Golden Fingers: An Interview with Jazz Piano Legend Mulgrew Miller

you you hello and welcome once again to the jazz musicians voice my name is Jonah Jonathan and thanks for tuning in tonight I have the rare opportunity to share an interview I conducted with Mogu Miller one of the greatest jazz pianists on the scene we sat down in his office at William Paterson University of which he is the head of the jazz program mulgrew miller is a true jazz legend and his work to the sidemen on well over 500 recordings and has recorded many recordings as leader as well some of the people slash bands that Mulgrew has worked with have included the Mercer Ellington Orchestra woody Shaw Betty Carter Tony Williams Art Blakey Ron Carter Joe Lovano and Niels Henning or surd Peterson just to name a few of the great people that he's worked with Mulgrew is a teacher and mentor to me personally especially during my time at William Paterson University and he's truly one of my favorite jazz pianists to listen to and watch perform he's just an excellent performer and person that you can really learn a lot from this interview is a little over 50 minutes and I really recommend you watch this and check it out Mulgrew says a lot of information that I think is going to be worth something to you if you get a chance to watch this video I hope you guys enjoy this interview and please continue watching we have interviews coming up with Michelle Rose women David Gilmore Kevin Norton and many others so please stay tuned subscribe to these videos comment on these videos and continue watching ladies and gentlemen tonight I have the great opportunity to interview a true living jazz legend mulgrew miller one of the greatest jazz pianists that have graced this planet Mulgrew for people who are not familiar with your musical background could you tell us a little bit about how you initially got started playing the piano well I'm born in Greenwood Mississippi and as a young kid about about to age of six um this pickup truck pulls up in front of the house with a piano on my father had bought a piano and didn't tell us about it it was a surprise you know I guess and so that there was a piano in the house and soon after that um I just thought I became sort of intrigued with it and started picking out little melodies you know by here and one of the songs that I played by ear was of him but that I heard had heard in church called come thou fount well of every blessing and you know not kind of played because it's all pentatonic you know your end and I could find the melody on black keys you know and I had played one chord through the whole song and you know my father came home and probably telling you know dad listen to this you know and he said it's wonderful I have to try to get your teacher and so make a long story short gentleman moved to town and began teaching in the public school system his name was Albert Harrison and he talked choir or choral music and he became my teacher for most of my school years wow that's great so did you guys work on my classical technique was that kind of you well classical repertoire not so much time school technique you know not in an academic sense well you just you know play through repertoire so button by that I mean like I didn't find myself working on a lot of exercises and things you know sure well I understand there was an aha moment for you when you saw Oscar Peterson playing on television all indeed I was I had been following Ramsey Lewis who in the sixties had a string of hits wading in the water and etc and I have an older brother who had been traveling around so he was in the Navy and he kept telling me about this guy Oscar Peterson and I said well he can't be that good I've never heard of him and so I was watching TV one day and there is uh what have you call it an an ad for the Joey Bishop show that was coming on later and he said and tonight on the Joey Bishop show we have the great Oscar Peterson I said ah that's a guy I'm gonna stay up and see what's - this guy you know and I heard him and I can tell you I was a different kid the next day once again it was an awesome game yeah well it seems like we can see now that that truly inspired you brought you into the jazz world because some people have compared your your playing to the great Oscar Peterson some people have stated they can really in kind of see your influence well you know it's a funny thing about it Oscar and I have close to the same birthday he's August 15 and then August 13th I've been told we have a similar profile at the piano and all that kind of stuff but the similarity is in there is a blazing virtuoso well hey I'll leave it to the audience to decide about about you but how did you get over to Memphis State you went to Memphis State for yes I'm a gentleman in my town felt that that I needed an opportunity to study at the best school for jazz in the area so he got together with the local arts foundation in town Greenwood on Arts Festival and they gave me a scholarship and he arranged for a scholarship at the school marching band scholarship of all things and that was a able to you know with some other financial aid that was able to get in school in the first state university yeah well I mean you I understand you work with some some great cats over there I mean I understand as he started James Williams was almost finishing over there esker and he was one of your mentors definitely say um what do you guys talk about a work on when you were over there did he show you anything that well yeah James you know James was the guy that well he was he had a lot of charisma and you know he was always surrounded by a whole bunch of students and but the thing is James was doing everything that I wanted to do you know he had his own quintet group and trio and he had he knew all the tombs and had all the great records and and he just knew everything you know that I felt like that was the path I should be on so I followed him around you know like a puppy and yeah and James taught