Last one for today. Romania pianist who left us too soon. His music is a swinging blend of classical with sthg else. Like particularly “Solfeggio in C Minor”.
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Lots of “new” in this thread. I could recommend at least half of the above personally…but I’m going to roll back the clock a little bit to balance things out 
One of the things that, to me, makes a great Jazz Pianist is the idea of “quiet intensity”. I first heard this term in the context of Duke Ellington, his bands, and their concerted effort to separate volume level from the emotional intensity of the music. Can you reach maximum intensity at pianissimo? What happens if you turn up the volume on that. It’s the art of restraint–of holding back, and saving the best for later, or even leaving some on the table.
I really enjoy solo piano and duo recordings–they are the most direct measure of this quality, as it all comes down to one or two people exerting the needed emotional control. This is the hardest part (and the greatest responsibility) of playing an instrument all by yourself.
Pretty much all recordings of Thelonious Monk or Art Tatum playing alone are worth the price of admission.
Tatum can build from a restrained opening, to a peak, to an even bigger peak, and then shut it all down in under three minutes. This skill is all but forgotten in modern times where long-form recordings are the rule. Listen to Beautiful Love on this album…
Monk was also a master of restraint. Listen to Ruby, My Dear or Pannonica on this album–
One of my favorite pairs is George Shearing/Brian Torff in this pair of albums recorded in 1979. They are just incredibly fun. Shearing steps away from his block chords. Their interplay/collaboration is excellent, but perhaps my favorite thing about it is that it doesn’t sound like anything else. And that makes it special. It cooks, but without screaming.
Highlights from these include The Masquerade is Over, Soon it’s Gonna Rain (from The Fantasticks–a show to listen to for fans of piano duos, given the makeup of the orchestra), Have you Met Miss Jones, and Lullaby of Birdland.
Bill Evans also graced us with a few solo recordings. “Alone” is my favorite–for how deliberately and thoughtfully he interprets the material. He utilizes the solos performers privilege to warp time to its greatest advantage. Listen for the hesitation leading into the second A section on “A Time for Love”, or the artful variations in pace throughout the entire presentation of the melody in The Two Lonely People. And then the restraint as he enters the solo. There is room enough to build to the emotional peak towards the five minute mark. One of my favorite Evans tracks of all time.
Like Shearing/Torff, the music of Jan Johannsen simply doesn’t sound like anyone else. Maybe it’s the folk influence. It embeds a certain peace, and some of the same deliberate qualities of the Evans recording above. I keep coming back to him. Mostly in the wintertime. His work makes more sense with snow on the ground.
So long as we are in 1960s Europe, it’s worth mentioning Krzysztof Komeda. This is deeply emotional, almost desperate music. Best listened to in one sitting with full attention…I’ve always associated it with Karel Husa’s Music for Prague 1968 (not Jazz, not Piano, but similar tone in some way. That is another one to listen to sitting down…when the tanks roll in in the second movement it’s like getting run over by a train. The Eastman Wind Ensemble recording is my benchmark…off topic). This recording is louder, but still manages to dole out the intensity in a measured and extremely effective manner…
A bit newer, but still not new, I’ve come to really appreciate Junko Onishi’s work. My favorite of her releases is her 1994 Vanguard date, on this album. The restrained, but controlled, build in How long Has This Been Going On is the highlight of the album, but the entire set is strong.
Her recent album is worth listening to, as well. Much more in line with the above music in this thread. This runs a much wider gamut. I’m glad to see she’s “back”, since there were some years of uncertain output between these two.
One final, newer player who I did not see mentioned above–Jean-Michel Pilc.
He has a magical union with the instrument which he bends to his will heroically, filling and emptying sonic space at will. His Solo album captures more of this than his collaborations. St James Infirmary and Autumn Leaves are highlights.
The worst thing about Pilc is that he is 10 times better in person than on a recording. There are few musicians I am as excited about seeing live (if you do, try to catch him with François Moutin and Ari Hoenig). They are decently captured here–though still much more powerful live than on a recording
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I like all of these (and will investigate Pilc).
