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4 years ago

Volume 9 Issue 5 - February 2004

  • Text
  • February
  • Toronto
  • Jazz
  • Theatre
  • Arts
  • Musical
  • Symphony
  • Choral
  • Composer
  • Quartet

This Centrediscs release

This Centrediscs release - actually a re-release of a Fonovox CD • from J 998 - furthers the growth of interest in this odd iconoclastic figure as exemplified in the 2000 publication of his writings (on art, politics. and religion as_""'.ell as ?n music) under Mane-Therese Letebvre 's editorship. and the republication of his major works (including all those on this disc except the Quintet) in the series The Canadian Musical Herirage. The Preludes and Sonata for solo piano and the Trio all belong to the early 1920s, and in their free fmms and quasi-atonal musical d1cuon they reflect the strong impact on Mathieu of modernists such ,as Scriabin'. The extreme concision and enigmatic shapes of the Preludes (of which an orchestral version exists) may well recall the short e xperimental studies of Schoenberg and Webern from the same era. though it appears Mathieu did not know of them. The onemovement Sonata has a relentless intensity of feeling ; parallels in North-American music might be Ruggles or Ives. T he Trio stands out as the most strikingly original of these pieces. Its three movements are given rather Jvesian titles: Discussion, Reflection, and Pantomime. In the first, the players start by bandyi_ng isolated solo phrases, and continue sometimes "all talking at once," in 'a seemingly random succession of constant loud-soft and fast-slow ch

Fantasy Records is one of the most Leroy Vinnegar and Shelly Manne. important independent jazz compa- This is Mainstream Jazz at its best, nies (spottily distributed in Canada with excellent sound. by Universal) with a catalogue of Pianist Bill Evans' Riverside labels such as Co'ntemporary, Riv- recordings are his earliest, strongerside and Pablo, as well as Good est statements as a leader, causing Time Jazz, Galaxy, Milestone and a paradigmatic shift in the way jazz · Prestige. viewed the basic trio. On this sec- Like most producers today, they ond album "Everybody Digs Bill delve deeply into their vaults to Evans" he works with the eminentexploit their riches ~ releasing sam- ly suitable drummer Philly Joe piers, "beshof"s and compilations, Jones and solid 'bassist Sam Jones but they also show more respect for in a programme ranging from the the musicians by presenting actual hard-driving Night and Day (with ·re-issues. outstanding PJJ drums) and·O/eo, Late in 2003, a batch of past fa- and the reflective original Peace vourites came in, along with a cou- Piece. Included as a bonus is that pie of well thought out packages, virtually-spontaneous composiand they;ve been supplying hours tion's source tune Some Other of good listening. Time, from the same session. Play Benny Carter's "Jazz Giant" them back to back to hear a mascomes from the late 1950s when he ter's mind at work. was husy writing music for Holly- Gerry Mulligan 'met' lots of wood, performing rarely. Perhaps great musicians in his career. sharthe title was to be a reminder to ing album titles with such as Ben the jazz audience, but it's a true Webster, Stan Getz and Paul Desone. Two sessions bring together mond. But when he met up with the altoist/trumpeter/composer Thelonious for "Mulligan Meets with tenorman Ben Webster or Monk" Gerry seemed to have run Frank Rosolino Of\ trombone, and · into a different culture. They had piano work is by Andre Previn, little rapport: it was Monk's sabre replaced by Jimmy Rowles on one vs. Mulligan's rapier; and, 'three .track. The potent rhythm section is against one' with Monk's rhythm rounded out by Barney Kessel, section of Wilbur Ware and Shadow l Wilson. Most of the music was the pianist's, too, with 'Round Midnight coming off best for the baritone player, but it's all very interesting, even if Gerry comes off the loser. "Boss Guitar" is a straight-ahead reissue of one of Wes Montgomery's last Riverside albums, reuniting him with organist Mel Rhyne (a decidedly un-Jimmy Smith player) and drummer Jimmy Cobb. Wes' unique sound is well presented on a mix of standards and originals (with two alternative tracks added), and if it seems ·a bit' lightweight, then just use it as elegant background music. ' ~ A couple of issues back, we looked at Art Tatum's compilation of Pablo group recordings. Round out your collection of the piano master with "The Best Of The Pablo Solo Masterp ieces". They've distilled the material from seven CDs into this 20-selection essential release. A Tatum acolyte who moved on to his own distinctive style and a leading place iri jazz is our own Oscar Peterson. The boxed set of 4 discs "Dimensions: A Compendium Of The Pablo Years" speeds across the years 1953 to 1986 with 46 tracks, live and studio, and in settings from duos through large orchestra. Peterson is not out of place in any of them, whether it's a free-wheeling jam, or carefully worked out .arrangement. He shares the space with icons such as Duke Ellington, Count Basie, Dizzy, Ella, Grappelli, and on-andon. Fellow Canadians Dave Young, Ed Bickert and Rick Wilkins are included as contributors. Ted O'Reilly Renee Rosnes and the Danish Radio Big Band EMI Blue Note 81704 2 The Canadian pianist Renee (reenee) Rosnes is in the second decade of a career that seems to be ever-building on what went before, and th.at's a lot. She has shared the stage with marvelous talents like JJ Johnson, Joe Henderson, the Carnegie Hall Jazz Band, Marian McPartland and even Herbie Hancock, one of her earliest influences. On display in this release are her piano skills; compositions, and arranging talents for ·a large ensemble, including Orion's Belt and, of particular interest for Canadians, the anony- James Parker l/1-:t(;t..:i

Volumes 21-25 (2015-2019)

Volume 25 Issue 2 - October 2019
Volume 25 Issue 1 - September 2019
Volume 24 Issue 8 - May 2019
Volume 24 Issue 7 - April 2019
Volume 24 Issue 6 - March 2019
Volume 24 Issue 5 - February 2019
Volume 24 Issue 4 - December 2018 / January 2019
Volume 24 Issue 3 - November 2018
Volume 24 Issue 2 - October 2018
Volume 24 Issue 1 - September 2018
Volume 23 Issue 9 - June / July / August 2018
Volume 23 Issue 8 - May 2018
Volume 23 Issue 7 - April 2018
Volume 23 Issue 6 - March 2018
Volume 23 Issue 4 - December 2017 / January 2018
Volume 23 Issue 3 - November 2017
Volume 23 Issue 2 - October 2017
Volume 23 Issue 1 - September 2017
Volume 22 Issue 9 - Summer 2017
Volume 22 Issue 8 - May 2017
Volume 22 Issue 7 - April 2017
Volume 22 Issue 6 - March 2017
Volume 22 Issue 5 - February 2017
Volume 22 Issue 4 - December 2016/January 2017
Volume 22 Issue 2 - October 2016
Volume 22 Issue 1 - September 2016
Volume 21 Issue 9 - Summer 2016
Volume 21 Issue 8 - May 2016
Volume 21 Issue 6 - March 2016
Volume 21 Issue 5 - February 2016
Volume 21 Issue 4 - December 2015/January 2016
Volume 21 Issue 3 - November 2015
Volume 21 Issue 2 - October 2015
Volume 21 Issue 1 - September 2015

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