fastening my seat belt and
letting Oscar transport me into a world of foot-stompin, finger-poppin’ and
heart-pounding percussive piano trio Jazz excitement.
But there are
times when I like to enjoy Jazz that unfolds slowly, quietly and very
introspectively; the quiet moments made possible by a pianist who display a
softer touch. This does not necessarily imply slower tempos and ballads, but a
softer touch does connote a more controlled expression and one in which notes
and phrased are doled out more selectively and with more spacing.
Recently, I was in
a pensive mood and the pianism of Karl Boehlee of The Netherlands formed a
perfect complement to it.
Boehlee’s penchant
for sensitively played piano offers plenty of room for him to display his quite
exquisite touch on the instrument. If you love the ringing sounds of the piano
keys with all of their stated and implied overtones, Karel creates a piano sounds
that is simply gorgeous.
Even on medium and
the up-tempo tunes, Boehlee is very much a minimalist,. He is able to express a
variety of emotions with what always seems like just enough notes.
Although he has
been playing professional for about twenty-five years, Karel Boehlee is perhaps
Holland 's best-kept Jazz secret. The following
comments about him were offered in an interview with Karel’s bassist, Hein van
de Geyn, who is also the owner of Challenge Records:
I remember hearing him play in the early
eighties, when I just returned from the United
States . He was the first pianist of
this kind of modern class I had ever heard in Holland .
And on what level! Over the years Karel has improved and improved. The lines
became more thoughtful, the harmony more precise; the rhythm was always very
strong, but became larger, more in the pocket. Yet underneath all these ingredients
there was always something more powerful: the sound! Karel's sound is unique;
his touch just seems to reach you right in the centre of where music enters the
soul. With impeccable taste Karel will always come up with something fresh,
something his own and makes it sound so good.
Hein had this to say when asked why Karel
is such a well kept secret or why is it that so few people in the Jazz world
know about him.
Karel is a real player; he simply loves to
go out and play. He will play with his old pals in little cafés, he will play
with young and upcoming musicians, he will play with the best pop singers.
Karel is a musician at heart. And the business doesn't know how to deal with
this. The business wants exclusivity, wants to put a label on someone, wants an
image. And somehow Karel is not playing that game. He is not chasing record
deals; he is not showing his face at the right spots at the right time, he
doesn't search for journalists to do interviews with him. He is busy doing what
a musician should do: play music!
“On top of being a pianist, Karel is a very
original composer as well. Over the years he has written quite a large
repertoire of strongly individual originals. And I must say that it is through
his original compositions that I hear most clearly what Karel wants to portray.
To put it in words is not easy, so it seemed best to me to record it on my
label, and share my enthusiasm with the listeners in this way
Perhaps it takes
people with a broader outlook to recognize Karel's sublimity. People like
Mikoto Kimata, the owner of M&I records based in Tokyo who has recorded ten CD's by Karel for his
Japanese label; roughly at a pace of one album a year,
And while Karel Boehlee is largely unknown outside The
Netherlands, he is well-known and very popular in Japan and his CDs
continue to captivate Japanese
fans. Perhaps one of the reason for his
popularity there is that he was the founding member of the anonymous-sounding
European Jazz Trio, which helped ignite the "European jazz boom" in Japan nearly two
decades ago.
Aristotle once noted: “How different we all are with regard to those
things we hold in common.”
The wonderful thing about Jazz is that it communicates itself to us in
so many different ways.
And the wonderful thing about the Jazz pianism of Karel Boehlee is how
quietly and almost unsuspectingly his music can overwhelm us with its beauty
and its majesty.
Listen for yourself as Karel performs Gato Barbieri’s theme
from the movie, Last Tango in Paris, with
Hein van de Geyn on bass and Hans van Oosterhout on drums on the following
video.
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