Danielle Wood, piano

Press, 8 September 1989, Page 4

Danielle Wood, piano

Danielle Wood in a solo jazz piano recital at the State Trinity Centre, September 7, 8 p.m. Reviewed by Philip Norman. I have a single fond memory of Jobim’s “Girl from Ipane'ma,” dating from student years as a part-time pub pianist. I had just finished playing my version of the tune when a blurry-eyed patron slurred encouragingly in my direction “I liked that one. Can you play ‘Girl from Ipanema’?" I hope that kind soul was not at the State Trinity last evening, for his confusion would have been compounded exponentially by Danielle Wood’s arrangement of the standard. In the improvising hands of this pianist, the short, stale pop tune became a freshly baked rhapsody. The melody, let alone the harmonic progression, was barely recognisable as Wood dextrously shuffled the ingredients. Wafting rhythms and impressionistic colours reshaped the familiar LatinAmerican patterns. The total effect was alluring to the ear. Several other items presented by Wood in this solo jazz piano recital carried a similar charm. Ellington’s “Sentimental Mood” and Bobby Herb’s “Sunny,”, to name but two, were repackaged with style and creativity. In spite of these high points, however the recital did not live up to the promise shown in Danielle Wood's Gfoat Hall

debut earlier this year. Last evening’s appearance was, by comparison, that of an introvert. While admittedly the striking flamboyance of her earlier presentation needed some harnessing, it Was nevertheless a primary factor in the success of that presentation. The keyboard fare of before was peppered with various appetising vocal contributions. Last evening, the diet was solid keyboard: there are few jazz pianists in New Zealand with the necessary skills, and courage, to sustain such a solo venture. Programmes of standards provide deceptively treacherous terrain for young performers. Danielle Wood’s delivery was sure-rfooted when she carried her improvisations off the well-trodden improvisatory paths. Stumbles occurred when she exercised straighter, swing-based interpretations. She has, as yet, little feel for stride or walking-bass lines; “It don’t mean a ting if it ain’t got that swing” provided an apt case in point'. In. all, Danielle Wood nonetheless deserves encouragement. She has a rare spark as a performer and a lively creative bent. These talents, coupled with her obvious initiative and burgeoning pianistic skills suggest she has a bright musical future. '