05.03.2004 - Einlass: 21:00:00 Beginn: 21:30:00
Waati - Reinhardtstr. 30, 10117

Borah Bergman Trio

Borah Bergman Trio - Thomas Borgmann - Holzblasinstrumente
Borah Bergman Trio - Tony Buck - Schlagzeug
Borah Bergman Trio - Borah Bergman - Piano

>Last Years 'Ride into the Blue' with Berg/Borg/Brötz/Man was a Landmark< (TIME OUT, NYC)

orah Bergman (born December 13, 1933 in Brooklyn, NY) is one of the most signleminded and unique pianists in the history of jazz. Often compared to Cecil Taylor, but mor for lack of any closer analogy than for any particular similarities of style, Bergman himself credits Lennie Tristano and Bud Powell as his main pianistic influences (also noting stride and Thelonious Monk). By consciously emphasizing equality between his left and right hands, as epitomized by frequent cross-handed playing, he has created a style which allows him to improvise differntly from any other pianist. Working sporadically as a solo artist in the early part of his recording career, Bergman found acclaim (and was recorded more frequently) when he began playing duos, and has recently expanded to trio performances, though not in the typical jazz trio instrumentation of piano, bass and drums.

Bergman didn't play piano until he was in his twenties, having started out on clarinet as a child. Determined to create a new way of playing -- since, as he put it when interviewed by critic Francis Davis, 'I knew there was no point in sounding almost as good as Bud Powell' -- he spent several years teaching his left hand to be able to play everthing his right could play. For a while, this took the form of compositions and improvisations entirely for the left hand. He was also inspired by the example of John Coltrane's 'Chasin' the Trane' to build style of great endurance, and by the music of Ornette Coleman to have that style reflect a greater equality of its parts. Bergman has credited his parent's left-wing beliefs for these ideas of equality inherent in his even-haded, ambidextrous approach, and his come-what-may doggedness similarly reflects their influence.

In the years through which Bergman was less frequently recorded, he supported himself by teaching. His determination has served him well throughout a career in which his devotion to a personalized, idiosyncratic style has drawn fierce antagonism (including repeated mockery from a well-known critic). By now, however, the praise of many other critics has long overwhelmed the voices of doubt. Now a popular collaborator on the festival circuit and a respected recording artist whose work is regularly hailed for its originality, Bergman continues to forge a new pianistic path. (Intro for Soul Note CD Exhilaration by Borah Bergman& Andrew Cyrille - SN 121330, 1997)