Mahavishnu

April 30 - INTERNATIONAL JAZZ DAY celebrated under the auspices of UNESCO since 2012

   In the history of fusion jazz the band called Mahavishnu was the legend. In fact the brand was shared by two different bands, even though both were closely related to English guitarist John McLaughlin. First Mahavishnu was performing in period 1971-1976 and it was the band playing blend of different styles from progressive rock to modern jazz and funky. Mahavishnu in seventies was the band establishing jazz-rock sound with violin, synthesizers and electrified guitar. Eight years after first Mahavishnu was disbanded, John McLaughlin back to the idea of fusion. In 1984 he reestablished under the name Mahavishnu whole new band with Mitchell Forman on keyboards, Jonas Hellborg on bass, Bill Evans on saxophones and drummer Billy Cobham, a pillar of first lineup and second member of both incarnations. New band was active to 1987 and recorded two studio albums – Mahavishnu (1984) and Adventures in Radioland (1986).
   Although both Mahavishnu bands were playing fusion by the assumption, and both were artistic projects by John McLaughlin, their sound and style characteristics were essentially different. Most clearly it was change of lineup. Tenor and soprano saxophones played by Bill Evans with deep sound and full-blooded jazz phrases gave whole band strong expressive character. Thickness of jazz structures founded on perfectly established bass phrases by Jonas Hellborg and dense keyboard progressions by Mitchell Forman are building quite new idea of fusion. Opening composition Radio-Activity is perfect sample of this new style, it’s more radical and far more electrified. There’s more of power jazz playing here than trying to reestablish any connections with rock or popular music. In fact 1984 was the moment when under pressure of disco and pop music, the best part of rock scene was declining into dark. And this paradoxically loosed the bounds with rock, giving new fusion band more space for clear jazz and sound experiments.

Mahavishnu (1984)

   And experiments with the sound became the basis of 1984 album John McLaughlin recorded with new lineup of Mahavishnu. Changes of instrumental setting, additional musicians and instruments Danny Gottlieb on percussion instruments, Katia Labeque on synthesizers and piano in When Blue Turns Gold, where played also Hari Prasad Chaurasia on flute and Zakir Hussain on table – all these artists gave the sound w the band their stigma. But what has changed most was guitar. Its sound became essentially new factor in Mahavishnu style. And not only the sound but whole performance is different. After series of great recordings with Shakti and various significant experiences with world music, John McLaughlin had powerful and potential for creating wide spectrum of improvising ideas. The sound spectrum of leader’s guitar is a beyond imagination. Guitar synthesizer Synclavier II, digital guitar and Les Paul Special he used were just state of the art equipment, giving much more possibilities than any artist really needed. Imagination and sound developments gave this record free feeling and noble stability. It’s one of best record of this strange year. 

Joshua Rifkin – Piano Rags by Scott Joplin

   Amidst different elements building many currents of popular music in the last decades of the nineteenth century, piano music was particularly notable trend. It was present in many public places, mainly for wide range of sound possibilities, by also for economic reasons, since there was cheaper to pay for one musician than four or more. So in 19th century's public places piano music had started replacing various ensembles. Repertoire for such performances was taken mainly from popular songs, opera and even symphonic melodies, but a noticeable part was composed by pianists themselves. Some compositions of such kind were published for sale. Artistic level of this production was varied, wages were just discreditable but it was always a chance to earn a little bit more than just by live performances.
   Scott Joplin (1868-1917) was one of the greatest ragtime players and composer of most famous rags. He was playing ragtime in honky tonk bars in St. Louis and its outskirts. In 1899 this 31 year old pianist achieved great success composing Maple Leaf Rag, and this single composition gave him place in history. There was even a legend about 1 million copies sold in 3 months, but according to research by Joplin’s biographer Edward A. Berlin, first print of 400 copies needed a year to be sold. After his death most of his works were almost forgotten even if Maple Leaf Rag was recorded few times as a standard in 1930’s and later. The Great War dramatically changed the popular culture and ragtime was abruptly out of fashion as well as many other dances and forms of 19th century popular music.