me a lot of things you know like about chords and scales and what have been tunes and records and so forth that's really excellent I mean and and and one of the things that you've always instilled to us I being one of your students that William Paterson is that you put a lot of time in the woodshed in school oh and and he tell us a little bit about that and in your time there in Memphis State well um yes I you know I if I could go back into time and be the age that the students are now and know what I know now I would have gotten in the practice room and locked locked myself in and threw the key of you know away because um you know I realize that there's no easy way to to accomplish much you have to put in the time and I don't feel that I was as disciplined and focused as I would have liked to have been but you know we were all gifted ins and endowed in certain ways and focus wasn't one of my my Gibson but I you know I I tried to my utmost ability to put in the time well I mean it really seems like that must have paid off because you finished school or you left school yeah girls group and one of the first groups you started playing with was the Mercer Ellington Orchestra could you tell us a little bit about how that came about then well there was a guy living in Memphis at the time his name is Bill easily multi wind player and he had been in New York he had come to Memphis to play with Isaac Hayes you know because at the time there was this whole rhythm and blues thing then funk and all the I was big mistake for Stax Records you know and Isaac Hayes was big at the time so this guy was living in town playing when Isaac Hayes but about the time I arrived in Memphis room but that kind of rhythm and blues scene was dying down Stax was going out of business and the whole thing and so the Ellington Orchestra came through town with with Mercer Ellington directing and Bill joined the band and so a few months after that the pianist who had replaced which sort of filled in for Duke Ellington after Dukes passing he was a guy that played shows and played for singers and he was um you know I'm kind of established on that scene and he didn't like to travel that much so he was kind of getting tired of the road you know he had done that yeah he'd done the whole yeah his name is Lord Mayor's and so every now and again the Huntington band would need a sub and my friend Bill Easley recommended me a couple of times the sub in the band and then to make a long story short a short while later I eventually joined that's great and I mean you you must have been able to learn so much especially from the son of such a legend you know yeah well I'm uh it was a great experience I like to say that I grew up in that band I became a man I was 21 and I was hearing so much music you know I learned a lot about the music and about the older music from the older musicians that were in the band and but the experience of living on the road with 18 personalities you know playing one night as here and then everywhere that was quite a new experience it must have been so Moger moving on you worked with a great singer Betty Carter and that was in there very early 80s right 1980 and he must have been great to work with such a master on vocal space of things you know obviously a singer yeah of course you know to tell you the truth at the time I didn't really know who Betty Carter was when she called me um I I you know I hadn't I had known who she was as a jazz luminary in an icon but I didn't really know her music I didn't know her style of singing I never listened to her but you know she had heard about me because I was hanging out on the scene and so forth and so on and people started talking about this kid hanging out and I guess somebody felt I was a pretty good piano player and and they recommended me to her you know see the Walton James Williams among others and so uh she called me I was on the road Alex and Ben and I auditioned for her and the rest is history well I played with her 8 months but that still this must have been an amazing time I mean especially working with a singer he probably had all these very strange Keys you had to learn absolutely teens in and and to this this was the gig that got me onto the New York scene you see when I was with the Ellington band we weren't you know we played college and cut and country clubs and so I wanted to be in New York playing with the cats yeah and so when I joined Betty I moved into New York and sort of God that was my introduction to scene playing on the singing so that's the best in New York intro and then after that ye you were also fortunate to work with the late trumpet master woody shop um do you have any any memorable moments working with him I mean he must have often well but almond I'm sure he would be woody and I've been talking about him lately a lot lately with the you know Kenny Garrett was also a big fan of Woody's in but speaking of him in some documentaries on some documentaries and the thing I would say um actually I really came to New York to play with woody Shaw in my heart you know when I was in Memphis that was the one person I wanted to play with when I catch a Neela excuse me and um it happened he called him I was still with Betty and I admitted with Betty about eight months and he called me and I said solid nothing else from this room yeah I didn't didn't have to know anything about money or anything yes this was this I got to I want to get so um and that was really a rewarding experience you know I spent three years with woody and learned so much yeah what kind of stuff did you guys talk about when oh man stand or did you not talk yeah no not as much as one would think you know uh those people and when I say those people I mean more than just woody they tend not to be very analytical and academic about what they were doing they talked about music in a general way the people they had worked with the their views on the music and all that and but I can tell you is everybody know now that you