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THE BIRTH of an IDEA
by JACK REILLY

The creative process has long been a subject of interest to people in the arts,
scientists, and layman alike. In this essay, composer/pianist/author,JACK REILLY,probes his subconscious to discover the makings of one of his own major classical-jazz works, ORBITALS: CONCERTO FOR PIANO,JAZZ TRIO and SYMPHONY ORCHESTRA. HERE IS HIS STORY

It was a cold Tuesday in January 1998 ( remember the good old days?), and I was
riding a New Jersey transit bus from my southern NJ home to New York City to meet with
some colleagues. Every Tuesday the NEW YORK TIMES publishes the Science Section ( I
only buy the Times on Tuesdays for the science articles) I have always been fascinated
by the subject, hoping it would eventually shed some light on the creative mind,
particularly the mind of the composer. That day the science feature was on quantum
mechanics and the discoveries of Niels Bohr, Erwin Schrodinger and Werner
Heisenberg ( The Danish, Austrian and German scientists, respectfully). Their
experimental research in the early 1920s was on the atom. Each one had something to
add to the solution or the mystery of the space surrounding the nucleus of the atom. The
essay focused on their particle ( electron) research, which they called "regions of space"
surrounding the nucleus of the atom, orbitals. I thought "What a great title for a
composition"!. It was Heisenberg who discovered that orbitals cannot ( as Bohr had
thought earlier) be precisely located in the space around the nucleus, nor could their
momentum be exactly measured. I then said to myself, "it's the same when I compose" I
cannot notate the exact time or speed for every pitch, rhythm and dynamic when I
compose. Sure, I can indicate by bar lines, tempo markings and durations of each note,
etc., but in a live performance, there is no absolute control or guarantee that my
composition is always going to be played exactly the same. In my mind , I know what I
want, and in Heisenberg's particle research it became known, it became known as the "
uncertainty principle".

When my music is plated it is never going to sound the same each
time. This fact is certain- we can only listen to music in time ( speed ) and space
( location ) and each time we are going to hear music differently. It was at this point I
decided to write my first piano concerto and that the piano part be 898% improvised! I
was thus guaranteeing that it would forever sound different at each performance,
I knew someday I would compose a piano concerto, but had no clues as to how to
begin. In my early days as a student I had studied, of course, the concerti of the master:
Brahms, Chopin , Beethoven Rachmaninoff, et al, but i did no want to mimic their
concepts. Deciding to make the piano part 98% improvised gave me the impetus to
begin. At first I thought I would leave the pianist totally free to improvise against the
backdrop of the orchestra. No, that is too easy and free. I wanted some connection to the
past and present. It had to have a Lisztian theme, Prokofiev- like polytonality, Bach
contrapuntal influences, perhaps even a fugue section and of course cadenzas all over
the place. What about my jazz influences? Hmmm! No! I wanted it to be a traditional
piano concerto- with orchestra, no jazz!


END OF STAGE ONE: Desire to compose a piano concerto, with basic concept
in mind.

ENTER STAGE TWO : forgetting stage one!!


IN JANUARY 1999, One year after having read the New York Times Section on
quantum mechanics, I received, out of the blue, a call from Jeffrey Bell-Hanson, a
champion of my music; in other words, an angel. He had conduced "Chuang -Tzu", my
orchestral work) a theme and eight variations ) in 1993. This time he wanted to offer me a
commission to compose a work for his orchestra, the KEWEENAW SYMPHONY to
celebrate the opening of the Rozsa Center for the Performing Arts on the campus of the
Michigan Technological University located in Houghton, Michigan ( the upper peninsula ).
He said "give it some thought". I did and called him a week later to say I would like to do
a 30 minute one- movement piece for duo pianos and orchestra. I was thinking of my wife
Carol Lian, as the second ( oops, first ), pianist."Great" he said, we verbally locked in the
Fall of 2001for the premiere. I had forgotten the piano concerto idea! My wife Carol is a
fine classical pianist and does free- foam improvising in concerts and on recordings. I
thought , "Great - she'll do all the improvising and I will play the written part".


