Search - Tim Lyddon :: Shades Of People

With longtime associates Tom Hubbard and Scott Latzky on bass and drums respectively, Shades of People offers three originals and six standards that brilliantly display Tim?s highly personal approach to improvisation ? a style that one of his former teachers, the legendary Jaki Byard said "shows the depth of an exceptionally mature musician." The Byard influence is quite apparent on the 7th cut - Carlos Jobim?s Wave which features a delightful solo piano intro. The 2nd piece is the classic After You?ve Gone that incorporates many elements of the jazz piano tradition. It begins with a funky shuffle which converts to an aggressive swing feel. Ragtime is also part of the arrangement. I?m Old Fashioned follows with a straight groove that also nicely features Hubbard?s woody and resonant solo stylings. Another standard, Kern?s All The Things You Are , is given an up tempo treatment that goes in surprising and exhilarating directions. Tim?s piano solo is broken down into a completely different feel. Then it resumes high energy featuring turbulent staccato notes at times. As in the work of two of Tim?s inspirational influences ? Bill Evans and Keith Jarrett, impressionism and introspection are key elements in his approach. Dense and spacious chords, reminiscent of Ravel and Debussy, are especially notable on pieces like Bernstein?s Somewhere and the title track ? Shades Of People But it?s Lyddon?s original compositions that display the full breadth of his exceptional talent. Even on pieces like the percussively grooving title cut and the adventurously conceived, driving latin piece, Impromptu And Fantasy, the sensitive interplay between piano, bass and drums is always the prime directive. The Impromptu begins with an angular approach which takes on a keltic vibe before unleashing the smooth up tempo bossa. Tim couldn?t ask for better or more sensitive support from bass and drums than he receives here. Hubbard?s subtly shaded but rock solid bass work and Latzky?s deft, light touch (often just using brushes) never overplay, and in Tim?s words "provide a solid foundation from which the piano can lay its impressionistic colors like a floating blanket."