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How to choose the best delivery service? Mood and rhythm are perfectly matched to each image, and the whole is greater than the sum of its parts. We then reach an almost lyrical section at the two-minute mark, but an insistent, pounding rhythm enters and the volume decreases. At this point, Reilly combines his ostinato in the left hand with a single-note improvisation in the right as the tonality now hovers around D major or D modal. A rocking barcarolle rhythm, albeit with dark, sinister-sounding rolling bass lines, move us towards a somewhat tone-clusterish finale.
Several key changes are effected in a short period of time, eventually landing us in C major, where he stays for some time improvising. And once more, Reilly indulges in the sort of fascinating single-note improvisations that Tristano specialized in, albeit expanding it quickly to involve both hands and then moving into a series of staccato chords. These then morph into an improvisation based on the staccato chords, following which is another lyrical section, this one sounding very bluesy and swinging, before the music settles back into semi-staccato single-note playing in the right hand with an occasional moving bass in the left.
This very Bach-like section continues on to the end, albeit with a slowly increasing tempo which culminates in right-hand chord tremolos with strong left-hand punctuations. The Hierophant emerges as a very strange, almost minimalist piece with a soft, stabbing walking bass and quirky answering chords.
The Hermit, on the other hand, is one of the longest pieces in this suite, running nine and a half minutes. It is also the closest to atonal classical music, particularly in the opening section, which becomes very busy indeed. Then yet another single-line improvisation, this one extending for some time in the bass with occasional counter-lines improvised in the treble. In the middle, another two-handed single-note section before the maelstrom returns.
In this manner Reilly manages to juggle his music in such a way that the listener is almost actively involved in the listening process, and as in the case of any really great music, no two people will hear it exactly alike. The descriptions I am giving you here are my impressions, and based as much as possible on objective descriptions of what is happening, but the way it affects me may not at all be the way it affects you. Moving from the to the performance, we can compare his renditions of The Priestess.
This second version of The Priestess is much shorter than the first, a little under three minutes, and the music is entirely different: quirkier, almost humorous in a purposely clumsy manner, galumphing across the keyboard with rhythmic flair and a sort of circular-chromatic melodic structure.
The Empress, in at least, begins with soft, mysterious, isolated chords before moving into a quasi-tango or habanera rhythm, the harmonic base being mostly in E flat minor. Here, too, Reilly keeps the improvisations rather simple, moving later on into a more swinging feel and eventually into the right hand playing an asymmetrical rhythm against the more regular pulse of the left…and then it ends, quickly and mysteriously.
The Chariot also begins in Eb minor, but with a more aggressive pulse, asymmetric although also with a curiously Latin feel to it. Harmonically, it vacillates between minor and major, when suddenly at the one-minute mark we enter a thoroughly swinging two-handed but single-note improvisation passage of considerable ingenuity.
Double-time runs are thrown in once again, then a chorded passage played by both hands, leading once again into an entirely new and now bitonal single-note exploration of the theme. In these ways Jack Reilly managed to involve us, the listeners, in the creative process. Used by permission. Maybeck is a small hall in Berkeley, California, loved by pianists and listeners for the perfection of its acoustics. Carl Jefferson of Concord Records was so taken with the sound of the room that he initiated a series of 42 solo piano recordings there.
It began with Joanne Brackeen in and ended with James Williams in After pianist Dick Whittington bought Maybeck, but before Concord discovered it, Jack Reilly was one of the first artists who played there, so he is not included in the series. All is not lost, however. Reilly recently discovered that his concert existed on a cassette tape. The transfer to CD may not bring the sound up to digital perfection, but it is entirely listenable.
Into a program of jazz and classical pieces he pumps energy, imagination and—in some cases—swing that is almost physically palpable. It has blindingly fast tremolos and runs worthy of Tatum, the left hand rampant on a field of stride, sophisticated chord substitutions in shifting harmonies and a free flurry at the top of the keyboard that might make Cecil Taylor raise an eyebrow. Throughout the concert, Reilly goes through chordal hoops and dazzling time shifts while giving the listener melody to hold onto; a neat trick.
He is an original. With the surprising wealth of exceptional music out there, discovering any new artist is always a treat. But when one comes across a performer as impressive as Jack Reilly—a pianist who, while performing for over 45 years, has mysteriously remained outside the watchful eye of the greater jazz fan base—that joy of discovery is equally coloured with a sense of curiosity.
After all and with rare exception, Reilly has worked solely under his own steam, releasing a small body of work that ranges from collaborating with artists like singer Sheila Jordan, bassist Harvie Swartz, and saxophonist Joe Maneri on his impressive '98 release Masks, to producing a series of solo piano works that include the two-volume Tzu-Jan and, most recently, Pure Passion: Solo Piano Improvisations. For those new to Reilly, Pure Passion is a perfect entry point, mixing a programme of ten standards—some well-heeled, others less so—with half a dozen Reilly originals, demonstrating his outside-the-box interpretive skills.
The pianist is faithful to every song's core, while spinning a new and imaginative tale each time. Reilly's ability to liberally expand on a song without losing sight of what makes it distinctive demands obvious reference to Keith Jarrett. But the fact is, that while Jarrett's piano improvisations—even when they're based around a popular tune—are a kind of stream-of-consciousness catharsis, Reilly—who is no more restricted by convention—seems somehow more considered, even as he takes a tune like "'Round Midnight and refashions it.
