Acasa
In mintea mea Keith Graham Tippetts (ex King Crimson) se asemuie lui Syd Barrett, nu numai prin faptul ca amandoua nume repeta doua consoane sonore: erau doi muzicieni ce au reusit fiecare sa creeze cate un univers aparte.. In oceanul de curente, stiluri, maniere, metode limbaje de interpretare, Tippet a reusit sa construiasca o lume, cu o lejeritate si o naturalete nepamantesti.. Moartea lui, pentru care niciun muzician adevarat nu ar trebui sa poata fi vreodata consolat, a trecut neobservata acum cinci zile..
R.I.P Keith Tippett !!
Tippett was a chorister, classical pianist and organist in childhood and a trad-jazz bandleader in his mid-teens, but he hit the 1970s as an exponent of a brand of jazz-rock fusion, played with prog pioneers King Crimson and ran the briefly high-profile 50-piece Centipede orchestra (1970-71).
Though inspired by towering figures such as Charles Mingus and Miles Davis, almost nothing Tippett played invited buffs to trainspot his influences. He put a personal stamp on all his creativity, which was probably the principal key to its impact on fellow musicians, his students, and his audiences.
He was a genius as a solo piano improviser, his unaccompanied concerts consisting of dazzling collages of chords that coalesced into blues, mysterious patterings like somebody tearing paper in waltz-time, romantic arpeggios and thundering bass-note trills.
Tippett was never sidetracked by money at any point in his musical life.
R.I.P Keith Tippett !!
Tippett was a chorister, classical pianist and organist in childhood and a trad-jazz bandleader in his mid-teens, but he hit the 1970s as an exponent of a brand of jazz-rock fusion, played with prog pioneers King Crimson and ran the briefly high-profile 50-piece Centipede orchestra (1970-71).
Though inspired by towering figures such as Charles Mingus and Miles Davis, almost nothing Tippett played invited buffs to trainspot his influences. He put a personal stamp on all his creativity, which was probably the principal key to its impact on fellow musicians, his students, and his audiences.
He was a genius as a solo piano improviser, his unaccompanied concerts consisting of dazzling collages of chords that coalesced into blues, mysterious patterings like somebody tearing paper in waltz-time, romantic arpeggios and thundering bass-note trills.
Tippett was never sidetracked by money at any point in his musical life.
