Blindfold Test: Bill O’Connell

By Dan Ouellette I Dec. 27, 2023

“They were so in tune with each other, every note just works,” O’Connell said of Bill Evans and Jim Hall’s duo take on “I’m Getting Sentimental Over You.”
(Photo: Courtesy Bill O’Connell)

In his first Blindfold Test, pianist and composer Bill O’Connell worried a bit about guessing artists correctly but quickly settled into a comfortable groove at the third annual Hamptons Jazz Festival. O’Connell is a stalwart of the fest, which, in its third year, is gaining traction during its four-month series of concerts at various venues. In the fest’s inaugural year (2021), the Montauk, Long Island resident recorded his ninth Savant album, Live In Montauk, with a stellar lineup of tenor saxophonist Craig Handy, bassist Santi Debriano, drummer Billy Hart and guest trumpeter Randy Brecker. O’Connell warmed up the live session at LTV Studio by playing one of his Latin-inflected compositions on the piano: “Costa Verdes.”

McCoy Tyner Trio

“Reaching Fourth” (Reaching Fourth, Impulse, 1992, rec’d 1962) Tyner, piano; Henry Grimes, bass; Roy Haynes, drums.

It’s McCoy. This is “Reaching Fourth” with Roy Haynes on drums. What a fantastic record. This is from the great early period of McCoy. I love his lines, his harmonies. The playing is crystal clear — right on the mark. You can hear how he influenced Chick Corea. He’s so articulate with every note in just the right place, and he’s swinging hard with a strong melodic drive. When he went on to play with Coltrane, his music became more dense. McCoy is one of the greats of modern jazz. 5 stars.

Chucho Valdés

“Chucho’s Mood” (Jazz Batá 2, Mack Avenue, 2018) Valdés, piano; Yelsy Heredia, bass; Dreiser Durruthy Bombalé, batás; Yaroldy Abreu, percussion.

Wow, this is something I’ve never heard. It feels like Eddie Palmieri, but that’s not him. Maybe Chucho. It is? Anyone who knows my playing knows I love Latin music. Here Chucho is having so much fun. It’s deeply rooted in the Afro-Cuban tradition, then he plays inside and outside not knowing where he’s going until he gets there. The contrast between the rhythmic side and the melody is wonderful. This is freedom music at its best by Chucho, who has tremendous control of the piano.

Horace Silver

“The Cape Verdean Blues” (The Cape Verdean Blues, Blue Note, 2004, rec’d 1965) Silver, piano; Wood Shaw, trumpet, J.J. Johnson, trombone; Joe Henderson, tenor saxophone; Bob Cranshaw, bass; Roger Humphries, drums.

“Cape Verdean Blues.” I played with Conrad Herwig’s Latin Side and we focused on Horace’s music. This is such a great tune to play. What beauties he wrote. He’s a composer, which is something these days that’s not fully touched upon. Everybody plays Horace’s songs. He’s been such an influence. His music has rhythm that keeps the blues in its roots. There’s a sparseness in his music, but his piano is always so present with his left hand rhythm so unique. This is joyful music.

Andrew Hill

“Hattie” (Nefertiti, West Wind/Test Of Times Records, 1976) Hill, piano; Richard Davis, bass; Roger Blank, drums.

I don’t know this music, but I like it. I like the vibe. It sounds like it was a lot of fun playing. I’d love to drop into something like this. They were going anywhere, grooving in their own ways. Not in a traditional sense. It wasn’t so much melodic, but it was percussive with the piano player plunking here and there. You think of Monk, but this is in a major register and sounds much happier than Monk. It’s Andrew Hill? I checked him out when he recorded a couple of records for Blue Note. This tune makes sense with Andrew’s rhythmic approach.

Herbie Hancock

“The Sorcerer” (The Essential Herbie Hancock, Columbia, 2006, rec’d 1968) Hancock, piano; Ron Carter, bass; Mickey Roker, drums.

Herbie and “The Sorcerer” with Ron Carter on bass and I think Tony Williams on drums. No? Mickey Roker sounds good. If I were stranded on a desert island, I would want this tune to be with me. When I think of all the modern jazz pianists who have influenced me, Herbie is at the top — not just with his piano technique but having the most impact on my soul. I love the flow of his ideas, how he hits the climax as he builds the intensity of the music up and then with a touch brings it back down. His long piano solo builds with an intensity. I could talk about Herbie for hours. I could listen to him forever. I appreciate him both as a composer and pianist. This sounds so fresh and so modern. 5 stars.

Tania Giannouli

“Intone” (Solo, Rattle Music) Giannouli, piano, effects.

Wow, I don’t know who this is, but I like the composition a lot. We’re jazz musicians, so I think we’re always looking to bring different elements into the music. Clearly the opening of this piece of music is kind of classical, which I liked, but then the music locked into a groove that doesn’t fit into a category. Then it got crazy, but that’s part of life. It’s not always melodic and beautiful. You need to express different elements, complicated points of view that don’t fit in a box. As for the pianist playing inside the box itself, I liked the melodic element. It got me moving. Never heard of Tania Giannouli, but my guess is I will hear more.

Ahmad Jamal

“Flight” (The Essence, Part 1, Verve, 1995) Jamal, piano; James Cammack, bass; Idris Muhammad, drums; Manolo Badrena, percussion.

I haven’t heard this recording, but I love it. Well, I feel totally stumped. But I heard this pianist influenced by Ahmad Jamal. It is Ahmad? That’s kind of what I thought, but then I thought that it’s maybe too far out for him. I can hear him. His use of space that has a lot of earth to it. There are changes and then he takes over. Clearly, he has full command of the piano and takes it wherever he wants to go. He stretches out rhythmically with a nice ostinato in the bass. It’s such a different approach to a piano trio and so in tune with the dynamics that are possible. He never overplays, playing with a sense of understatement that is beautiful but so rare today.

Bill Evans/Jim Hall

“I’m Getting Sentimental Over You” (Undercurrent, Blue Note, 1988, rec’d 1962) Evans, piano; Hall, guitar.

Obviously. Bill Evans and Jim Hall. Bill is my main influence. He plays one note and you know it’s him — great harmonies and rhythmic ideas. He changed the way people approach the jazz trio. With Jim, the way they played made for having a lot of space. They were so in tune with each other, every note just works. It’s a beautiful but rare thing when you link up with another musician in this way. You’ve got to cherish those relationships. 5 stars easily. DB

The “Blindfold Test” is a listening test that challenges the featured artist to discuss and identify the music and musicians who performed on selected recordings. The artist is then asked to rate each tune using a 5-star system. No information is given to the artist prior to the test.