he Detroit Piano Summits at Kerrytown Concert House have now become a summer jazz tradition. Thanks to the efforts of Tony Ruda, a local pianist, these events have been well attended and well programmed. The depth of piano talent in the area is obvious, and the series will most likely continue into the indefinite future.
On July 15, the third summit kicked off with Buddy Budson and Ellen Rowe. Rowe pointed out that it was a pleasure for her to hear other pianists play at an all-solo event. This might be because Budson and Rowe are very active in a number of groups in the Metro area and seldom get to play solo. Of the two, Budson's approach is a little more muscular, with his left hand more likely to provide a strong rhythmic basis. For example, the left hand provided the intro to "Sweet and Lovely," his first number. On "How Deep is the Ocean," Budson's left provided varied colorings for the melodic inventions of his right. His sense of swing was readily apparent when he doubled the tempo on this classic, popular with beboppers. "The Touch of Your Lips" was a nice example of a more gentle and understated approach to swing. Rowe has an exquisite touch on the keys, as seen early on in her crisp and delicate treatment of "Emily," which was paired with "Green Dolphin Street." She played several of her own compositions, including "Sylvan Way" (from her last CD) and "Reminiscences," which she dubbed a "French Café song." Her "Confirmation," was inspired by Tommy Flanagan's version. Flanagan is of course one of the pillars of modern jazz piano in Detroit, making it a fitting finale for the evening.
The following evening started with veteran Johnny Allen in his debut at KCH. "I Love Paris" with a funky bass line started things off, followed by "Summertime," trimmed down to its essentials. "Don't Get Around Much Anymore" had a relaxed swing with just the right amount of blues feeling. Allen finished off his set neatly with two of his own pieces: "924 Delaware" (for one of his homes) and "Alberta" (for his wife). Allen's craftsmanship is still astounding after half a century of tickling the ivories.
While Allen's craft is sparse, Matt Michaels goes all the way with full chords and plenty of ornamentation around the melody. This was crystal clear once he also tried on "Summertime" for size, but in evidence already at his opener, Johnny Mandel's "Time For Love." Michaels' great versatility was nicely showcased on "I Got Rhythm," where he went from stride to bebop. But that night he had a penchant for ballads, like "Someone To Watch Over Me" and Michel Legrand's "Summer of '42." Saturday's concert was attended by two other area piano notables: Bess Bonnier and Bob Seeley. It was another sign of the special chemistry at these piano summits.
Top: Matt Michaels, Johnny Allen, Bess Bonnier and Bob Seeley
Right: Buddy Budson and Ellen Rowe
he Detroit Piano Summits at Kerrytown Concert House have now become a summer jazz tradition. Thanks to the efforts of Tony Ruda, a local pianist, these events have been well attended and well programmed. The depth of piano talent in the area is obvious, and the series will most likely continue into the indefinite future.
On July 15, the third summit kicked off with Buddy Budson and Ellen Rowe. Rowe pointed out that it was a pleasure for her to hear other pianists play at an all-solo event. This might be because Budson and Rowe are very active in a number of groups in the Metro area and seldom get to play solo. Of the two, Budson's approach is a little more muscular, with his left hand more likely to provide a strong rhythmic basis. For example, the left hand provided the intro to "Sweet and Lovely," his first number. On "How Deep is the Ocean," Budson's left provided varied colorings for the melodic inventions of his right. His sense of swing was readily apparent when he doubled the tempo on this classic, popular with beboppers. "The Touch of Your Lips" was a nice example of a more gentle and understated approach to swing. Rowe has an exquisite touch on the keys, as seen early on in her crisp and delicate treatment of "Emily," which was paired with "Green Dolphin Street." She played several of her own compositions, including "Sylvan Way" (from her last CD) and "Reminiscences," which she dubbed a "French Café song." Her "Confirmation," was inspired by Tommy Flanagan's version. Flanagan is of course one of the pillars of modern jazz piano in Detroit, making it a fitting finale for the evening. 
The following evening started with veteran Johnny Allen in his debut at KCH. "I Love Paris" with a funky bass line started things off, followed by "Summertime," trimmed down to its essentials. "Don't Get Around Much Anymore" had a relaxed swing with just the right amount of blues feeling. Allen finished off his set neatly with two of his own pieces: "924 Delaware" (for one of his homes) and "Alberta" (for his wife). Allen's craftsmanship is still astounding after half a century of tickling the ivories.