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| Bill Beach |
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Print Profile |
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| Jazz Pianist |
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"A longtime favorite of discerning Portland jazzers."
-George Fendel, Our Town Magazine, KMHD radio
"A sua música é linda!! Parabéns pelo seu belo trabalho."
- Andréa - Rio de Janeiro, Brasil
In a performing career that spans more that 25 years Bill Beach has performed with many jazz legends including Joe Henderson, Bobby Hutcherson, Eddie Harris, Howard Roberts, Mark Murphy, Charlie Rouse, Frank Morgan, Jimmy Cobb and Nat Adderley. He has studied with Marian McPartland, Jack DeJohnette and Warren Bernhardt. Bill has performed in Japan, Mexico, England, Holland and Belgium. His CD, Letting Go was releaseed in November of 2004.
"Bill Beach is a swinging jazz pianist with a terrific sense of motion, understated pyrotechnics and a fleet set of rhythmic reflexes. Singers and instrumentalists (including well-knowns like Joe Henderson, Mark Murphy and Bobby Hutcherson) have known that for years. What's been kept under wraps is that Beach is also a great singer, with a soft João Gilberto timbre and a yen for slinky bossa novas (sung in Portuguese, no less!). Not to be deterred by a recent car-crash, the pianist is not only getting around but playing at the top of his game."
-Tim Duroche, Willamette Week, 6-15-05
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REVIEWS:
Jazz Society of Oregon Jazzscene magazine January 2005
Bill Beach CD Solid
Over many years of playing, Bill Beach has established himself as one of Portland¹s most admired jazz piano players. To my knowledge, this is Beach¹s initial CD under his own name, and it is a winner on several accounts. First of all, we are treated to five BB originals including the sprightly, swinging Oakville Road and a wistful waltz, Alice Annette, named for Beach¹s late sister who passed away earlier this year. The surprise of the CD is Beach¹s inclusion of some half dozen bossa compositions, mostly from the great Antonio Carlos Jobim. And for a huge bonus, try Bill Beach, singer, on these lovely Brazilian classics. Beach displays a warm and gentle vocal approach to these songs, much like Jobim himself. And to my ear, his Portuguese is flawlessly delivered. His choice of standards includes I Hear A Rhapsody, People and the rarely heard Where Is Love. With Portland aces Dave Captein, bass and Reinhardt Melz, drums, Bill Beach lives up to the consistency he¹s shown as one of our most creative and swinging piano cats. Add the new dimension of some splendid vocals, and you have a recording sure to lift your spirit and put some sunshine in your day.
The Oregonian Friday January 28, 2005
Back to his roots -Lynn Darroch
Until two years ago, few people knew that pianist and composer Bill Beach was also a singer. Although he began his jazz career as a singing pianist in 1974, Beach soon found the market more hospitable to a straight-ahead piano player. And when he started working with drummer Ron Steen in 1984, piano became his sole focus.
That attention to the keyboard has paid off: Beach is one of the city's top jazz pianists. But on his debut CD, Letting Go, Beach returns to his roots with five vocal tunes. What's more, they're all in beautifully articulated Portuguese.
While he was working with singer Nancy Curtin, who specializes in Brazilian music, Beach began learning the language of Joao Gilberto and Antonio Carlos Jobim. With a vocal range similar to Gilberto and a program of continual listening and classes, the process of mastering Brazilian standards, including Sorriu para Mim, proved easy. His light voice, mixed below the piano, bass (Dave Captein) and drums (Reinhardt Melz), give these tunes a wistful, classic Brazilian sound.
Five Beach originals and five pop and jazz standards demonstrate his keyboard skills. Legato lines flow effortlessly, and lush chord voicings never obscure his clean touch and rhythmic dexterity. Beach's strength as an ensemble player comes through in the tight, interactive trio sound.
This CD originated because Beach wanted to record some music for his late sister, Alice, to listen to during her last days. The waltz he wrote for her memorial service, Alice Annette, started him composing again, tunes such as the pensive Dreams Deferred and the brightly swinging Oakville Road followed. The only odd choice is the inclusion of People, a tune that can't be redeemed even by excellent musicianship.
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