Liz Gorrill – Solo Piano – For the Beauty of the Earth – NA1030
Category: music label and artists| September 20th, 2008
LIZ GORRILL
For the Beauty of the Earth
NA1030
Liz Gorrill, solo piano / voice
Tracklist: INVOCATION 1. How Deep Is The Ocean PART I – LOVE’S FIRE 2. Secrets Start Singing 3.Shaken Out In Thunder 4. Stella By Starlight 5. The Story Of Pure Mirrors 6. Vision To Flame 7. Gardens Dying, Blossoming 8. Spring’s Firebirds 9. Magician Of Being 10. Our Mystery Will Grow Green PART II – ALONE WITH THE ONE 11. The Stormy Wind 12. Within The Mysterious Darkness 13. Shine The Warrior’s Heart 14. When Time Is Vanishing 15. From Abyss To Abyss 16. Nuances Of The Rainbow 17. Blue Is My Inside Sky 18. Two Hands Made Of Sun 19. The Eternal Now Of Music
Recorded: May/June 1997 & January 1998
Liz Gorrill’s solo piano outing manages to be abstract, rhythmic, unpredictable, bluesy and purposeful at the same time. There are moments during this fascinating performance when it sounds as if she has three hands!” -Scott Yanow, Editor, All Music Guide To Jazz

After a stark, brooding deconstruction of Irving Berlin’s “How Deep Is The Ocean,” Liz Gorrill goes on to createa startling solo piano record that explores territoryhovering somewhere between Paul Bley and Ran Blake. Certainly there’s a classical touch and strong feel offormal rigor about her playing that ranges from the Satie-like repetitions of “Secrets Start Singing” to thefugue-like romp of “Two Hands Made Of Sun,” a startling performance that made me smile as it conjuredup a further point of reference: Lennie Tristano. Fromimpressionist miniatures like “Shaken Out In Thunder”and “The Stormy Wind” to sustained meditations like“Gardens Dying, Blossoming,” Gorrill explores anadventurous program that is simply exquisite. David Lewis, Cadence, January 1999

Based upon the poetry of Jalal-ud-Din Rumi and Colette Aboulker-Muscat, pianist/vocalist Liz Gorrill has scripted an alluring florid companion that evokes the poignancy of prose as she keenly balances silence with italicized statements. As a pianist, she delivers flickering impressionistic lines that suggest a deep compassion for European classical music and free jazz. But there’s a clarity in playing that keeps it from tipping over to brainy self-indulgence or emotive nonsense. Her plaintive vocal works magic in this context as she transforms worn classics like Irving Berlin’s “How Deep Is The Ocean” into a meditative prayer. “For The Beauty Of The Earth” is not the easiest of listenings, but it rewards with every return. John Murph, Jazz Times, June 1999
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