Tom McDermott—one of New Orleans’ most distinctive pianists and a modern-day keeper (and fanner) of the flame—moves effortlessly and with a distinctive style among ragtime, traditional jazz, R&B, and Brazilian choro, and on August 20, he will be moving onto the stage at Unit B in Santa Fe.
The duo of Aurora Nealand and Tom McDermott inhabit a musical world quite different from that of Ben Goldberg, but they all share several characteristics. They are comfortable in a number of different genres. They have no problem mixing those genres. They are superb composers, whether with paper and pen or on the fly. So they get to share this post. On Live at Luthjens, Nealand and McDermott cover a wide swathe of American music (and one Polish piece) in their inimitable way, and in Plague Diary, Goldberg finds a way to while away the time productively and, at times, mesmerizingly.
The latest releases from Tom McDermott and Chloe Feoranzo, and from Don Messina deserve consideration for the stockings of friends and family with eclectic musical tastes. Continue reading
Short reviews of the latest releases from these masters. Continue reading
“I went and visited my childhood idol, maybe my first childhood idol after my mom, pianistically speaking,” says McDermott, who has enjoyed much-deserved wider exposure since his
appearances on the hit HBO series Treme. “That was Max Morath. He was Mister Ragtime. His career started in the fifties, and it went strong till the nineties. Now he’s retired.”
Little did Morath, born in Colorado Springs in 1926, know it, but he helped shape McDermott’s approach to playing ragtime and, for that matter, everything else he’s tackled along the way. This Saturday, at the Outpost, McDermott will offer a smorgasbord of syncopation via his
distinctively charming and astonishingly double-jointed pianism. Continue reading
