"THE AMAZING JOHNNY COSTA "
Released on Savoy in 1955
"Introducing Johnny Costa" and "The Amazing Johnny Costa" share nine common songs. "Introducing Johnny Costa" includes five additional tracks.
1. There's a Small Hotel
2. Honeysuckle Rose
3. Stella by Starlight
4. Le Mer
5. Dancing in the Dark
6. Tea for Two
7. Caravan|
8. Manhattan
9. Flamingo
To set down in words some feeling for the content of this album is indeed a simple task. The writer's job is facilitated by two very important and obvious points … (1) that there is very fine talent herein and (2) that this is a talent that can and will be appreciated by one and all regardless of preferences in music. The word amazing as applied to Johnny Costa is perhaps the most descriptive word for the occasion. To “spiel” about genius, (a much overworked word in this writer's opinion), is unnecessary here, as it so often sets a listener on his guard, overbalancing the value of the music so described. Johnny Costa is that remarkable combination of technical artistry, emotional expressiveness, and superb taste that transcends style “tags” or “schools” which only link individual musicians with their working companions (some better, some worse) and many times limits the breadth of their contribution. One can't pin names like “classical,” “cocktail,” “Jazz” or any other individual name to his style of performance. It is none of these, yet all of them. His playing skill is “classical” in development. There is no “one-handedness” to his playing, and runs, chords, or single notes are stated accurately, without the “sloppiness” that is sometimes forgiven in terms of overall effect. His appeal and approach to improvisation runs from “cocktail” to “jazz” in that he a form that is not so abstract in modernity that it alienates the “average” man who knows only current popular music, and yet he also reaches a fine harmonic, creative, and rhythmic achievement that transcends the banal | repetitiveness of so many “pop” pianists. There is no alliance to a “school” of jazz expression, neither modern swing nor Dixie , yet elements of each are interwoven in his keyboard expressions. The writer realizes that any reference to any individual's performance that is likened unto Art Tatum's is considered blasphemous . . . but there it is. Art Tatum, undisputed “deity” of the keyboard for years, has had many challengers . . . each one a developer of only one of his (Tatum's) many-faceted piano personality. The trends from barrelhouse to swing to bop . . . the trends from the striding left-hand accompaniment to no left-hand . . . the changes from syncopation on the beat to ahead of the beat to behind the beat . . . the addition and deletion of counter melodies, counter rhythms, counter harmonies . . . all this is and has been embodied in the actual genius of Art Tatum, one and all, all at the same time. Now comes a major challenger for the Tatum crown . . . Johnny Costa. He too fits the patter of complexity, of non-conformism to the current fad, of a pleasing combination of all the above skills woven and blended in a palatable style and executed in the manner of a Rubinstein . . . for your listening pleasure. Johnny Costa's treatments, (or arrangements, if you prefer) of the 9 tunes in this album are carefully conceived “tone poems” suitable only to the tune being played. He fabricates a musical story, utilizing his technical facility to interlace the moods and messages being poured out on the keyboard. Actually, the set is more a recital than a “set.” Although there is almost imperceptible bass and drums on several of the tracks, they are incidental, for Costa falls in and out of tempo, weaving his choruses to suit the flavor of the moment. This writer will not attempt to describe the contents of this album, but rather only to touch on a few musical effects employed to give but a partial idea of the immensity of expression contained herein. On “Tea for Two” his left hand gradually paces the tempo faster forcing the right hand to fall into a pattern whereby left hand is playing melody and right hand is playing the same melody, only one phrase in advance. On “ Manhattan ” we run the gamut from lilting party style to Gershwin-esque traffic tumult to basic blues to romping barrelhouse to player-piano to flourishing concerto and back. And this is only a small sample of what happens on every track, in every groove. Listen and see for yourself. Oh yes . . . you'll want to know about Johnny's background. Born in Arnold , Pennsylvania in 1922, he began on Accordion at 10, studied for 7 years before switching to piano. Teachers include Martin Meissler (who taught Oscar Levant ) and Prof. Nicolai Lopatnikoff, of Carnegie Institute of Technology. Johnny received degrees in Public Education and Composition there, after spending several years on the road with Tommy Reynolds, as a cocktail lounge entertainer, and as a medical aide during the war. At present he is staff the pianist for Radio and TV stations KDKA and KDKA-TV in Pittsburgh.
Notes by H. Alan Stein
Supervision by Fred Mendelsohn
Engineer, Van Gelder
