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Only one question

69.130.180.113
Posted on January 13, 2022 at 14:55:12
Mike K
Audiophile

Posts: 13973
Location: 97701
Joined: September 23, 1999
 How in hell did Django Reinhardt do it with only 2 useable fingers on
his left hand? It's astonishing.

Lack of skill dictates economy of style. - Joey Ramone

 

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Horace Parlan could do it too, posted on January 13, 2022 at 15:32:49
andy evans
Audiophile

Posts: 4378
Joined: October 20, 2000
 Horace only had the use of part of his R hand after polio. Didn't stop him being one of the great pianists in jazz.

 

RE: Only one question, posted on January 13, 2022 at 15:35:53
RV817
 he was certainly a groundbreaking innovator wasn't he! I'll take a stab at answering ... by using four note 'generic' chords, open voicings and derivatives while applying right hand alternate picking and 'flamenco roll' technique he basically established 'gypsy jazz' as a virtuoso in the mainstream when jazz WAS pop music ... to do so with his disability is the stuff of genius and legend ... which of course you already know!

though he utilized different scales, early be-bop guitar pioneer Chuck Wayne, without derivation, incorporated some of those concepts into his own system and approach though it was centered around scales typical to horns ... particularly Charlie Parker's playing, and earned a lot of cherry top flight gigs doing so ... of course you've heard his work

as you can probably tell, they're both in my pantheon of guitar heroes!

hope that helps!

 

RE: Horace Parlan could do it too, posted on January 13, 2022 at 15:45:38
RV817
 of course you can add Les Paul to the list of greats overcoming disabilities after his right arm was mangled in a car accident

clearly the discipline required to overcome them drove their success

; )

 

One Handed Ed Frank, posted on January 13, 2022 at 17:08:58
belyin
Audiophile

Posts: 1285
Location: New Orleans
Joined: November 1, 2003
 Another one handed pianist, Ed Frank is mostly know, if he is known at all, for his work on classic New Orleans r'and b' sides cut in the 50's and 60's, but if you asked him he would identify himself with "modern" jazz. Like many of his peers who stayed in New Orleans (Walter Payton, Fred Kemp, Red Tyler, etc.) Frank found work playing in the studio with r'and b' artists and later work with "trad" and hotel gigs, but his heart with bebop.

 

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