ENTER STAGE THREE: CONCEPTION ONE YEAR LATER , JANUARY 2000..
Now the search ( inwardly of course ) for themes and harmonies. It's a period of serene
mediation, and for me, a period of doubt. Why doubt? The ghosts of the masters haunted
me each time. I thought, "Oh my God, I can't compose another Brahms, Chopin, Prokofief
or evan a Bartok concerto for piano and orchestra". Finally I said, Forget them - write a
duo piano piece and then orchestrate it".


ENTER STAGE FOUR: ACTUAL WRITING DOWN ON MANUSCRIPT themes for duo
pianos on four-stave system.
A beautiful, triadic E flat major came to me a la a Lisztian melody. So be it, the
harmony was pure me. Over the course of the next three months, I composed pages and
pages of chord progressions based solely on minor triads. Then a Gavotte-like theme
came to that turned out to be also based on minor triads. What's with these minor triad
progressions, I thought. Do not ever think when composing "in heat". The ideas came
pouring out, and by mid- March 2000 I had sketched out over 500 measures of ideas and
had a good feel for the final form.


ENTER STAGE FIVE: Zero writing! A period of emptiness and quietness.
Playing engagements in Los Angles with my trio occupied the rest of 2000. A tour in
April and one in November kept me focused on my jazz piano concepts. Besides, I was
playing 5o percent my own tunes and 50 percent "Evergreens". It was great fun- my
playing, improvising , and trio concepts were changing, expanding and solidifying all at
the same time. Rave reviews poured in. Upon returning home in December 2000, I found
a message from Jeffrey Bell-Hanson, my angel..We had to lock in the exact dates for the
premiere. It was to be October 13 and 14, 2001. Yes, two performances!" Hey Jeff, I said, I
have a great trio. Why not a trio in-residency, a trio concert and worship?
"Great", he said. "Call the Great Events Program Director, Valerie Pegg. Done. Booked
the trio for one workshop, one concert and one open- forum, which means a talk about
my commissioned work, and my teaching concepts and theories on composition,
improvising and practice habits. Now the dates were set, October 8 through 1414, 2001,
for the triad me.


ENTER STAGE SIX ( PANIC STAGE ): I MUST FINISH THE CONCERTO , PARTS
must be copied, reproduced and in the hands of the orchestral members by the end of
August 2001. The deadline has been set!!!
It is now January 2001. I tell my copyist of 30 years, Al Schoonmaker ( the senior angel
in my life) , that I wil( must) have the completed score in my hands by April 1st, no
fooling around ( excuse the pun ! ).
He needs three months to copy the parts, 73 of them. I will proofread by instrumental
families, i. e. all strings, then woodwinds and percussion ( in that order ). The piano part
he copies last.


I am now revved up to seriously the work. I dig oath the duo piano sketches and start to
play through them, all 500-plus measures.


Something strange happens. I suddenly realize that the themes, progressions and motifs
I sketched out do not "feel" right for a concerto for two pianos. I trust my instincts. It's
for SOLO piano and orchestra. Great! I compose more themes over minor triad
progressions. Plan the improvisational sections against the orchestra and coops the
orchestral parts with the solo piano part in my mind. The six - part Gavotte theme blends
and leads perfectly into a piano improvisation on the same harmonies ) all minor triads
again ) and then then, suddenly a romantic, lush, lyrical adagio theme is born. A
spontaneous, intuitive moment that could only arise at this point in the composing
process. I define it as an idea, hidden, in the unconscious creative mind that was part of
the initial ideas, and dictated by, that is, inevitably linked to the Desire Stage three years
ago!!! It is like a seed or acorn before the oak tree is fully formed.. A piano concerto is
like an oak tree- the melodies are its branches; the notes are its leaves and its form is
huge and powerful, defying space and time, singing of its mortality. Each performance
will now be like a Spring renewal.