know when he sure was a great visionary you know he just had some other kind of ideas about how and jazz was to be played yeah he's just an amazing man yeah come to play virtuoso yeah and he and he put he did he put the language together and in a whole nother way different from anybody that had come before him well I mean after that you you got to work with a really great legend true legend and one of my favorite drummers Art Blakey and art leaking the Jazz Messengers you joined them for nearly three years right right and being part of that group how was it working with our Blakey awesome little system well first of all my landing the gig was more than I could ever expected you know like I said when I came to you in New York I wanted to play with woody Shaw but I never in my wildest dream think that I would become a messenger but with Art Blakey but eventually I got the call and there was you know and truly he was one of the great icons and personalities that existed in modern jazz you know and I learned so much he allowed us to arrange music and compose and it's just so much I had to learn but the thing that I learned about all of these people and especially Art Blakey was about the presentation of music you know you don't get on the bandstand and present a jam session you know the music is organized and presented in a and a presentable way yeah I mean all those guys they really they put on the show yeah and I see you you absorbed that because any time I see you with you your trio or see when mr. Carter there's a definitely great presentation yeah thank you and and I let me tell you I played with a lot of drummers and a lot of great drummers but I don't think I played with anybody that swung any harder than our breaking when he was when he was on fire it was awesome you must have learned something a thing or two about swinging from him well I don't laugh well I learned how it sounds and how it feels you know from the drum perspective you know when I'm playing with drummers I know how I like for them to make me feel and that's because of my experience playing with Art Blakey most of all and then Tony Williams after that ya know hey that's that's an amazing that you were able to work with with Tony I mean and adding up Tony to Ron Carter you work with two of the great rhythm section members of Miles Davis's quintet in the six man if somebody had told me when I was back in Metro State and discovering the four and more records with Tony and Ron and Herbie and George Coleman and later Wayne Shorter and all of that if someone had told me then that I would play with the to rhythm section guys that I played with Ron Carter and Tony Williams I would have told them that they were crazy well it really was a dream come true you know what happened for you so yeah and I and it wasn't just a gig or two gigs or ten gigs I was actually in the band with these guys you are for Tony with us yeah very long time that sir and and I worked with Ron longer than Ron for a long time yeah yeah um and I mean how was it working with Tony with his concept of crummy as a post Art Blakey let's say well it was it was a more sophisticated concept of drumming but it had at its core the same thing that aren't had you know because I was Tony's first hero from hero and I heard some of that same those same elements you know you know that ferocious swing and commitment to to the music and the commitment to out excellence in yeah I mean Tony Williams is another one of my personal favorite drummers I mean it's just him and Ron together it's like that's one of the greatest rhythm sections you can talk about I always say if I ever met Superman Tony was it well you had both of those guys you were fortunate enough to have both those guys on your record the countdown right and another great cat Joe Henderson on that record how did that record come about I know you started recording in the eighties well I was recording for a label on key news yeah landmark yeah landmark and Orin ran the label and he was friends with these guys and I told him that well you know because I had done a couple of Records before you know with sort of them up some of my peers you know and we decided it was time for me to kind of step it up a little bit and I was already working with Tony by the end so Orang had worked with all these guys through the years you know so he called them and they did him a favor and I was it is amazing record date yeah I mean that and as a as a leader I mean you've recorded something like 16 records as a leader something something along those lines and and yet that's relatively few for the amount of time I've been recording because this guy's been on the scene half the time I am they've recorded or it a lot but I you've told me that the recording is the documentation of the current performance or the current what you're doing at the time yeah and you know you've been on as a sideman on over by some accounts over 500 recordings so okay this is a bottom part yeah about 500 well um I mean what what is your formula behind your masterful piano playing what what what do you think makes you the most sought after one of the most sought-after sidemen on piano honest well if if I can pinpoint any one aspect of being a musician I would say I try to be a team player and that has worked well for me you see you know not everybody who plays the piano are good cumbersome accompanist you know you have some guys with virtuosos limitless what they can execute but that doesn't necessarily mean they're good team players and making a record in a band as part of the rhythm section you're on a team you know rhythm section has to be a team in the group has to beauty so I would say if there was one thing that that you know made people want to call me it's that yeah I mean uh well I think you have that and then you you also have that virtue mystic technique I mean and beautiful sound I mean and and I'm very like if I will describe it a very confident sound that comes out of your playing I mean it's