Joshua Rifkin - Piano Rags by Scott Joplin (1970)

   In 1970 Nonesuch published first collection of Scott Joplin’s Rags. Eight carefully chosen rags were mostly Joplin’s best sellers on A side, from opening Maple Leaf Rag, through The Entertainer and The Ragtime Dance, to Gladiolus Rag. Second side opens with Fig Leaf Rag, then shows some examples of composer’s harmonic advancements in Scott Joplin’s New Rag and Euphonic Sound, and is crowned by Joplin’s latest composition Magnetic Rag, which Joshua Rifkin in linear notes called „valedictory work”. Pianist and musicologist pointing development of this last composition, sees it as the synthesis of various influences and Joplin’s imagination driven both by Afro-American culture and Middle-European dance music, which can be read as tribute to his teacher Julius Weiss. These eight ragtimes recorded by young pianist Joshua Rifkin perfectly fitted the revival of traditional jazz and popular music in early seventies. It is the publication that in fact changed the history. 

Carl Philipp Emanuel Bach Harpsichord Concertos

THE 300th ANNIVERSARY OF CARL PHILIPP EMANUEL BACH'S BIRTH

   Born March 8th, 1714 in Weimar Carl Philipp Emanuel Bach was second son of Johann Sebastian Bach. His father asked his friend and composer Georg Philipp Telemann to be his godfather. Such background was perfect foundation to develop a career of professional musician. He was well educated, studied not only music with his father but also jurisprudence in Leipzig and Frankfurt. Studying law in university was most efficient way to achieve higher social position. It is worth to remember in first half of 18th century musicians without formal education were treated as servants. But the same musicians with university degree were treated like court counselors while doing exactly the same job. In 1738, after receiving the degree, he started his creative career as musician in orchestra of Prince Frederic II, who became the King of Prussia two years later. In rich cultural environment of Frederic the Great’s house Carl Philipp Emanuel Bach was working for next three decades. In 1746 he was promoted for the post of chamber musician. He was friend of poet and dramatist Gotthold Ephraim Lessing and stayed in contact with many prominent artists, poets, scientists gathered around Berlin court and Potsdam Sanssouci palace.
   Time between 1738 and 1768 was most fruitful time of his artistic and personal development. For the role of thirty years period he was called Berliner Bach. His second sobriquet, Hamburger Bach is also connected with place of his work and living, this time with the last twenty years of his career. During his Berlin years Philipp Emanuel was in frequent contacts with his godfather maintaining the lively correspondence with Georg Philipp Telemann who was director of music in the city of Hamburg. Probably before Telemann died in 1767, he appointed his godson to be the successor for his post. In 1768 Carl Philipp Emanuel Bach took in Hamburg the position of his deceased godfather. He was hired as a music director in five main churches and cantor in Johanneum School. This period was fruitful in concert instrumental works and big sacred vocal forms.  He died in December 1788, he composed oratorios like Die Israeliten in der Wüste (1775), Morgengesang am Schöpfungsfeste (1784) and Auferstehung und Himmelfahrt (1787).

Harpsichord Concertos by C. P. E. Bach & W. A. Mozart 

   Carl Philipp Emanuel Bach was known for sensitive style known as empfindsamer Stil. It was typical for esthetics of Sturm und Drang era, manifested with using free harmonics as coloristic element or frequent changes in mood. His position in European music was very high, Joseph Haydn was learning analyzing C. P. E. Bach’s scores, Mozart and Beethoven remembered him as master composer. In Berlin and Hamburg he was widely recognized. He influenced many composers of North German School.
   As the illustration of differences and contacts between North German School of 18th century and Classic Viennese School one can consider the 1975 record comprising three concerti played on original instruments: Concerto E Major for Harpsichord and Strings Wq. 14, Concerto G Major for Harpsichord, two Horns, two Flutes and Strings Wq. 43 No. 5 and Johann Christian Bach’s Concerto D Major for Harpsichord, two Violins and Bass K.107/1 orchestrated by Wolfgang Amadeus Mozart after J. Ch. Bach’s Sonata for Pianoforte Op. 5 No. 2. Soloist in these performances was Trevor Pinnock who was also conducting The English Concert. Record was highly appreciated and republished in many countries. As rewarded with Grand Prix d’Amis Fidelio it was published in Hungarian series under this label. Four stars for this renditions still fresh almost 40 years later.