Reilly makes sure that there are some familiar signposts along the way, but how he navigates between them is completely unexpected. Sometimes it's not the destination but how you get there, and Reilly consistently makes his improvisations trips worth taking, filled with enticing sights and surprising turns. Reilly's unfettered use of dynamics and an elastic time sense, only possible in a solo setting, allows an oft-covered tune like "Summertime to take on a completely different complexion.
He leans to the impressionistic and at times the romantic, but there's a more direct tie to classical roots than to pianists like Bill Evans—although there's no question that Evans factors into Reilly's collected experience. But what makes Pure Passion so remarkable is that, despite its reliance on the standards repertoire, it's a completely contemporary work.
All the while it retains the accessibility and sense of tradition that more rooted players like Hank Jones or Cedar Walton demonstrate under the same circumstances. The true test of an interpreter of standards material, in the context of a larger solo performance, is whether he can somehow blur the line between the familiar and the unfamiliar, connecting the listener equally to both.
Reilly doesn't apply a different aesthetic to his own compositions—they demonstrate the same road markers, giving them a discernable structure, yet often weave their way between them in less than predictable ways. With Pure Passion as an entry point to the talents of Jack Reilly, the good news is that there's plenty more where that came from.
Personnel: Jack Reilly: piano. Reilly's Trifecta. November 17, review by Clint Tsao. The noontime set was just the tonic in the middle of a work week and provided much needed relief, hope, and entertainment to the appreciative audience. Assisted by veteran bassist Ashton Fletcher, the two played as if they had been touring for years. What followed was a nice selection of Reilly composed pieces. The Silence of the Heart segment was dedicated to Dr. Martin Abeloff who had passed away recently.
The six selections form a compassionate and optimistic mood. Starting with Db Major, a solemn measured beginning, and through C Minor and its upbeat tempo and D Major with its more abstract structure, it carries an emotional resonance punctuated with daring plateaus complemented by playful rhythms. With D Minor, this jaunty celebration continues its playful bouquet of notes culminating in a melodic flurry. Eb Minor tones down and slows the pace and the final piece, F Major, uplifts the mood again and ends in a joyous flourish.
Caroline is full of life and vigor and displays a lofty spirit, and it comes back to earth after a nice ride. Concluding with Gobaj, a series of repetitive chords are countered by imaginative melodies with an Indian influence before returning to familiar ground. The last part was represented by Mr. Originally a solo piano piece, it was reworked into a duet with Mr.
This performance was abbreviated and moderately paced. It nevertheless confirmed the talent and creativity of what was to come, demonstrating an early innovative approach to traditional jazz. A gratified audience demanded an encore which Mr. Reilly and Mr. Fletcher accommodated with a zippy tune.
It was a nice conclusion to a welcome celebration of life and creativity through music. To quote: "The Christmas mood, but with an edge: early-evening contemporary jazz in the glowing interior of St Cyprian's Church, featuring the acerbically vigorous piano music of American Jack Reilly. Reilly studied with cool school legend Lennie Tristano and has worked for visionary composer George Russell.
Brad Mehldau fans may find some fascinating connections in Reilly's adventurous improvising. Four days before the latest catastrophe to tax the hopes of the religious, year-old American pianist Jack Reilly premiered a jazz suite in a London church composed as a personal thanksgiving for life.
Reilly survived cancer in His Green Spring Suite is dedicated to the medics who saved him, and the Baptist church he attended during the worst of it. If that implies pious music of sotto voce intonations, bear in mind Reilly's track record, which includes partnering legends such as Ben Webster, George Russell and Sheila Jordan, and a body of ruggedly distinctive jazz composing.
He played the London premiere of the Green Spring Suite with locals Dave Green on bass and Stephen Keogh on drums, and though the organisation was tight and the improvising spliced into narrow gaps in the structure, the music emitted a flickering brightness that was of a piece with the glimmers and dancing reflections in the candlelight. Reilly's opening pieces reflected his Bill Evans allegiances in their quiet flourishes and shifting harmonies, and the mid-tempo swinger Oncological - its suspended unaccompanied release leaning on the main theme - displayed his remarkable clarity of single-line playing over Keogh's delicate cymbal beat and Green's sure-footed walk.
Some of the music suggested French pianist Jacques Loussier's spinning of jazz lines out of classical harmonies - sometimes contemplatively, sometimes against a Latin undertow from Keogh's brushwork. The second half brought a delicious wash of dewy sounds turning into a dancing vamp Gobaj ; a growling bowed bass intro that became a trickle of treble piano notes thickening into Gershwin-like chords; a swoony movie-music theme that evolved into free-improvisation; then Blues For All, the only older Reilly composition.
Many pianists have grown on the Bill Evans tree, but Reilly is special. Reilly is a true a virtuoso of the piano with remarkable facility and ideation. One might hear a flicker of Bud Powell or a whisper of Bill Evans done with reverential regard but clearly Jack Reilly has a unique style along with rhythmic flexibility and the ability to swing He paints with his own brush And is definitely the sine qua non on this recording.
On the 8 bar exchanges with the drummer, Mr. Reilly was merciless. Bud Powell was talked about a bit on "Minor Your Own Amos" as the pianist unleashed a torrent of impressionistic bop lines. The drums and bass were clearly inspired on this tune. Total time Jack Reilly: solo piano. Reilly is an elegant and eloquent player who likes to gradually build up layers of intensity. As a collection of improvised ballads, this one sounds easy on the ear, being both soothing and contemplative, and yet there is a lot more going on here than just decorative and florid tinkling.
Five originals close out this project. However, I cannot escape the sense that these performances are not integrated into the rest of the programme. Because of that they sound like they have been added on here as filler.
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