I never took a class with the Professor, but I’ve learned a great deal in his informal onstage seminars at Jazz at Chautauqua (to say nothing of his recordings - another post in itself).
#Da capo 3 r hot full
“That explains it,” retorts Marty.īoth the man and the music are gratifying, full of surprises. You’ll also hear a sly exchange between Jim and Marty Grosz about the arrangements - not to be taken entirely seriously: “I know every thing I know from Marty’s records,” says Jim. But a Dapogny performance is never just a string of solos: he thinks orchestrally as a bandleader as well as a pianist. The arrangements you’ll hear on the performances below are so splendid: you can hear them subliminally (horns humming behind a solo, playing a melodic line sweetly) or you can admire them out in the open. (I hear the barrelhouse pianists of the Twenties and Thirties - think of the blues pianists and Frank Melrose, then add on the traceries of Hines and Stacy, the force of Sullivan, a deep-rooted stride with surprising harmonies.)īut Jim is also a delightful arranger and occasional composer. or Fats, he knows just what to play to push the group without overpowering it. And he is a peerless ensemble pianist - like Basie or Ellington, James P. Professor Dapogny’s study of Johnson’s work, in particular, came to fruition in the large-scale reconstruction of DE ORGANIZER and THE DREAMY KID, two Johnson operas (the first with a libretto by Langston Hughes) once thought to be lost.īut the dark-haired fellow is also Jim Dapogny, a stomping pianist whose solo and ensemble playing are instantly identifiable - he is his own man whether tenderly exploring a ballad or stomping the blues. Professor Dapogny has done extensive scholarly work on Jelly Roll Morton and James P. Thurnau Professor Emeritus and professor emeritus of music (theory) at the University of Michigan School of Music, where he taught from 1966 to 2006. That dark-haired fellow at the keyboard in the videos that follow is James E.
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