It us this point ( the arrival of the Adagio theme),in the compositional process that I
realize the absolute necessity of adding my jazz trio as part of my concept of what my
piano concerto should express. I have now written into my piece the "present". The
"past" is the Lsiztian theme; the piano sections will play like Rachmaninoff's piano
writing (huge chords, tumultuous two-handed octaves and soaring improvised eighth-
note melodies over the minor triad progressions, and Prokofiev will be represented in the
polytonal orchestral colors. The Jazz trio now emerges as central to the work's success
and the piece becomes a breakthrough in what the traditional piano concerto was ( past )
and is ( present ), for me. Hmmmm! And the future of all music?!! All my musical
influences, classical and jazz are now part of the work. While finishing the Adagio theme,
a perfect fugue subject( theme) "popped" up. It became a fugal section for strings. This
led logically to the traditional cadenza for the solo instrument in a concerto. Why use
the trio here? The bass can oat a cadenza after the the piano, then the drums, then the
trio together , then bass and piano alone. At this point a contrapuntal device called
Augmentation rears its head and the orchestra plays the fugueto section again, but in
augmentation, ( that is, each note is given a longer duration; in this instance, twice the
value; an eight note becomes a half note, a quarter note becomes a half note, etc.\The
trio improvises against this in " double time feel". T o unify the piece and bring it to an
end, I return to the Lisztian theme satiated in the beginning and build to a triple forte a la
Rachmaninoff. The work is complete on on paper. Little did I realize that since i am the
soloist , it is I who now "woodshed' the piano oart1 let's make that a topic for a further
essay.


The title comes last! Guess what it's called? "ORBITALS", for piano, jazz trio and
Symphony. I remembered the New York Times piece article and realized how
Heisenberg's uncertainty principle had subconsciously the unfolding of the piece. The
seed was planted by article on quantum mechanics and my commission was being paid
by an Engineering school whose student body was conversant with the concept of
atomic particle theory, or orbitals Hmmmmmmm! As I conclude this narration of my
orbital journey I realize how interconnected all events in a composers’ daily life and
routine, can, in mysterious ways, contribute to and influence the creative processes and
the outcome of his or her work. All these events are an externalization of out inner
psychic lives! Do we inform, make our own destiny and the " watch " them unfold before
our live in daily living, HMMM! I believe the artist, composer , writer lives two psychic
lives: one for the evolution of his art, and the other for the evolution of the human
species. HMMM!


"TEACHERS WHO CHANGED MY MUSICAL LIFE" (PART 2)

ABOUT JOE MANERI

Joe Maneri was my teacher for many years. He lived eight blocks from me in Brooklyn but I met him through the composer Harold Branch. He, Joe and Harold Seleksky were studying with a European immigrant who come to the US to teach. They spent thirteen years with this man to complete his course! I did the work in seven years mainly because I was an advanced musician at that time.

I lived on Staten Island and met Joe at that time. I traveled to his Brooklyn home for weekly lessons. He taught me the "THEORY of HARMONY written by Arnold Schoenberg and also his Counterpoint course. This covered Species Counterpoint and up to composing Bach Fugues. Both were intense studies that I would never give up. I of course, went on to teach all these courses to my own private students.

I wish to express my gratitude to Joe for his wonderful and dedicated teaching. Without these studies I would not be the musician I am today. His personality was infectious and he imbued me with a life of dedication to composing and piano practice.

Joe passed away a few years ago.

May his legacy live on forever.


"TEACHERS WHO CHANGED MY MUSICAL LIFE" (PART 1)

ABOUT LUDMILA ULEHLA

Ms. Ulehla was my teacher in theory and composition at Manhattan School of Music from 1955 to 1958. After my return to the US from Norway in 1972 I began more studies with her, privately. She had an encyclopedic knowledge of all periods of classical music and could play examples on the piano to demonstrate and back up her analyses.

