{"id":5017,"date":"2013-08-21T14:08:25","date_gmt":"2013-08-21T21:08:25","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/?p=5017"},"modified":"2013-08-21T21:48:13","modified_gmt":"2013-08-22T04:48:13","slug":"marian-mcpartland-rip","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2013\/08\/marian-mcpartland-rip\/","title":{"rendered":"Marian McPartland, RIP"},"content":{"rendered":"

Two days following Cedar Walton\u00e2\u20ac\u2122s passing, we have lost another splendid pianist, one of the world\u00e2\u20ac\u2122s best known and best loved jazz artists. Marian McPartland died in her sleep just before midnight Tuesday in her home on Long Island, New York. A message from family members reports that she passed away, \u00e2\u20ac\u0153smiling, \"Marian<\/a>knowing that she was surrounded by family and friends.\u00e2\u20ac\u009d Ms. McPartland was 95.<\/p>\n

She developed from a shy English schoolgirl into a major influence in the music. It is the story of talent, determination and unforced charm overcoming prejudices in jazz against women and, in some quarters in the 1940s, against foreigners having the presumption to play \u00e2\u20ac\u0153our\u00e2\u20ac\u009d music. For a comprehensive survey of her life and importance, see Peter Keepnews\u00e2\u20ac\u2122s McPartland obituary<\/a> in today\u00e2\u20ac\u2122s New York Times<\/em>. Paul de Barros’s recent McPartland biography<\/a> is highly recommended. For thoughts about her growth into a substantial jazz player, here is a portion of my notes for her 1982 trio album Personal Choice<\/em><\/a>. <\/p>\n

A pleasing and popular jazz artist since her earliest exposure on the New York and Chicago club scenes, year by year she has increased her command of the piano and looked more deeply into her art. McPartland\u00e2\u20ac\u2122s piano playing has always been beautiful. Now, it is also lean, tough and full of surprises.<\/p>\n

It is no coincidence that during the past decade, her period of most intense artistic development, she has been heavily involved with extracurricular activities. Her National Public Radio program \u00e2\u20ac\u0153Marian McPartland\u00e2\u20ac\u2122s Piano Jazz\u00e2\u20ac\u009d is into its third season as one of the most successful live jazz series ever presented. It has brought her into close contact with many of her fellow pianists, ranging in style from Eubie Blake to Chick Corea. Her cable TV series, \u00e2\u20ac\u0153Women in Jazz,\u00e2\u20ac\u009d has been shown all over the country. She has also remained extremely active in music education on the primary, secondary and college levels, conducting workshops and seminars. Despite all these commitments\u00e2\u20ac\u00a6possibly in part because of them\u00e2\u20ac\u00a6Marian continues to grow as a player, moving closer and closer to the essence of jazz. It is inconceivable that anyone today could write of her \u00e2\u20ac\u0153woman\u00e2\u20ac\u2122s touch, as a Down Beat<\/em> reviewer did, disparagingly, in the early 1970s. The concept does not apply. She has the technique, the forthright inventiveness, the expressiveness of a first-rank jazz pianist. Gender is irrelevant.<\/p>\n

\"McP,<\/a><\/p>\n

Great Day in Harlem photo by Art Kane<\/strong><\/iframe><\/div>\n

\u00e2\u20ac\u0153I feel I have more freedom at the keyboard now to experiment with new ideas,\u00e2\u20ac\u009d Marian says. \u00e2\u20ac\u0153I think I\u00e2\u20ac\u2122m getting better, and I want to keep on getting better. It\u00e2\u20ac\u2122s rewarding to know there has been some improvement. It\u00e2\u20ac\u2122s nice to be in this business because chances to be creative are never-ending. There\u00e2\u20ac\u2122s always more than you can do. You can\u00e2\u20ac\u2122t say, \u00e2\u20ac\u0153well, I\u00e2\u20ac\u2122ve done everything; now I\u00e2\u20ac\u2122m going to retire, give myself a gold watch, and go to Florida to play Shuffleboard.\u00e2\u20ac\u009d<\/p><\/blockquote>\n

She kept getting better—and bolder. On her show, she once got into a free jazz give-and-take with the iconoclastic pianist Cecil Taylor. \u00e2\u20ac\u0153I\u00e2\u20ac\u2122ve become a bit more \u00e2\u20ac\u201d reckless, maybe,\u00e2\u20ac\u009d she said when she was 80. \u00e2\u20ac\u0153I\u00e2\u20ac\u2122m getting to the point where I can smash down a chord and not know what it\u00e2\u20ac\u2122s going to be, and make it work.\u00e2\u20ac\u009d <\/p>\n

Given her importance, there is surprisingly little on film or videotape of Marian performing. Here, she plays her composition \u00e2\u20ac\u0153Afterglow\u00e2\u20ac\u009d at the Monterey Jazz Festival in 1974. <\/p>\n