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Paul Asaro

Stride and Ragtime Piano

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Paul Asaro’s ebullient stride-piano technique vividly
evokes an earlier era. You don’t encounter pre-bebop jazz
of this quality and commitment very often anymore.”
– Howard Reich of Chicago Tribune

High, Wide & Handsome: The Charlie Poole Project.”
      by Loudon Wainwright III
      and featuring Paul Asaro on piano
Grammy Award Winner 2010: Best Traditional Folk Album

Mr. Asaro at the piano is a one man orchestra,
his left hand often representing reeds and strings,
the right hand a Sousa-influenced brass band.”
—Alvin Klein, New York Times

The real star of the show is Paul Asaro, a fabulous
jazz pianist who will keep your feet tapping and
your eyes on his amazing hands.”
—Toby Zinman, Philadelphia City Paper

Paul Asaro has a rich honky tonk flair and
a stride technique that recalls Fats Waller in his prime.”
—Lawrence Bommer, Chicago Reader

Asaro is a sensitive accompanist,
underpinning Obba Babatunde’s vocalism
with a sturdy beat and attentive flexibility.”
—Clifford A. Ridley, The Philadelphia Inquirer

There is a new light shining
among the stars of the stride heavens,
and his name is Paul Asaro.”
—Robert Ault, Sedalia Rag

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About Stride Piano

  • 01/06/12
  • admin
  • · About · News

Harlem Stride Piano developed out of the ragtime piano styles of New York City and the east coast, also known as “Eastern Ragtime”. The style continued the ragtime tradition of a march-like left hand see-sawing between a single bass note at the bottom of the keyboard, and a chord struck in the center of the keyboard. In general, ragtime pianists only stretched an octave or an octave and a half between the bass note and the chord in the middle but the stride pianists stretched much further towards the bottom end of the keyboard and the wider span give a much fuller sound. The syncopated figures in the right hand evolved into more varied and complicated patterns involving all manner of thirds, sixths, tenths, chromatic runs, broken chords, glissandos, and tremolo octaves. As it developed during the declining years of ragtime’s popularity and during the rise of the jazz age it further distinguished itself from ragtime piano in its sense of “swing” in the rhythm and its increasing use and the complexity of improvisation during perfomance. Stride piano was an east coast development and differed stylistically from the New Orleans jazz pianists such as Jelly Roll Morton in its voicings and melodic figures.

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