Polish Jazz vol. 74 – Namyslowski The Q – Open

   A famous Polish saxophonist, Zbigniew Namysłowski is one of most prolific artists of Polish school of modern jazz. He is active since late fifties and with every decade he was evolving through trends while retaining his individual style. In the era of vinyl records he was also one of most featured artists in Polish Jazz series. As many of Polish school founding fathers he was professionally educated in classical music as multi instrumentalist, arranger and composer. Before he chose alto saxophone, he was playing cello and piano in Academy and trombone in traditional jazz bands.
   After his debut in 1957 during Sopot International Jazz Festival, he almost instantly became one of leading artists in Poland, with his group Jazz Rockers which he was recording life during Jazz Jamboree festival in 1961. Later he was leader of The Wreckers. In both bands he was playing with Michał Urbaniak, then playing tenor saxophone. With The Wreckers he was touring in US and played at Newport Jazz Festival in 1962. In 1964 Zbigniew Namysłowski with his own quartet recorded for Decca album Lola and it was probably first international success of Polish jazz musicians.

Namyslowski The Q – Open (1987)

   Zbigniew Namysłowski was present on Polish Jazz recordings from the very beginning of the series. First volume of Warsaw Stompers presented four songs in his arrangements. On fifth volume Astigmatic he was playing with Krzysztof Komeda Quintet – he was listed as Zbyszek Namysłowski (he was 26 years old). Sixth volume of the series was self titled record of Zbigniew Namysłowski Quartet opening series of the most significant albums in the history Polish jazz. Next records were Winobranie (vol. 33), Kujaviak Goes Funky (vol. 46) and signed by Namysłowski The Q one of last albums in the series Open (vol. 74). In fact each of these albums requires a more attention and a separate article as every record is document of artist development.
   Album Open shows a reaction against exhaustion of jazz in the eighties. Saxophonist is convincing the best answer to an uncertain situation of jazz music could be turning back to seventies and using some past ideas in new context. In 1987 jazz was still highly priced in Poland, even if as a genre it was more and more marginalized. Many jazz musicians had moved to popular music, playing soft jazz or becoming arrangers and sidemen in dance recordings. Thus there are some references to the easy listening, but Zbigniew Namysłowski made Open another strong expression of his believe in folk music. His solos in Cuban Tango Mohito and Rachitis March are once again clear examples of artist’s post-bop and post-fusion improvisations.

Masters of Mannheim school

   In the Enlightment period composers found model of musical equilibrium between emotional and intellectual elements of musical formation. Thank to this balance musical rules of this period were defined as the classical style. And the one of most flourishing musical centers of this era was Mannheim court with its famous orchestra and a great bunch of talented and well trained composers.  The beginning of the movement was in 1920, when Charles III Philipp, Elector Palatine moved Palatinate’s capital from Heidelberg to Mannheim. Musicians from disbanded orchestras in Innsbruck and Düsseldorf were joined to continue traditions of Silesian Kapelle. In 1723 Mannheim orchestra consisted of 55 musicians from almost all directions of Europe. The band was diversified and competitive, but all those qualities were not recognized outside the country. It was so, until forties. In 1743 begin the reign of Karl Theodor von der Pfalz, art connoisseur and patron of artists. This is also the moment Johann Stamitz, bohemian composer and violinist was employed for Hofkapelle in 1741. Two years later he became first violinist, then concertmaster and conductor of the orchestra. 

