Well, just back from the Department Christmas dinner, I find myself filled with the festive spirit (or more, accurately, wine) so I thought I’d share a seasonal piece of music. As regular readers of this blog (both of them) will know, I listen to quite a lot of jazz. In the course of doing that it has often struck me that there can hardly be a tune that’s ever been written – however unpromising – that some jazz musician somewhere hasn’t taken a fancy to and done their own version. Louis Armstrong turned any amount of base metal into gold during his long career, but here’s a record I could scarcely imagine before hearing it. It’s Santa Claus is coming Town recorded in 1964 by the great Bill Evans on piano in a trio with Gary Peacock on bass and Paul Motian on drums. As far as I know this is the only Christmas tune that Bill Evans ever recorded, but I think it’s great. Enjoy!
Archive for the Music Category
Santa Claus is Coming to Town – Bill Evans
Posted in Jazz with tags Bill Evans, Gary Peacock, Paul Motian, Santa Claus is Coming to Town on December 13, 2024 by telescoperSixty Years of A Love Supreme
Posted in Jazz with tags A Love Supreme, Acknowledgement, Elvin Jones, Jimmy Garrison, John Coltrane, McCoy Tyner, Psalm, Pursuance, Resolution, Rudy Van Gelder on December 9, 2024 by telescoperOn 9th December 1964 – exactly 60 years ago to the day – John Coltrane (ts), McCoy Tyner (p), Jimmy Garrison (b) and Elvin Jones (d) got together to record at Rudy Van Gelder’s Studio in New Jersey. In a single session they created what is probably Coltrane’s masterpiece, A Love Supreme, an album that proved immediately popular and influential when it was released in 1965.
A Love Supreme represents a sort of musical culmination of everything this quartet had achieved and it’s not surprising that they abruptly changed direction soon after making this record. They had said everything they could say in this format. Coltrane’s next great album, Meditations, recorded in 1965, features the same musicians (with the addition of Pharaoh Sanders on tenor sax and a second drummer, Rashied Ali), but it’s much freer in style.
A Love Supreme consists of four sections: Acknowledgement, Resolution, Pursuance and Psalm. As you might imagine from the titles, it’s a deeply spiritual piece. Acknowledgement is based on an 8-bar theme underpinned by a four-note phrase played on the bass that fits the phrase “a love supreme”. Coltrane impovises rather meditatively on this theme, then the group chants “a love supreme” in unison while Elvin Jones elaborates the rhythm in complex double-time. The second movement, Resolution, is based on a different 8-bar theme and Coltrane’s playing and interplay with Jones is much more agitated but it’s in Pursuance that he pulls out all the stops. Harmonically, Pursuance is a blues but it’s taken at a fast tempo and Coltrane plays with the harsh, strangulated tone he had developed by this time. After all this frantic activity he imbues the final section, Psalm, with a radiant solemnity, as he pours out an incredibly beautiful solo, with Elvin Jones providing a perfectly judged accompaniment, the rise and fall of his drum rolls showing wonderful control.
Anyway, these are just words. It’s much better just to listen to the music, as I have done twice already this evening. Enjoy!
Mozart & Bruckner at the National Concert Hall
Posted in Music with tags Bruckner Symphony No. 7, Hans Graf, Mozart Violin Concerto No. 5, National Concert Hall, National Symphony Orchestra, Stefan Jackiw, Wolfgang Amadeus Mozart on December 7, 2024 by telescoper
It was a dark and stormy night but I braved the inclement weather to travel to the National Concert Hall in Dublin for what will be my last concert of 2024. It look like being a nearly full house when I booked my ticket, but in the end there were quite a few empty seats perhaps because various groups decided not to make a journey owing to Storm Darragh. My own travels went without a hitch and in fact I even managed to walk from Connolly to the NCH before the performance and back to Pearse after it without getting rained on.
Anyway, there were two items on the menu: Violin Concerto No. 5 in A Major by Wolfgang Amadeus Mozart, with soloist Stefan Jackiw, and the Symphony No. 7 in E Major by Anton Bruckner. The National Symphony Orchestra was conducted by Hans Graf.
Mozart wrote at least five violin concertos, and he was at most 20 when he wrote the last of the five that are known. During last night’s performance I was thinking a lot about all I had failed to achieve by the age of twenty! Influenced by his father Leopold, the violin was Mozart’s first instrument, but he later moved on and preferred to play keyboard instruments. Perhaps he wanted to escape from his father’s domination, which might explain why he didn’t write any more pieces for solo violin in the rest of his (short) life.
The 5th Violin Concerto is sometimes called “The Turkish” though there isn’t much of a Turkish influence in the music. Whatever the name, it is a very enjoyable piece in three movements, played quite beautifully last night by Stefan Jackiw and by the pared-down NSO. The soloist got a very warm ovation and responded with a solo encore in the form of a largo movement from a Bach violin sonata.
