Remember the interview with "sonochromatic artist cyborg" Neil Harbisson? He was born without the ability to see any colors at all, but his prosthetic eyepiece translates color into sound — and he has started reinterpreting music visually through his new perceptions of color, as in his painting based on Mozart's "Queen of the Night" aria.
Many jazz musicians, the kind who wear jackets and ties on stage, are often carelessly referred to as playing bebop. In reality most of them are post-boppers, who build on that dynamic style that burst forth after World War II, without bringing it back in pure form. It's the rare modernist who gets an authentic bebop sound on alto saxophone, who catches some of the raw explosiveness and rapid-fire grace of jazz god Charlie Parker. And then there's Jesse Davis.
Pianist Eddie Palmieri has been given many nicknames. He's been called The Latin Monk because of his Thelonious Monk-inspired dissonances. He's been called The Piano Breaker Man, because he hits the keys so hard. He's even been called the 'madman of Latin music.' He's taken many of the innovations of modern jazz pianists and brought them into his Latin bands. But he's never stopped playing good dance music.
In 1994, Palmieri's lobbying culminated in the announcement of a new Grammy Award category for Afro-Caribbean Jazz.
Host Marian McPartland tried for years to line-up elusive pianist Keith Jarrett for a Piano Jazz session. Following his stellar performance at Carnegie Hall in 2005, McPartland confronted the elusive performer and convinced him to put in an appearance on her show. The Allentown, Pa., native graciously invited McPartland and a small crew to his home studio, a converted barn next to his 18th-century farmhouse.