it's not only the the notes that you let you play but the sound that you have how like who did you work with on that or how did you come about getting that sound I mean it must have been took taking some time you know yeah well you know I haven't defined the sound it's hard to describe but you know but all I can say that is that my emotions and my story is in the sound that I get out of instrument the way I feel about music the way I feel about the instrument and I always say as I said to you students you know music is about singing and dancing and well this music anyway and the piano is my voice you know I I'd rather play the piano didn't speak anything else and it's my way of singing you know because that's what I really would want to do in my heart in fact if I could saying I wouldn't have to play another note if I could save the way I would every wanted to but all you see sing on the piano yeah well hopefully that's name you know and that I'm you know I've had you know um coaching and techniques to a degree you know I said with the lady in Boston named madam Charla she was mother of sir Charlotte the great baritone saxophonist and all of that helped you know but ultimately the sound that you get out of an instrument it's basically the sound that you hear in your head and heart as something that is very rich in your your plane going back to mr. Carter Ron Carter who is my personal teacher and mentor partially thanks to you hooking that up how is it working with Ron I mean you've told me some of the the reasons why you enjoy playing with him could you share the few girls lost let me tell you a a few of the qualities that ron has that makes him such a great bass player first there's the sound of the bass in the sound that he gets out of the base it says there again it's the same sound kind of you know he hits those long beautiful notes you know you see in the past you had so many really great bass players but before the days of the amplifier and all that guys got again he had a big sound out of the bass but it was a thumping sound and you didn't hardly hear a note you know you know more or less and and then much later you have guys that get oh like a really long soft sound out of the bass but they set their strings real low so the effect of that is they don't get much sound out of it and they don't get much of a beat you know it and it's all amp sound this long time but Ron is the epitome of a guy who gets that long sound and he gets a great pulse you know and then aside from that there's a whole concept of playing the bass you know no choices the concept of no choices it's you know surpasses anything could ever ever played with you know on the bass yeah Ron's at bay scientists yes he is and when it comes to walking the notes core changes yeah he's the man that's for me he's a man well that's really great to hear your personal take on that I think I agree with you and every aspect of that I mean Ron card is my true idol on the bass could you tell us about your current trio you're working with um yeah the trio that I'm working with now these guys have been with me about six years six and a half something Rodney Green on drums although Rodney he's been playing with me longer than that as a regular member of the trio he's been there about six years but he sometimes would play as a substitute for cream Riggins you know so four years before that so I watched Rodney grow up so to speak and the same thing for our bassist was Ivan Taylor the young fella from Chicago and he was quite young when I hired him and he's still quite young he's not out of his 20s yet but you know excellent bass player yeah he's talented and so you know I feel my group as a kind of workshop where everybody can come together and and work on their vision what the music is you know it's not just a job where you guys come in and get paid you know it's the guys have to you know ideally they have something they're working towards you know and hopefully together we can create something that's worthwhile you know yeah I mean you've mentioned also that I mean with this trio you're you're inspired by some of the great trios of the past and you kind of I I do think you channel some of them in Oscar Peterson streel Tommy Flanagan's trio theatre Walton McCoy Tyner Bill Evans who's newborn in his new my Jamal yeah there's a lot of great free O's and I think you are one of the piano players that following that those footsteps so to speak and now moving on I just wanted to talk briefly because you mentioned this and he's another one of my real favorite bass players working with Neil's heading Oscar Peterson you worked with him and you were two duo situation with him could you tell us a little bit about working with Neil's well I the first gig we did together was a trio gig promoter and in Spain had this idea he would booked us on a trio gig with no jobs it was Phil woods on alto saxophone Nils had in our sleep Edison on bass and me on piano amazing so so we didn't play this gig and I had met Niels once but we'd never played together and so we did the one concert felt pretty good about it you know and you know I realized you know I was playing with two masters you know who who were you know established this well jazz icons you know one of Oscar Peterson's bass players yeah Vidia for 30 years or more yeah and so I did that gig and then yeah in my mind it was kind of like what I do you know it was just another gig you know and in terms of my plans for myself you know I you know I worked a lot of sidemen gigs and that was just one when I was part of the picture but then sometime later Neil's being Danish I call me and said that the the electronic company Bang & Olufsen wanted him to record a project for the you know this is a Bang & Olufsen is a Danish company yeah and they wanted him to record a project with someone that could play Duke Ellington's music particularly the the duo the duets with Jimmy glancin and they wanted him to sort of recreate that and so uh you know Niels