After the wine break we returned to find the stage much fuller with a large brass section and extra strings added to the smaller forces required for the Mozart. Bruckner’s Seventh Symphony is a huge and varied work lasting over an hour in performance. The radiant first movement, with its noble melody soaring over shimmering violin tremolos is very reminiscent of Wagner, as is much of the rest of the Symphony (especially in terms of the orchestration). Bruckner famously idolized Wagner and this composition is at least partly a tribute to his musical hero. It is said that Bruckner had a premonition of Wagner’s death in 1883 and the cymbal crash during the second (slow) movement symbolizes the moment that he found out that his premonition had come true. That whole movement (marked Sehr feierlich und sehr langsam; very solemn and very slow) is very moving: sombre though not excessively mournful. The third movement Scherzo is marked Sehr Schnell (very fast) but I found the tempo last night vigorous, but not epecially fast. I was expecting something a bit wilder. The last movement actually sounded to me more like Mahler than Wagner, with a resounding climax.
The Seventh is probably Bruckner’s best known and most performed Symphony. It was certainly a big hit for him when it was first performed in 1884. The composer was born in 1824 and last nigtht’s concert was billed as Bruckner 200. I think the 7th was a good choice to mark the occasion and the performance, with superb playing by the brass section (including the Wagner tuben), and the orchestra very well marshalled by Hans Graf, was a fitting tribute.
My next trip to the NCH won’t be until January, but I’m already looking forward to the Leningrad Symphony after the Christmas break!
This Year’s Kisses
Posted in Jazz with tags Billie Holiday, Lester Young, This Year's Kisses on December 6, 2024 by telescoperI’ve been out all day on a secret mission so, in lieu of a proper post, I thought I’d share this classic record by Billie Holiday and Lester Young.
Ring, Dvořák and Tchaikovsky at the National Concert Hall
Posted in Music with tags Antonin Dvorak, Cello Concerto in B Minor, Everything was asleep as if the universe was a vast mistake, Judith Ring, Patrik Ringborg, Pyotr Ilyich Tchaikovsky, Tchaikovsky Symphony No. 5 on November 30, 2024 by telescoper
After a gap of a few weeks due to other commitments, last night I went to the National Concert Hall in Dublin to see and hear another programme of music performed by the National Symphony Orchestra. Unusually for these Friday evening concerts by the NSO, it wasn’t broadcast live or even, judging by the absence of microphones on and over the stage, recorded. I suppose that might have been for some contractual reason.
Tyhe conductor for this performance was Patrik Rinborg, from Sweden. The first thing that struck me about him was that he is very tall – his was a towering presence on the podium. Looking through my back catalogue I find I attended a performance of the Dvořák Requiem conducted by him back in January 2020, not long before the pandemic struck.
The first piece, Everything was asleep as if the universe was a vast mistake by Judith Ring, received its performance in January 2023. The title is from a translation of a quite by Fernando Pessoa. I found this piece quite interesting, especially the changes of colour and energy, but spoilt a little for me by the repeated short sliding phrases coming from the trombones, which I thought sounded rather lavatorial and therefore jarring in the context of the work. Anyway, Judith Ring was in the audience last night and came up on stage at the end of the performance to great applause.
The second work was a perennial favouite in the concert hall, the Cello Concerto in B minor by Antonín Dvořák. I think most people, if asked to name half-a-dozen great works for cello and orchestra would put this one on their list. Last night’s soloist was Camille Thomas, resplendent in a glamorous purple frock, who played beautifully. Her body language was interesting even when she wasn’t playing, sometimes leaning back with her arms by her sides as if transported by the music, and sometimes turning around to look at the orchestra to encourage them. She got a well-deserved ovation at the end, and did a solo encore in the form of a piece called Song of the Birds by Pablo Casals.
After the wine break we returned for Symphony No. 5 in E minor, Op. 64 by Pyotr Ilyich Tchaikovsky. In advance of the concert I had this muddled up with the Manfred Symphony, which I have heard live before. That was indeed the fifth symphony that Tchaikoksky composed, but is not counted among the numbered symphonies. I hadn’t previously heard a full performance of the Symphony No. 5 we heard last night, so I came to it relatively fresh. Things to note about it are distinct shifts in tonality through the four movements, and a single motif repeated throughout in different forms. It did make me think of the Symphony No. 7 “Leningrad” by Shostakovich who seems to have borrowed the idea for the “invasion” theme of the first movement.