The classes were designed to give the student a challenge by imitating each period or style, composing in the various forms; Song form (ABA), fugal (2-3-4 part counterpoint), passacaglias, and the sonata form which included the four-movement large form. This was rigorous and most demanding. She was a taskmistress of the highest order but was extremely patient with us. She always knew instinctively what was missing from from our work and would suggest the next step we should take. She always told us to trust our inner ear to guide us in our composing. It was this routine and discipline that helped me turn in good assignments. She would always compliment me in front of the class by saying, " now here's an example of an exercise that became real music". I was slightly embarrassed to be signaled out in front of my class mates but secretly bathed in the praise.

My Piano Sonata in D Minor became my term project and final work that I had to turn in to complete the requirements for my Masters Degree in Theory and Composition. This composition is now part of the repertoire that makes up my solo recital programs that I give throughout the US and Europe. I look on it as if it was composed by someone else, not me! This helps me to practice it as if it were a serious work by the Masters. The form is tight but not rigid and the style is my own all though one is able to clearly discern the influences of Schostakovich, Schumann, Bach, and Chopin and even some poly-tonal/quartal harmonic elements scattered throughout each movement.

I was honored to be blessed with contact with such a great musician and most of all a teacher devoted to the highest musical principles. She was a rare person, indeed.

I have recently finished reading a story about another great teacher, the legendary French composer and musicologist Nadia Boulanger. Her life, knowledge, and devotion to music and her students has a parallel in that of Ludmila Ulehla. I heartily recommend the book, "NADIA BOULANGER-- a Life in Music". It is an inspiring read and will bring you closer to the Ludmila Ulehla, the teacher I whose expertise I had first experienced here in the USA.


Jack Reilly's new Dave Brubeck harmony book is released...

As Published by Hal Leonard Music, Inc - As Jack Reilly did with Volumes 1 and 2 of The Harmony of Bill Evans books, he now explores the harmony of Dave Brubeck through extensive writings, music examples, and audio examples as well.

Fans of Brubeck and students of all jazz styles will find this in-depth exploration fascinating and informative.

Songs include: Blues for All * Brandenburg Gate * The Duke * Her Name Is Nancy * Marble Arch * Thank You (Dziekuje) * The Waltz * When I Was Young * and more.

Also includes CD with musical examples!

You can find it here at Hal Leonard Music!

 

 


 


THE RECENT BRUBECK BOOK REVIEW FROM FANFARE MAGAZINE


THE HARMONY OF DAVE BRUBECK, By Jack Reilly. Hal Leonard, Inc.2013. 88 pp. $24.99.

plus CD of musical examples. Jack Reilly . (Find it easily right here at Hal Leonard Music
)
Classical, Jazz & Ballet Critic
Fanfare magazine


Jack Reilly is one of the most creative yet lesser-known jazz pianists. I’ve never quite understood the reasons for his lack of visibility, except perhaps that he, like jazz singer Sheila Jordan, maintains a low profile because he refuses to compromise his talent. He won’t play show tunes, modern pop, fusion, or for that matter anything that smacks of populism. He goes his own way, plays what he wants, writes what he wants, and occasionally produces fine educational books on jazz theory such as this one as well as The Harmony of Bill Evans. As a friend and admirer of Evans since the early 1950s as a pupil of Lennie Tristano, Reilly remains fascinated and deeply involved in chords and chord structures as the basis of all the music he plays and/or writes.


