Pianist Sonny Clark was culturally marginalized in much the same way as his contemporary Elmo Hope--both heroin-addicted jazz musicians in the 1050s: at the time, and romantically, a cliche. Both pianists have been sorely lumped into the "Bud Powell school of bop piano" which superficially may seem accurate until one considers the evolutionary continuum of jazz piano that places both Clark and Hope conceptually and stylistically beyond Powell... [ read more ]
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