I enjoyed the performance a lot – it was played with much vigour and nuance by the NSO – but at a first hearing I’m not a huge fan of the piece. It’s a bit less than 50 minutes long and by the end I was very bored with the motif. I wasn’t as uplifted by the final movement, where it reaches resolution in E Major, as I think I was supposed to feel as I thought it very brash and unsubtle.
Anyway the audience responded with generous applause at the end of this concert, which was quite a long one (partly because of the encore). For one thing that meant I had much less time to wait for my train back to Maynooth than usual.
100 Years of Paul Desmond
Posted in Jazz with tags alto saxophone, Dave Brubeck, Jazz, Koto Song, music, Paul Desmond on November 25, 2024 by telescoperThis evening I happened across a reminder that today is the centenary of the birth of saxophonist and composer Paul Desmond, who was born on November 25th 1924. Paul Desmond is best known for his work with Dave Brubeck’s quartet from 1951 to 1967, and particularly as composer of their smash hit Take Five. He didn’t only work with Brubeck, though. He made fine recordings with Chet Baker and Gerry Mulligan amongst others. His gentle tone and lyrical phrasing on alto saxophone were instantly recognizeable and very typical of the West Coast style of cool jazz, and on alto saxophone was instantly recognizeable. Never a speed merchant in the Charlie Parker tradition, Desmond fell out with Brubeck’s drummer Joe Morello who would often set the tempo, especially on Take Five, too fast in live performances, so I thought I’d pay my little tribute by playing a less familiar number, the Japanese-influenced Koto Song on which Paul Desmond plays very beautifully.
R.I.P. Roy Haynes (1925-2024)
Posted in Jazz, R.I.P. with tags Anthropology, bebop, Boris Rose, Bud Powell, Charlie Parker, Dizzy Gillespie, I Got Rhythm, Rhythm Changes, Roy Haynes, Tommy Potter on November 13, 2024 by telescoperI was very sad to hear of the death yesterday (12th November) at the age of 99 of legendary jazz drummer Roy Haynes, one of the last survivors of the bebop era of the 1940s. Roy Haynes had a career that was not only exceptionally long but also exceptionally prolific: just look at the discography on his Wikipedia page! If I can add a personal note, he features on the first ever Charlie Parker LP I bought when I was about 15 and which I still have. I bought it on impulse, not really knowing who Charlie Parker was, was this record that turned me onto his music and I’ve never turned off.
No information is provided on Youtube, but the sleeve note reveals that the track was recorded from a radio broadcast live from Birdland in New York City on March 31st 1951 using a primitive disc recording machine by an amateur recording buff called Boris Rose. The sound quality isn’t great, but he deserves much greater recognition for capturing this and so many other classic performances and preserving them for posterity.
The personnel consists of Charlie Parker (alto saxophone), Dizzy Gillespie (trumpet), Bud Powell (piano), Tommy Potter (bass) and Roy Haynes (drums).
Here’s what the sleevenote (written by Gary Giddens) says about this track:
“Anthropology is an “I Got Rhythm” variation which originally appeared, in a slightly different form, as “Thriving on a Riff” on Parker’s first session as leader. The tempo is insanely fast; the performance is stunning. Bird has plenty of ideas in his first chorus, but he builds the second and third around a succession of quotations: “Tenderly”, “High Society”, “Temptation.” Gillespie’s second chorus is especially fine – only Fats Navarro had comparable control among the trumpeters who worked with Bird. His blazing high notes tend to set his lyrical phrases in bold relief. Bud, the ultimate bop pianist (and much more), jumps in for two note-gobbling choruses: no quotes, though, it’s all Powell. The four bar exchanges that follow demonstrate Haynes’s precision.
It’s a very exciting track not least because of the contributions of Roy Haynes, not only in the chase sequence mentioned in that quote but throughout the track where he demonstrates tremendous energy and imagination as well as control at such a high tempo.
Rest in peace, Roy Haynes (1925-2024), one of the greatest of all jazz drummers.
Blues Walk
Posted in Jazz with tags 1958, Blues Walk, Dizzy Gillespie, Loose Walk, Sonny Stitt on November 4, 2024 by telescoperI couldn’t resist sharing this piece I found on YouTube a while ago and have listened to many times. It’s amazing how many of my favourite jazz performances date from 1958, and here’s another. It’s the Dizzy Gillespie Quintet of that year featuring the great Sonny Stitt on tenor saxophone, given plenty of space by leader Dizzy Gillespie who takes the second solo on trumpet. The tune is called Blues Walk, although it is sometimes known by the alternative title Loose Walk and as such appeared on the classic film Jazz on a Summer’s Day which also featured Stitt on tenor, though with a quite different band. Note the presence of the great Ray Brown on bass and Lou Levy on piano. The drummer, Gus Johnson, is much less well known but plays very well on this.