Thus this book, although a tribute to Brubeck (who died as Reilly was putting the finishing touches on it), begins in Lesson 1, Polytonal Studies, with examples from his own La-No-Tib suite for piano and an explanation of its basic underlying principles. Reilly not only explains polytonality as a mechanism but, more importantly, how polytonality can be used as a medium of expression in both composition and improvisation. Of course there is always the danger, especially with younger and/or less experienced pianists, of becoming hooked on polytonality as a gimmick, meaning that the cleverness of writing bitonally or polytonally becomes the raison d’être of the music’s existence. Ironically, there was little chance of this happening back in the 1950s when Reilly (and Evans) first emerged, for the simple reason that polytonal and bitonal music was little understood by the general public and, for the most part, shunned. It took forceful individuals like Miles Davis, George Russell, John Coltrane, and Charles Mingus to keep at it until such point as it became part of the everyday lexicon of jazz improvisation and composing; and it is not coincidental that all four of those musicians played and recorded with Bill Evans.
As for Brubeck, he gets his due beginning with the second and longer section of the book, titled The Music. I was exceptionally pleased to see a major jazz improviser and composer like Reilly devote so much time to breaking down the structure as well as the harmonic relationships of so many Brubeck pieces. Reilly was extremely fortunate to have Brubeck himself help him analyze these structures via numerous phone conversations during his last year on earth, but the mere fact that this book exists and gives so much theoretical and critical analysis of Brubeck’s music is a minor miracle in itself.

Throughout the years when the Dave Brubeck Quartet was active, Brubeck himself often came under criticism or, worse yet, was completely dismissed by many jazz musicians (I won’t name names, but they know who they are) as a jazz pianist. He was often considered to be bombastic, heavy-handed, and unswinging. Many were the jazzmen who raved about his alto saxist, Paul Desmond, while dismissing Brubeck as a second-rate jazz player (some even had the audacity to ask Desmond to leave the quartet). Thus Reilly’s book restores Dave Brubeck to the place of prominence that I, and thousands of other fans who did understand music and knew he was good, knew that he rightly deserved and still deserves.


Reilly begins his analysis of Brubeck’s music with his very first composition, I Weep No More, written in 1945 in celebration of VE Day. Among the other pieces analyzed here are When I Was Young, The Waltz (with chord voicings by Reilly), The Duke, In Your Own Sweet Way, One Moment Worth Years, Her Name is Nancy, and several themes from the Eurasia suite: Nomad (Afghanistan), Brandenburg Gate (Germany), Dziekuje (Poland), Calcutta Blues (India), and Watusi Drums (Africa). How well I remember the backlash to that album when it came out! “That’s not jazz, it’s classical music…Why doesn’t Brubeck just go write suites and leave jazz alone?” etc. etc. (Yes, I’m paraphrasing. You won’t find these actual quotes on the Internet. But I heard them bandied about all the time back in the early 1960s.) Perhaps one reason why we, like Reilly, can come to appreciate this music so much better today is, to be frank about it, there’s a much better understanding now of jazz-classical fusion and the deep relationship between classical structure, or at least jazz structure based on classical principles, and “real” jazz as improvisation that is also based on classical music. (For the same reasons, such unusual early pieces as Red Norvo’s Dance of the Octopus, Morton Gould’s Boogie Woogie Etude, and even parts of Duke Ellington’s Black, Brown and Beige Suite are now considered great and important milestones in jazz, whereas in their own time they were not merely misunderstood but actively condemned as not being jazz at all.)


One of the more interesting of Reilly’s comments comes on pp. 45-46, when discussing In Your Own Sweet Way. To quote: “We’re definitely on slippery slopes in this tune. Section A can be analyzed as all in G minor or all in B-flat major. If you accept the G minor analysis, then the Roman numerals will be: Gm: II IV | I etc. And if you accept the B-flat analysis: VII IIIx7 | IV, etc. Does it matter? Yes and no! Yes, if you are a composer and want to understand major keys, their relative minors, and the use of secondary dominants…No, if you’re not so inclined to the intellectual/theoretical elements behind Dave’s thinking. See if I care!”