who had played with every great piano player in the world he thought about me so he called me up to do that and so we make the record and then bang the notes and put some money behind a tour we toured all over the place great and then after after the tour for the company kind of you know when short or whatever you ended we kept playing together and it was a situation that lasted that I don't know how many years excellent somewhere between five and then seven years or so and we eventually became a trio with Alvin Queen added on drums and you know Nils Lissa's he had been to wonder job playing with but Powell at 15 yeah and he had a most amazing career and he was an absolute virtuoso amazing on bass I mean his intonation impeccable perfect that's right and did he teach you anything about playing with Oscar Peterson or tell you anything about that anything that you might have learned from that not really because by then I had it kind of figured out how I wanted to play and um you know he knew that that was a big Oscar fan and he would you know often tell me stories of gigs they were on or something like that but he never insisted that I play any other way they know which I play and I think he kind of enjoyed the fact that I didn't play that way you were different different yeah piano player so listen yeah okay um now your time as the director of the Jazz Studies program at William Paterson University is coming on close to seven years right seven years now yeah and you came about teaching here after the late great James Williams past how did you get approached about working here and how was that for you as such an on demand piano player uh-huh well you know first let's talk about James okay James was a great friend of mine who's like my older brother in some ways and I concur well I say my career in some ways dovetailed his you know a lot of things I did have done in my career he had just finished none of those things some of those things you know he played with Art Blakey before me and even back in Memphis you know he played at a big Baptist Church and when he left I played it big time just that say in church and so I these kind of things and of course he was here for about five years and he passed his got sick and passed on and I had I had never thought of taking a position in an institution like this mostly because I didn't have a teaching degree our degree at all you know and but I had vast experience working with all these people from you know so many years your doctorate so to speak yeah music yeah and so dr. Dempsey here here in William Paterson had me in mind for some reason I guess he had kind of associated me with James and um we had met a couple of times and but I didn't think anything of it you know in terms of having a position here at the school and I won't go into too many details but but I hesitated at first you know I didn't think I was cut from the right cloth to do this job you know although I had taught many um clinics and workshops I thought I was pretty good at it but you know I didn't I didn't think that I would necessarily make a good teacher you know in this situation where I have a regular routine you know but dr. Dempsey you know emailed me and said you know are you interested and we agreed to sit down and talk about it and my thing it's time was and it still is that at heart I'm a performer sure I don't want anything to come between me and that and he said well we can you know make that a possibility where you could teach and still perform you know you have your summers off yeah free and you having a long weekend so you can you know you still can perform as a matter of fact he said that we at William Paterson we would like somebody at the head of the program who has kind of a profile public profile well a lot of people come to the program just to study with with you and learn from you I mean and you've been excellent teacher to me I mean I think you've done a wonderful job teaching here at William Paterson well thank you but you know I'll say that you know I haven't haven't been schooled as a teacher but you know my heart is in it first and I wanted to make sure before I said yes that I was doing it for the right reason you know I was making enough money performing so I didn't really need the gig for the paycheck I'm not complaining about it but I wanted to be sure that you know I was doing for the right reason and like I said my heart is in it and and I found that after some time that I really enjoyed it you know and I'm all I do is tell the students what I know which is a quite a bit than a lot to learn from in one thing that's really interesting that you've tried to show students including myself is is your personal concept of swing of how swing should feel and and and what you've learned from the Masters do you think that the swing can be taught in a university setting or do you think it's more along the lines of something that that should be shown or how how do you think students to learn about swing yeah I don't I don't think it can really be taught but I think you know there can be certain pointers many corners along the way and because you know swinging it to me is an emotional thing and you can't really teach that you know but my idea about teaching is that you give the students their ears and they can listen if they learn how to listen for it and their records are live performances then they can kind of get an idea about it and and then there's certain times when I've you know taught students you know why don't you try this try this and they sell well that feels better you know so they like that I know we're on the right track yeah yeah well moving on to that kind of it as an extension of that as someone who's learned this music on the road what do you really think about collegiate jazz do you think that it should be taught in schools do you agree with that mentality of of jazz being codified in schools or if I didn't believe in it I wouldn't be doing it justice said that simple and I was