But it astounds me to see a non-Swede calling out Johansson. I grew up with him. Lots of great stuff, until his folk music adaptations became mainstream and he was consumed by the establishment, and then he died too early.
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Absolutely agree. A big fan of Jamal, never really get tired from listening to him.
Hi Brian! Thanks a lot for your insightful recommendations and comments. I especially like what you wrote about the musical concept of “quiet intensity” and
Like you, I’m also a big fan of Pilc/Moutin/Hoenig as live performers. I’ve seen them on stage more than half a dozen times - a mind-blowing experience every single time!!! Here’s an example of what I understand by the art of “restraint/holding back” (coupled with humorous playfulness 
):
BTW, “Magic Circle” is another Pilc album worth checking out (for those who don’t know it yet). The chemistry between Pilc and soprano saxophonist Sam Newsome is really uniqe. The album explores classic jazz tunes as well as a couple of originals. All in all, “Magic Circle” is definitely quite experimental and it sometimes pushes the limits of the jazz genre. However, it’s never too cerebral (for my taste)…
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Yes, Eugen Cicero - he really deserved his nickname, “Mr. Golden Hands”. I also like his work as a solo artist. Here’s an example (for those who might be less familiar with him):
One of the highlights on this album is “Sheik of Araby” (track 8), which impressively showcases his stylistic versatility and outstanding technique. Have fun everyone!
(P.S. Some may find his style too “ornamental”. Admittedly, he does use a lot of arpeggios…).
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This thread cannot exist without Brad Mehldau. Apart from his trio work, he’s a great soloist as well:
The nearly 20 minutes long version of Paranoid Android comes highly recommended.
Also – a personal favourite: Nik Bärtsch. The Swiss pianist once described his music as ‘Zen-Funk’, but for me it is simply the most exiting sound I have heard this side of the millennium. This double live album has it all:
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For those who like solo piano jazz, check out the Maybeck Recital series on Concord. TIDAL has a few of them. About 40 of these albums were recorded in the 1990s in a beautiful wood-paneled room in a former Berkeley, Calif., Arts and Crafts-era residence designed by Bernard Maybeck, a prominent Bay Area architect. All the performances are on the in-house Yamaha Grand and are sonically excellent, considering 1990s digital technology. Two of my favorites (of the 10 or so I’ve heard) are these:
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Haven’t heard the live album. Bärtsch also has an interesting solo album:
https://i.imgur.com/6nZYLNt.png
Kind of a fan:
I have seen him play live once or twice every year for some time now – closest I’ve ever come to being a groupie. Interesting guy to talk with as well. I should move to Zurich, I guess.
What a coincidence — you must be telepathic. I was going to recommend the very same two artists (although I don’t know Hersch and Jones from the MRH Series). Here are two additional suggestions (both are live recordings):
Hank Jones & saxophonist Joe Lovano:
Fred Hersch & singer Nancy King:
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Terrific albums…I have them both! Nancy King is an under-appreciated gem and Hersch provides wonderful accompaniment, really an equal partner. I love his sense of rhythm–he really makes the set swing!
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Hello everyone! Here are two more listening tips. Have fun!
A solo album by Cedar Walton:
And a another solo album - by Israeli pianist Yaron Herman.
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Thanks for you recommendations. Just checked out Yaron Herman. Not bad at all…
Hi @miklats,
I’ve known “Everybody’s Song But My Own” for quite a while now and have always liked the album a lot. In my opinion, it’s one of Hersch’s best trio performances ever!!!
BTW, much to my surprise nobody has mentioned Kenny Barron yet. Barron has appeared in more than a hundred recordings as leader or sideman. He’s widely acknowledged as one of the most influential and most accomplished (mainstream) jazz pianists of our time. Here are two of my favourite albums by him. Both recordings reflect his outstanding pianistic capabilities as well as his profound musicality:
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For those of you who can come to San Francisco in late March 2018:
I have front-row tickets 
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