   In the court of Charles Theodore orchestra was rapidly changed. Opulence of various instruments, high performing skills made this ensemble famous as band of virtuosi. And many of virtuoso musicians were also composers. And making their personal contribution in musical repertoire of the court they were also inspired one another. Such collection of great musicians made this ensemble famous all over Europe. In 1777 Wolfgang Amadeus Mozart submitted a proposal to join the team but his access has not been accepted. It happened even though monarch Charles Theodore has commissioned Mozart’s opera Idomeneo. Composer’s visit in Mannheim has its part in creating classical style. His meeting with instrumentalists and composers has to be turning point. Mannheim court musicians were creating most capable, orderly and flexible orchestra in Europe. This orchestra played a decisive role during the classical turn in Mannheim and in other centers, Vienna and Berlin.

Musik in alten Städten und Residenzen – Mannheim (1961)

   Probably most obvious volume in Electrola-EMI series Musik in alten Städten und Residenzen was the one dedicated to the Mannheim composers. Recorded in 1961 by Kammerorchester der Saarländischen Rundfunks conducted by Karl Ristenpart, album features works of four composers, three orchestral and one for string quartet. First is Orchester-Trio C Major op. 1 No. 1 by Johann Stamitz, one of earlier Mannheim compositions (1755) according to Hugo Riemann this work was inspired by Christoph Willibald Gluck’s triosonaten from 1746. Composed between 1767 and 1771 Quartet for 2 Violini, Viola and Cello E-flat Major op. 5 No. 4 by Franz Xaver Richter (1709-1789) has been recorded in very reliable performance of Drolc Quartet. Second side of the album comprises two orchestral compositions Violin Concerto D Major by Carlo Giuseppe Toeschi (1724-1788) with solist Georg Friedrich Hendel and Sinfonia à 8 “Sinfonie périodique” No. 2 by Anton Filtz (1730-1760). Record was awarded with “Grand prix du disque” and happened to be one of basic recordings of the series.

Nadia Boulanger conducts Monteverdi

   In final decades of 16th century master composers looked compelled by polyphonic techniques of renaissance music. The more and more composers were breaking rules in the search of strengthened artistic effect. The form of madrigal was perfect soil for experiments and many of great Italian masters were trying to find the best solution of dilemma between perfect polyphony and the need of emotional interaction with poetry. One of most consequent was Claudio Monteverdi (1567-1643), who was as much famous as distinct. In his compositions he was linking different, even contradicting ideas. In transitional era between renaissance and baroque styles such practice was even not so rare, as one can see in famous example of an eccentric music by Carlo Gesualdo. Seven years older than Monteverdi, Gesualdo broaden harmonic meanings, but didn’t found efficient way to break the idea of polyphonic he was educated. And this is why he is considered to be still in renaissance style. 
   Claudio Monteverdi, one of greatest composers in music history, started with accepted style and evolutionary changed the era. His achievements in the field of new form of opera are considerably known and appreciated. But space to experiment was madrigal, the most popular genre of chamber music in late renaissance. During his lifetime Monteverdi published eight books of madrigals. This cycle shows the way of developing monadic style out of Renaissance polyphonic style. The 5th Book of Madrigals shows the transition to baroque style. It was forwarded by preface taking position in the debate on music esthetic issues. Controversy was about the division between old, renaissance polyphonic style with dissonance limitations and equal voices, called by composer prima pratica and new, emotional, freely flowing monadic style based on rhetoric and structural meanings called seconda pratica.
   Monteverdi was sure of what he had done. His stile concitato (agitated style) using rhetoric means was developed in last three decades of his life and published 8 years after his death as Madrigali e canzonette a due e tre voci. It’s occurs to be called 9th Book of Madrigals. Abandoning equality of voices, featuring soprano and bass, he gave dramatic space for musical action. Repetitions, rapid changes of dynamics and dissonances were connected to lyrics. In such free harmonics comes the natural tendency to creating tonal gravity center and this was beginning of new functional tonality. Monteverdi’s improvements become the model for generation of baroque composers working after Monteverdi’s death. Among them were Giacomo Carissimi, Barbara Strozzi and many others. Although this great achievements, during next two centuries his music was almost totally forgotten. 

