Archive for the 'Jazz' Category

Transitions 2015

People who have passed on during 2015, whose life or works have influenced me:

  • Yogi Berra (1925-2015), American baseball player
  • Ornette Coleman (1930-2015), American jazz musician
  • Robert Conquest (1917-2015), British kremlinologist
  • Malcolm Fraser (1930-2015), Australian politician
  • Jaako Hintikka (1929-2015), Finnish philosopher and logician
  • Lisa Jardine (1944-2015), British historian
  • Joan Kirner (1938-2015), Australian politician, aka “Mother Russia”
  • Kurt Masur (1927-2015), East German conductor
  • John Forbes Nash (1928-2015), American mathematician
  • Boris Nemtsov (1959-2015), Russian politician
  • Oliver Sacks (1933-2015), British-American neurologist and writer
  • Gunter Schabowski (1929-2015), East German politician
  • Alex Schalck-Golodkowski (1932-2015), East German politician
  • Gunther Schuller (1925-2015), American composer and musician (and French horn player on Miles Davis’ 1959 album, Porgy and Bess).
  • Brian Stewart (1922-2015), British intelligence agent.
  • Ward Swingle (1927-2015), American singer and jazz musician.

Last year’s post is here.




Paris life – brunch

Les Frangines Montparnasse Paris

Cafe Les Frangines, 46 Rue Raymond Losserand, Montparnasse 75014 Paris, France. Soundtrack: Dixieland and klezmer – trumpet, clarinet, trombone, piano, accordian, double bass.




A great Norwegian Messiah

Until this month, the best performance of the Messiah I ever heard was in 2011, an event I recorded here. I have now heard its equal.

This latest Messiah was performed on 19 December 2014 by The BBC Singers and the Norwegian Wind Ensemble, in an arrangement by Stian Aareskjold, under David Hill (conductor), with Fflur Wyn (soprano), Robin Blaze (counter-tenor), Samuel Boden (tenor) and Mark Stone (bass), in Temple Church, as part of Temple Winter Festival.

My heart sank when I first saw that the music had been arranged for wind-band, since groups of woodwinds, so often shrill and ineffectual, are not my favourite ensembles. But in fact this version turned out to be a wonderful arrangement and was realized in a thrilling performance. The secret, I think, was that the ensemble included a double bass and cello, some marvelous natural horns and three sackbuts, and, most spectacularly, saxophones. The solo for soprano sax in “O Thou That Tellest” played by Kristin Haagensen was just superb. That solo soared, as so did the saxes on “Surely He Hath Borne our Griefs and with His Stripes we are Healed”. A modern Briton, of course, cannot easily hear baroque music played by saxophones without thinking of Michael Nyman, and, just as with his great music, this was a truly sublime experience. The trombones in “He Trusted in God” were also inspired. Mr Aareskjold should be congratulated on this arrangement, and I hope it is soon recorded.

In addition, the performance rocked, and often literally. I was sitting as close to the orchestra as I could possibly get, and even had the two baroque trumpeters between me and the orchestra for the second half – Stian Aareskjold and Torgeir Haara, who had played angelically from the organ loft in the first half. (They played from iPads controlled by foot pedals.) So I could see the movement of choir and players as they performed, and there was a distinct bounce in some of the numbers, particularly in “His Yoke is Easy”. Perhaps the presence of saxes played by jazz musicians, who (unlike most classical musicians) move in time to their playing, led to this. Mr Aareskjold is the son of a trumpeter and the grandson of a trombone player (the reverse of my own ancestry), and brass players are often crossover musicians. The Church acoustics were, as usual here, superb.

For the “Hallelujah” Chorus, only part of the audience stood. Until this performance, I had never heard of the action of standing being construed as showing support for monarchical systems of government, and, frankly, such an interpretation is ridiculous. One stands for the “Hallelujah” because it is a tradition to do so, even if a tradition started by a Hanoverian monarch. Like Karl Marx, I believe traditions are the collected errors of past generations. But, like Morton Feldman, I’ve realized in adulthood that errors are not necessarily always to be avoided.

The concert is available to listen until mid January 2015, via BBC Radio 3. The Ensemble hails from Halden, a town of just 30,000 people. It was nice that the people sitting near me also came from there, and had brought with them tourist brochures to entice us to visit the town. I took one, of course, as it gave to airy nothing a local habitation and a name.

And on the way out of the Middle Temple, in the offices of law-firm Gibson, Dunne & Crutcher in Temple Avenue, a late-working Friday evening team could be seen around a white board, making at least one observer envious of their camaraderie and collective efforts. How much fun it looked!




Juju

Juju-Shorter

Wayne Shorter’s album Juju was recorded at the Van Gelder Studio in Englewood Cliffs, New Jersey on 3 August 1964, 50 years ago today.  The ensemble comprised Shorter on tenor sax, McCoy Tyner on piano, Reginald Workman on bass, and Elvin Jones on drums.  The album has six original compositions, all by Shorter; the modern remastered version has two alternative takes. The music is sublime.




The Lamberts

Lambert-George-AcrossTheBlackSoilPlains-1899

From sometime before 1933 right down to the present day, members of my family have had on their walls reproductions of George Lambert’s 1899 Wynne-Prize-winning painting Across the Black Soil Plains, and so this image is part of my cultural heritage. (Image due to AGNSW.)

George Washington Thomas Lambert (1873-1930) was an Australian artist born, after his father had died, in St Petersburg of an American father and English mother.  The family emigrated to New South Wales in 1887.  In Australia, he is most famous for his painting, Across the Black Soil Plains, now in the Art Gallery of New South Wales, which was based on his time living at Warren, NSW.  During WWI, he was an official Australian war artist.

George’s son, Leonard Constant Lambert (1905-1951) was a jazz-age British composer and conductor, and co-founder of Sadler’s Wells dance company.

Constant’s son, Christopher (“Kit”) Sebastian Lambert (1935-1981) was a record producer and manager, and part-creator of rock band, The Who.

Sad that son and grandson both died in their 46th year.




Piano on the Bay

Another colourful outdoor piano, this one by Yunior Marino, spotted at 595 Bay Street at Dundas Street, Toronto.   This afternoon some great stride piano was being played on it by an elderly gentleman.

 




Vale: Graeme Bell

Farewell, Graeme Bell (1914-2012), legendary Australian trad jazz man. His band’s tour of Czechoslovakia in 1947 was still fondly remembered almost four decades later by patrons of JazzKlub Parnas when I first visited Prague in 1984.




Vale Cesaria Evora

Another sad loss this week:  Cesaria Evora, sultry-voiced singer of morna, the fado of Cape Verde.  May she rest in peace.

Her Guardian obit is here, and The Economist has a nice belated tribute here.




Minimalism in Jazz

To celebrate Steve Reich’s 75th Birthday, Jazz on 3 (BBC Radio 3) ran a special feature this week on minimalism in Jazz (available for re-listening for several days).     This feature includes an interview with bass player Lloyd Swanton of The Necks.   First hearing the music of The Necks about a decade ago was a revelation, as it is the closest music to that in my head in my own improv playing.




Rythmica ps

LondonJazz has a review of Rhythmica’s recent concert at the QEH here.  And links to some videos are here on Rhythmica’s pages.  Be delighted, be very delighted!

Next concert on the Rhythmica Wake-up-the-Nation tour is in Cambridge on 13 March 2011 at  Clare Jazz, Clare Cellars, Memorial Court,  Queen’s Road, Cambridge CB3 9AJ.