Safe passage to pianist Martial Solal, who passed last week at the age of 97. He was a great composer and bandleader, but a truly superlative pianist. I find myself thinking of ways to articulate this. With all due respect to Art Tatum and Earl Hines, he’s one of the all-time greats of solo piano. With all due respect to Jaki Byard and Don Pullen, he’s one of the all-time greats of combining. With all due respect to Tete Montoliu (and George Shearing and Marian McPartland if they count even though they settled in the U.S.), he’s one of the all-time great European pianists. Ultimately none of that does justice to the distinctive combination of technical and creative wizardry alongside nuanced touch and deep, authentic groove. Here are a few highlights from his extraordinary recorded legacy.

1 ) “I Only Have Eyes for You” from Martial Solal Trio (or Complete Vogue Recordings)(1954)

Though by this point he had already made numerous recordings, this session represents an arrival of sorts, as he demonstrates his fluidity, ingenuity in interpreting standards, and groove alongside Sarah Vaughan’s rhythm section at the time, Joe Benjamin and Roy Haynes.  

2 ) “The Squirrel” from American Swinging in Paris (or Cologne 1957-1960)by Kenny Clarke (1957)

This is a particularly swinging example of Martial’s synergy with two of the great expats of this era, drummer Kenny Clarke and saxophonist Lucky Thompson, both of whom he recorded with dozens of times. They (along with bassist Pierre Michelot) are all in top form on this Tadd Dameron tune.

3 ) “Bonsoir” from Martial Solal Trio (or Le Jazz! Vive Solal! – the exciting jazz piano of Martial Solal)(1960)

This is the first example on this list of Solal’s writing and of his ballad playing, both of which are tender and exploratory here, also demonstrating the sensitive interplay he had with frequent collaborators Guy Pederson and Daniel Humair.

4 ) “Suite pour une Frise” from At Newport ‘63 (1963)

This live track is the first here that I would call “epic,” a nearly twelve minute performance of an intricate and shape-shifting composition, delivered with groove and authority by Solal, Teddy Kotick on bass, and a top-of-his-game Paul Motian on drums.  

5 ) “Chop Suey” from Mellow-dy by Slide Hampton (1967)

This blues composition by Slide Hampton burns. Come for Slide’s jaw-dropping trombone acrobatics, but stay for the edgy yet swinging accompaniment from Solal, Humair, and bassist Henri Texier and especially for a stunning solo by Solal that somehow matches Slide’s energy.  

6 ) “Just Friends” from Satori by Lee Konitz (1974)

This is one of my favorite explorations of a standard, period. Konitz, Solal, Dave Holland, and Jack DeJohnette spend seven plus minutes walking a tightrope where at any moment it seems as if the tune could descend into chaos or lock into more straightforward swing grooving. Solal’s playing is fresh and surprising without ever being gratuitously detached from the tune or the collective energy.

7 ) “14 Septembre” from Bluesine (1983)

Martial’s solo piano playing is always illuminating. If judged purely on technical merit it would be stunning, but the creativity and sensitivity of touch and phrasing are next-level, as the young folks might say. This is true on standards and on originals like this funky piece.

8 ) “Neutralisme” from In & Out by Martial Solal and Johnny Griffin (1999)

Another important ex-pat, Johnny Griffin, engages in lovely and at times gnarly interplay with Solal here. This album is reminiscent of Dynamic Duo, another classic record by a European pianist (Tete Montoliu) and American saxophonist (George Coleman) and is worthy of that lofty comparison and stands alongside his 1950s album with Sidney Bechet as one of his great works with Americans in Paris.  

9 ) “Tea for Two” from Longitude (2007)

Fortunately for us, Solal lived long enough to mentor younger musicians as well. Bassist Francois Moutin is a good example, and he and his brother Louis do a great job here of prodding and being prodded by a still-spry Solal on a standard he first recorded with Lucky Thompson nearly 50 years prior.

10 ) “Lover Man” from Coming Yesterday (2019)

His last session, this concert at Salle Gaveau in Paris, is an absolute tour de force, truly one of the most authoritative and inventive solo piano records I have ever heard, extra ridiculous considering he was 91 at the time. This deconstruction of “Lover Man” reaches far beyond the recognizable elements of the song, while remaining very much in the song’s spirit throughout.