Dick Wellstood knew, understood and sometimes used bebop harmonies, but when he became a professional in the 1940s he was a James P. Johnson pianist in a Bud Powell world. He stayed in that time warp throughout his career, cantankerous and uncompromising, his brilliance as a musician ignored or misunderstood by people who hear in categories. Musicians, particularly pianists, knew Wellstood for what he was, a monster improviser, categories aside. With absolute justification, he and Dick Hyman billed their two-piano partnership as Stridemonster.
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