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| 4.941 Ft
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| 1. | I Loves You, Porgy
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| 2. | Soldaji
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| 3. | Rosa Parks
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| 4. | Wise One
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| 5. | Gail's Song
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| 6. | I Cover The Waterfront
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| 7. | Goodbye Pork Pie Hat
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| 8. | Simple Things
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Jazz / Post-Bop, Mainstream Jazz, Standards, Piano Jazz
Recorded 1/7/2010, Triple Door, Seattle, WA
Jessica Williams Composer, Liner Notes, Solo Piano, Producer
Produced by Jessica Williams & John Bishop
Recorded by Craig Montgomery
Mastered by Mark Guenther
Cover photograph by Jimmy Katz
Other photography by Elaine Arc
Liner notes by Jessica Williams
Cover design by John Bishop
Adding to her already transcendent collection of solo piano recordings for Origin Records, Jessica Williams furthers her legacy with Touch, recorded live at the Triple Door concert hall in Seattle. In her detailed and expansive liner notes, Ms. Williams reveals a thought process obsessed with voicing's and touch - apparent in this program of originals and classics such as Goodbye, Porkpie Hat - and is perhaps what makes her the ultimate solo artist.
Adding to her already transcendent collection of solo piano recordings for Origin Records, Jessica Williams furthers her legacy with Touch, recorded live at the Triple Door concert hall in Seattle. In her detailed and expansive liner notes, Ms. Williams reveals a thought process obsessed with voicings and touch - apparent in this program of originals and classics such as "Goodbye, Porkpie Hat" - and is perhaps what makes her the ultimate solo artist. "She is Bill Evans with density, McCoy Tyner with a soft touch, she is none other than Jessica Williams." -All About Jazz.
Jessica Williams has amassed an impressive discography over her decades-long career, but as she entered her sixties, she began focusing more on solo piano. This is her second concert recording at The Triple Door in Seattle, a dinner theater with a majestic nine-foot Steinway D grand piano. Her touching, lyrical interpretation of "I Loves You, Porgy" (a favorite of Bill Evans) is full of rich voicings, while her thoughtful setting of John Coltrane's "Wise One" is reflected as a brooding lament. Williams' stunning performance of Charles Mingus' moving tribute to Lester Young, "Goodbye Pork Pie Hat," is accented by her skillful use of the pedal to accent the anguish within this jazz standard. Her originals also deserve strong praise. "Rosa Parks" is an understated ballad honoring the brave woman whose actions sparked the Montgomery bus boycott during the struggle for civil rights. Williams' dramatic ballad finale, "Simple Things," incorporates a bit of subtle humor. The audience recognized that they were in the presence of a jazz master that evening, remaining hushed throughout each selection, graciously allowing the final notes to fade before applauding. Williams' liner notes are an added bonus, explaining her approach to piano and the reason that some pianists sing along as they play, and openly admitting that she will stop midway into a piece during a performance if she feels it doesn't suit her on that occasion. Jessica Williams' Touch is destined to become not only a high point in her discography, but one for solo jazz piano as a whole. ~ Ken Dryden, Rovi
Jessica Williams
Active Decades: '70s, '80s, '90s and '00s
Born: Mar 17, 1948 in Baltimore, MD
Genre: Jazz
Styles: Disco, Post-Bop, Jazz Instrument, Piano Jazz
Due to her being based in northern California, Jessica Williams is a bit underrated, but (on evidence of her sets for Jazz Focus and Hep) she is one of the top jazz pianists of today. Williams is a powerful virtuoso whose complete control of the keyboard, wit, solid sense of swing, and the influence of Thelonious Monk have combined to make her a particularly notable player. She started taking piano lessons when she was four and was gigging as a teenager. Williams took extensive classical lessons but also gigged with Philly Joe Jones in Philadelphia before moving to San Francisco in 1977. She was the house pianist at Keystone Korner for a time and made a few interesting recordings (some as Jessica Jennifer Williams) during the period, sometimes utilizing electronics. Although she appeared on Charlie Rouse's final record and gigged steadily, Williams was largely off record (outside of her own private Quanta label) until re-emerging in the late '80s as a brilliant solo acoustic player. She is a giant whose many dates for Jazz Focus (five of its first ten releases feature Williams) and Hep are consistently brilliant.
---Scott Yanow, All Music Guide |
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