Yet there are many little insights scattered throughout this handy volume, and not just by Reilly. There are many anecdotes and sidelights written by Brubeck himself (would that Reilly had been lucky enough to get input from Bill Evans before he died!) and, on p. 66, comments by Brubeck’s son Darius, mother Elizabeth, and brother Howard on the pieces from the Eurasia suite. To be honest, I found these comments to be some of the greatest treasures of this collection and thus of interest even to the non-professional musician. More to the point, one realizes in reading Brubeck’s own comments one of the reasons why, perhaps, he was undervalued for so long. He was extremely modest about his music and not prone to bragging about it, let alone arguing its merits with critics or fans with ears of stone. I was lucky, once, to be a guest on a jazz radio program where the host talked to Brubeck live via the phone. The man’s humility and graciousness always overrode his desire to be more widely liked or understood. Brubeck always felt that his music spoke for him much more eloquently than he could with words, thus he only spoke up when prodded. Now there is this book, and Jack Reilly’s superb analysis of his music, to rebuild Brubeck’s credentials as one of the finest jazz composers of his era.


The accompanying CD is instructive and fascinating, but not always easy to follow with the printed music for the simple reason that Reilly sometimes improvises beyond the end of the written music. Essentially, the scores reduce the music to its basics, with slow-moving chords so the ear can catch what is going on. There are no pauses of silence between most of the tracks, which sometimes confuses the ear, and in at least one case (Her Name is Nancy) a pause within the track. Sometimes, Reilly plays melody notes entirely different from what is in the score, for instance in Nomad (Afghanistan), where the opening bar is marked as four C-sharps in the right hand but Reilly plays C-sharp, A above, A, C-sharp, with different underlying chords on all four beats, not the single block chord held for four beats as notated. In the second bar he plays a melodic line of four quarter notes, B, G above, G above, B, not the notated eighth notes in the score. Thus you need to keep watching your CD player to figure out where you are. Well, he’s a jazz musician, not a Midi!


This is an excellent book for anyone who wishes to analyze Brubeck’s music harmonically or structurally in any way. For the intermediate jazz student it is even more valuable as a teaching and learning tool.





Harmony of Bill Evans Vol. 1 re-released, now with CD!


Jack Reilly's The Harmony of Bill Evans Vol. 1 has been re-released in its second edition by Hal Leonard.,Inc. The new version has a CD now included with the examples of the porrtions explained and notated in the text with a bonus: Jack has included, as track 26, an18- minute recording of himself playing Evans classics in a wonderful medley:

I Should Care, My Bells, Resurrection (by Jack Reilly) My Funny Valentine, Time Remembered and Peri's Scope.

The tunes were recorded in London at the Royal Academy of Music in 1990. You can order at HAL LEONARD MUSIC!


 

FOREWORD by Jan Stevens for "THE HARMONY OF BILL EVANS- VOL. 2" Book / CD package


FOREWORD BY JAN R. STEVENS:

“Though everything else may appear shallow and repulsive, even the smallest task in music is so absorbing, and carries us so far away from town, country, earth, and all worldly things, that it is truly a blessed gift of God.” -- Felix Mendelssohn

The incomparable pianistic innovations of Bill Evans (1929 – 1980) continue to be celebrated by jazz fans, and closely studied by serious musicians worldwide. During his over twenty-five year recording career, he changed the approach to the sound of the piano itself in jazz by his touch, and his attention to pedaling, phrasing and dynamics. His remarkable approach to the possibilities of interplay within the piano-bass-drums trio is well-documented from the late 1950s on. READ THE REST HERE

______________________________________________________________________________________

After the acclaim recived by VOL.1, Hal Leonard, Inc, (the world's largest music publisher) has the new, much talked-about book "THE HARMONY OF BILL EVANS VOL. 2" by master pianist -composer Jack Reilly (with Foreward by pianist Jan Stevens of the Bill Evans Webpages site). Bill Evans died in 1980 but the compositional legacy he left behind is still growing. This expansive study shows how and why.

