Да, я эту запись тоже знаю, она у меня только в цифре. Есть ещё один их дуэт на Horo Records, редкая вещь. Кстати, ещё раз отдельное спасибо за SoloSolal, я довольно часто слушаю этот CD-R, Клэр Фишер и Марсьяль Соляль отлично дополняют друг друга. А ещё мне нравится вот эта польская запись, она у меня как раз есть на виниле: https://www.discogs.com/release/1518139-Martial-Solal-Martial-Solal
One of my fondest memories from all of the Chicago Jazz Festivals came in 1989 when Solal performed a set of solo piano in Grant Park-an open-air venue where, I believe, he was the only artist ever to appear unaccompanied at one of the Festivals. I stood in the wings of the Petrillo Bandshell in 1989 as Martial Solal performed an entire hour of solo piano. The idea that an unaccompanied pianist might command the large stage and huge expanse of Grant Park was a risk for those of us engaged in the programming. But we could take that risk, because if anyone could manage it, Solal was the guy. The chance to bring one of the world's greatest improvisers to a Chicago audience-most of whom had never heard him, since he rarely left France to perform in the U.S.-was too enticing. And the way to hear him was in the solo context. Standing to the side on stage left, looking at the keyboard as he inhabited it, was a privilege I haven't and won't forget. My overriding sense was that this was what it must have been like to see Art Tatum-not because
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https://www.discogs.com/release/1518139-Martial-Solal-Martial-Solal
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One of my fondest memories from all of the Chicago Jazz Festivals came in 1989 when Solal performed a set of solo piano in Grant Park-an open-air venue where, I believe, he was the only artist ever to appear unaccompanied at one of the Festivals. I stood in the wings of the Petrillo Bandshell in 1989 as Martial Solal performed an entire hour of solo piano. The idea that an unaccompanied pianist might command the large stage and huge expanse of Grant Park was a risk for those of us engaged in the programming. But we could take that risk, because if anyone could manage it, Solal was the guy. The chance to bring one of the world's greatest improvisers to a Chicago audience-most of whom had never heard him, since he rarely left France to perform in the U.S.-was too enticing. And the way to hear him was in the solo context. Standing to the side on stage left, looking at the keyboard as he inhabited it, was a privilege I haven't and won't forget. My overriding sense was that this was what it must have been like to see Art Tatum-not because ( ... )
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