If anyone could claim to be a direct musical descendant of Charlie Parker then it was Sonny Stitt, who demonstrates his amazing drive and technical ability in a tremendous solo on this tune, the last number performed at a concert in Belgium. Listen to the chorus that starts about 1:30. Wow! They don’t call this style “hard bop” for nothing!
Tara Erraught at the National Concert Hall
Posted in Music with tags classical-music, Exsulate Juibilate, Joseph Haydn, Marianna Martines, Mozart, music, National Concert Hall, National Symphony Orchestra, Symphony No. 41 "Jupiter", Tara Erraught, Wolfgang Amadeus Mozart on November 2, 2024 by telescoper
Last night’s concert at the National Concert Hall featured star mezzo-soprano Tara Erraught (who is from Mullingar, in County Westmeath, and is artist-in-residence at the National Concert Hall for this season. She was accompanied by the National Symphony Orchestra directed by Laurence Cummings. You can tell how much I like Tara Erraught by the fact I went to the concert despite there being a harpsichord involved in some of the pieces; fortunately it was pointed away from the audience so we couldn’t hear it.
Before the concert, I was trying to remember when I heard her sing before. A look at my back catalogue revealed that it was this concert at which she sang a Mahler song-cycle. Last night’s performance comprised very different material, all from the 18th Century. There were three vocal pieces: a cantata in four sections by a name quite new to me, Marianna Martines, also known as Marianne von Martinez; a concert aria by Joseph Haydn; and by far the most exciting piece, Mozart’s wonderful Exsultate Jubilate. Tara Erraught was in fine voice throughout but I was particularly impressed with the precision of her articulation of the ornamented phrases in the last work. The audience loved it too.
The concert was all about Tara Erraught, however. The first half included Symphony No. 25 by Joseph Haydn, a funny little work only 13 minutes long and lacking the usual slow movement that seemed to me like it wasn’t really finished. It’s certainly not among Haydn’s best symphonies, anyway. It was a bit unfair on Haydn to have Mozart’s Symphony No. 41 “Jupiter” on the same menu as that it is one of the great symphonies by any composer. It did however demonstrate very powerfully how much the symphonic form had evolved in the twenty-odd years separating the two compositions (which incidentally are both in the same key of C Major). The Jupiter symphony is not only brim full of ideas, but the themes are woven into a much richer fabric. I might add that it was very well played by the NSO in a performance that was forceful and energetic without being too bombastic.
Puccini 100 at the National Concert Hall
Posted in Music with tags Carlo Rizzi, David Young, Giacomo Puccini, Gwyn Hughes Jones, Messa di Gloria, National Concert Hall, National Symphony Chorus, National Symphony Orchestra, Simon Shibambu on October 26, 2024 by telescoper
Last night’s Concert at the National Concert Hall in Dublin was billed as Puccini 100 as it was primarily intended to mark the centenary of the death of Giacomo Puccini. Guest conductor Carlo Rizzi had a long association with Welsh National Opera and is well-versed in Puccini’s operatic repertoire but this concert featured a rare treasure in the form of the Messa di Gloria, a large-scale work for choir, two soloists and orchestra Puccini wrote as a graduation piece when he was still a music student in Milan. Contrary to what you might infer from the title, it’s actually a full setting of the Latin Mass. Although written when the composer was only 20, the piece was never officially published until 1952, long after Puccini’s death. He did, however, recycle some pieces from it during his career as a composer of operas, chiefly in Manon Lescaut.
Although I’m a fan of Puccini’s operas I had never heard the Messa before and didn’t really know what to expect. It was turned out to be quite a revelation. As you might have anticipated it does sound more “operatic” than you might expect of a religious work and that dramatic certainly heightens the impact of the performance. I’m told that the National Symphony Chorus worked like crazy last week in rehearsals for this concert, and it certainly showed. The choir sounded absolutely amazing. Congratulations to choral director David Young! The two soloists were Welsh tenor Gwyn Hughes Jones and South African bass-baritone Simon Shibambu, both of whom were in fine voice. I particularly enjoyed the duet between them in the final Agnus Dei that brings the piece to a surprisingly gentle conclusion.
I really enjoy concerts that feature compositions I’ve never heard before, and this was a great example of that. I’m really glad that the Messa was chosen to mark Puccini 100. I must get a recording of it…
But the Puccini was only half the concert. Before the wine break we heard a very nice orchestral overture in C Major by Fanny Mendelssohn and then the evergreen 4th Symphony (“The Italian”) written by her kid brother, Felix, as a celebration of the time he spent in Italy on a Grand Tour. It was interesting to hear the two pieces played together as there is so much in common between the styles of composition, but so many subtle differences in voice. It’s a great pity that the sexism of the day prevented Fanny Mendelssohn from fulfilling her potential as a composer.
In the Dark 