reading there's a famous interview that Charlie Parker did with Paul Desmond toward the end of his life I guess I don't know what it was but he said you know Mew just a musician should study and you know an institution is that's what it's about studying you know you get the tools you know the information at a school and yeah I think it should be tough and especially in this day and age when they're not a lot of Art Blakey's around and all those people that had great bands and great situations where youngsters can can practice and and get it together you know so a school like this that hires performers you know with that kind of experience and they can share that experience with all those students you know well that's that's excellent me I I personally benefited from v learning from you I I just feel like there was so much that you've instilled in me about the music you know well and I also would like to say I don't learned as much from the students as they learn from me in order to codify the music you know as you say we have to think about it in ways that we haven't thought about it before in order to communicate you know all these ideas about the music and so it's been a great experience working with students and and we've had some dynamite piano players here so you know I'm looking over their shoulder stay well um I have a friend a personal friend and I'm sure you're familiar Moses Howard yeah I he wanted to ask you a particular question and I thought with avid telling insomnia he asked me with a lot of the younger players no longer being able to just play straight ahead jazz to make a living having to branch out and play other genres so to speak um how do you think the people who do want to play this straight-ahead jazz should should move forward because a lot of us that were really into the straight ahead and unfortunately with the amount of players on the scene nowadays it's not as easier to make a living right away what do you think um what do you think we should do what's the advice for a younger player so who have the interest in following the path of someone such as yourself well you know I came onto the scene in a sort of similar situation although it may be a little bit more pronounced now but you know when I came on seeing a lot of young players were interested in playing fusion and all of that you know but a young player has to has to reveal a certain kind of passion for the music you know every year or every month or so every day maybe somebody's making it you know on some level you know everybody well few people get rich playing music but but careers are kind of rich there that's right the careers are still been built in this music you know all the time you know and it's those that reveal a passion for music and by that I don't mean just just an affinity for it but you know they've learned so much and then learn the language and above all they can communicate you know those that can come communicate within a listener a group of listeners they can almost be assured that there's a place out there for them well thanks a lot you know for that answering that question um uh I guess uh is there some other advice you could give some of us younger players watching the interview people who are you know all inspired by your career and your your passion for the music is there some advice you could give oh um I hesitated to give advice about you know about playing music because I don't know if I'm qualified to give advice you know be young my you know my job here is a teacher but um I would say you know if you want to play this music you got to love it you have to sleep it eat it drink it and most of all you have to you have to play and put your life story you let all your feelings in every note and every note you know and and and realize too that the best thing a musician can learn is to learn how to listen you know that takes care of most of the problems if you learn how to listen but to to play and perform and then deliver music that has beauty and passion and emotion that's that's it to me okay well one last question before we finish up what direction do you think jazz is headed if you or rather where do you think it should be headed in your opinion of I'd you know I've often been asked that question and I really I really don't think about the future too much you know and the answer is that I have for that and it might sound a bit smart up smart-aleck II but it's going to go and whatever directions musicians take it you know but I can't speak for that because I don't know what's going to happen you know culture he might come back tomorrow bird or what else cats today you know something somebody did take the music in a way and inspire so many people that the music you know instead of going this way might go this way so I don't know who who that what that might be so I don't think about that what I think about is just to Hong in this moment then this day telling my story and executing my vision of what this music is all about you know and realizing that the music affords one to be an individual and I don't have to copy anybody you know we all copy hit some point in time to get to where we want to get to but after you get to a certain level you you know you have to try to realize what your vision is and your take on the music and I think about today papa robo-puppy wait for bid between nobody to our operative beat today come on about me today then who be you Louise Floridita fill up a wee little brew day brain Rudy

Channel: JONAH JONATHAN

Views: 30,006

Rating: 4.9476438 out of 5

Keywords: Mulgrew Miller, Interview, Jazz, Jazz Piano, Music, Piano, William Paterson University, mulgrew miller (musical artist), improvisation, The Jazz Musician's Voice

Id: mALbVTMlkpY

Length: 57min 17sec (3437 seconds)

Published: Tue Dec 04 2012

Reddit Comments

[u/kalisdevidasa]

One of the kindest men I've ever met. And as celebrated as he was as a pianist, still deserves FAR more recognition and accolades. Awesome player. He is missed.