In Jack Reilly's second volume, he provides a deeper appreciation and understanding of Evans' compositions. This book and CD package (only $29.99 USD) includes two important theory chapters (which stand out on their own merits, brilliantly) , plus ten of Evans’ most passionate and melodically gorgeous works. The voicing charts for all ten songs are more complex than in volume one and pianistically more demanding, yet always worth the effort. The subjects of modulation and key relationships that are discussed in each chapter will help the player memorize faster and improvise with more facility; not an easy task when performing Evans' music.

The "Lament for Bill" in chapter 13 is the author's tribute to the genius of this great artist.

The accompanying CD will add to the enjoyment, understanding, and appreciation of the written examples. This a powerhouse book that will a prove to be a deep and indispensible experience for pianists of all stylistic persuasions as well as serious Evans fans. There is much to learn and enjoy here!

Songs include: Your Story • Laurie • For Nenette • My Bells • Maxine • Song for Helen • Turn Out the Stars • Very Early • Waltz for Debby • and more!


ORDER THROUGH HAL LEONARD MUSIC ONLINE
!




HERE'S THE REVIEW FROM JAZZWISE (U.K.) MAGAZINE!

THE HARMONY OF BILL EVANS, VOL. 2 BY JACK REILLY:

In the eyes of anyone interested in the technical aspects of Bill Evans, this will make for fascinating reading and, hopefully, some challenging playing too. Reilly is the renowned teacher and performer whose students include such as Bill Charlap, and whose achievements have taken in albums as well as tours in the U.K. The fact that he also had an early acquaintance with Bill, long before the latter became famous, obviously lends weight to his intention in explain the inner mechanics of Evans’ music.

It’s worth noting though that this is basically a theoretical essay with examples, rather than just a series of charts linked by some “and-then-he-wrote” text. Of the many illustrations provided, only two seem to be Evans’ own arrangements of his originals, while another eight are Evans tunes arranged by Jack Reilly. Then there are three more pieces which are, in fact, Jack Reilly originals, marked as such, that somehow reflect the Evans style, and the Reilly thesis about how it worked.

The dense theoretical section occupying the first half of the folio may be tough reading for some, and some of the examples in this section are clearly intended to be illustrative, rather than pieces that make music in their own right. But they enhance appreciation of the Evans tunes, as do Reilly’s examples on the accompanying CD.

----Brian Priestley

CLICK HERE for a free MP3 of "Lament for Bill" by Jack Reilly!

JAZZ PIANO SOLOS book (revised) by Jack Reilly

This just- released book contains inventive, high quality piano arrangemments of well-known standards and some original pieces, and are for mid-intermediate and advanced piano students and players.

Hal Leonard, Inc. ($9.99)

In stores now, or more ordering info here

Series: Piano Solo Songbook
HL #00310159

Song List:

* All The Things You Are (two versions) * Body And Soul
* Clara's Bell * Halloween * Here's That Rainy Day* I Can't Get Started With You * I Concentrate On You * I Could Write A Book * I Thought About You * My Shining Hour * November * Raindrops Keep Fallin' On My Head * Ruby, My Dear * Spring Can Really Hang You Up The Most * Tenderly * Waltz For Fall



SEE BELOW FOR THE VIDEO FOR JACK'S COMPOSITION "CAROLINE"!


ForFor a touching tribute by JACK REILLY to the great musician HALL OVERTON go here


Check out Jack Reilly's new SHOWCASE page at Allaboutjazz.com - and download the FREE track from the "Innocence" CD!
While you're there, you can also read their exclusive interview with Jack.


" He's (Reilly) certainly a rare individual and plays and writes with utter conviction in styles ranging from free form improv through bebop and mainstream and even into classical music." --- Duncan Heining, Jazzwise (UK) magazine£


Check out Jack's complete
catalog of CD recordings:

See the CD PAGE for audio samples and more information.

You can now also purchase any of these CDs at cdbaby.com


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