You see, I began playing the piano when I was about 4 or 5 years old. I had two older sisters who had been given piano lessons and violin lessons and all kinds of lessons. But they didn't want to practice, and they weren't really interested in playing. And I was about 10 years younger than my middle sister - I was the youngest in the family.
And by the time I came along, my parents were rather disenchanted with the idea of going for all that money for the piano lessons again because, you know, they had had bad experiences with my two sisters. So I was playing when I was 5 and 6, and I really wanted to study.
And I finally prevailed upon them to let me study classical music, which I began studying when I was 8 years old. I studied classical music until I was about 15 in Worcester and then, as I say, I went to the conservatory for a little bit. I didn't feel - your question was, did I feel a mismatched because I had had formal training in playing the piano and I had not in singing? In jazz, actually, I don't know that you have to have formal training in singing. I'm sure it might help.
But I'm sure that many of the great jazz singers did not have that formal training. Yes, absolutely. And as far as formal training in playing the piano, I certainly think it's helpful in giving you the ability, the technique - the technical ability to play the piano and play whatever you want because if you have the technique, you can go ahead and play jazz or play whatever you - you know, whatever comes to mind.
And there were live - you know, in those days, there were remote broadcasts - that's what they called them - which meant they were live performances from jazz rooms, from hotels, from places where there were bands and there were instrumentalists playing wonderful jazz music. And that's what I heard when I was in Worcester. And then I heard Nat King Cole and his trio, and that was as if a light went on for me because Nat Cole was my very first favorite pianist.
He was a marvelous pianist. A lot of people remember him as a great singer, which, of course, he was. But for me, he was the excitement about playing jazz piano. But it was Nat Cole first. On your recordings from the s, or at least the couple that I have with me, you're more like, you know, a cocktail dress or an evening gown, something with straps that, you know laughter - with bare shoulders, you know, that.
So what was expected of you in terms of your image in the s, when you were one of the few women pianists recording? Love Of My Life Autumn In New York I Want A Little Girl What's The Use Of Wonderin' Serenade For A Wealthy Widow Let's Fall In Love Mountain Greenery From This Moment On Good Bait Cabin In The Sky Give Me The Simple Life Goodbye Lullaby Of Broadway Total time: min.
CD 2 As Long As I Live But Not For Me I Love A Piano If I Had You Garrow's Way Come Rain Or Come Shine I Saw Stars By Myself The Lady Is A Tramp A couple of improvisatory numbers complete the hour — Carroll and McPartland get together on a free form piece, and finish the show with "Barbara and Marian's Blues.
Your purchase helps support NPR programming. Accessibility links Skip to main content Keyboard shortcuts for audio player. NPR Shop. Thirty years later, Carroll makes a return appearance to reminisce with her friend about their experiences at the Hickory House and the Oak Room. Views Read Edit View history. Help Learn to edit Community portal Recent changes Upload file. Download as PDF Printable version.
Add links. Easy listening , instrumental pop. Herb Alpert , Jerry Moss. Going Places!!Barbara Carroll's second album as a leader (aside from a single 78 rpm disc recorded a few years earlier) is an enjoyable trio outing with bassist Joe Shulman and drummer Herb lucbabobfilante.svizokagluricocoveswaytsunucuph.co Carroll became known as a singing pianist later on in her career, these sessions, which consist primarily of low-key performances of ballads, strictly feature her as an instrumentalist.