Nadia Boulanger conducts Monteverdi (1952)

   After 19th century revival of baroque music, Monteverdi was back from the shadow, but artistic attitudes to his works as well as other early baroque composers were predominantly doubtful. There was always fundamental question if historic works should be played with modern feeling or in purest, most crude shape. And most artists were choosing an intermediate position. One of them was Nadia Boulanger, composer, conductor and famous teacher of most successful composers. Her impact on 20th century music can’t be overestimated. For the first time she recorded collection of Monteverdi’s Madrigals in 1937. In 1952 in France and US Decca released the album of 11 works performed by Vocal and Instrumental Ensemble under the direction of Nadia Boulanger. The same year it was published in Great Britain by Brunswick label. There is no information when it was recorded, but quality convinces it was after the war.
   Program of this record comprises mainly madrigals. Opening are 5 voices madrigals O mirtillo, Mirtill'anima mia and Era l'anima mia from 5th Book of Madrigals (1605), then 3 voice Scherzo “Damigella tutta bella” from Scherzi musicali (1607), 2 voice O, come vaghi from 9th Book of Madrigals (1651) and 5 voice Sfogava con le stele from 4th Book of Madrigals (1604). Second side includes two works from 8th Book of Madrigals (1638): Canto amoroso for 5 voices  Dolcissimo uscignolo and Canto amoroso for 3 voices, 2 singers and alto Su su pastorelli vezzosi, Madrigals for 2 voices Interrotte speranze from 7th Book (1619) and for 5 voices A un giro sol de bell'occhi lucenti from 4th Book (1603), Scherzo musicale in recitative style Quel sguardo sdegnosetto from Scherzi musicali (1632) and Concertato Madrigale for 5 voices Qui rise tirsi from 6th Book of Madrigals (1614). In various setups artist were testing interpreting possibilities.
   Nadia Boulanger made clear vision of an early baroque sensibility. And this recording was strong statement in the discussions on performing ancient music. She directed the ensemble of nine singers: Flore Wend (soprano), Donna Rumsey (soprano), Geneviève Massignon (soprano), Nancy Waugh (mezzo-soprano), Violette Journeaux (contralto), Hugues Cuenod (tenor), Paul Derenne (tenor), Doda Conrad (bass), Bernard Cottret (bass) and eleven instrumentalists with Luben Jordanoff (violin), Pierre Pasquier (solo viola), Colette Lequien (viola), Maurice Gendron (solo violoncello), Pierre Barthélemy (contrabass), Pierre Jamet (harp) and four more cellists. Nadia Boulanger conducted and played harpsichord. Great album, even considering some old fashioned  voice projection. For studying esthetical evolution of the interpreting art it’s indispensable. Three and half stars should cover its value.

Lol Creme / Kevin Godley – Consequences

   When in 1976 soft rock super group 10cc has split as a consequence of some kind of artistic disagreements, musicians of the band parted into two fractions. One part was the trio continuing working under the name of the band. Second was the duo Kevin Godley and Lol Creme who had focused on progressive art-rock project which result was their first album published the very next year. They were active in years 1977 to 1988 and became known as Godley & Creme. The duo recording seven innovative studio art-rock albums melting rock, pop, cabaret, jazz, country and every possible connection in semi popular, semi progressive vision of specific sense of humor and creative attitude in every aspect of musical production.
   Godley & Creme first project and main reason of breaking with 10cc was triple LP album Consequences released in 1977 in box cassette with booklet inside. Providing detailed information on project development edited in fanzine style with lots of photos and illustrations 20-page insert was written by Paul Gambaccini. Black lacquered box with elegant typography in gold and as Phil McNeil called it “tasteful picture of a cloud formation resembling a monstrous face” from the very beginning strived to display it as one of most ambitious concept albums in the history of rock. This was the main feature critics saw as opposite to unsuccessful musical content.

Lol Creme / Kevin Godley – Consequences (1977)

   Kevin Godley and Lol Creme, multi-instrumentalists experimenting with gizmotronic, the electromechanical bow effect for guitar, recorded all essential tracks of this album. Both artists focused on studio possibilities, building music with multitrack recording and melting instrumental phrases with sound effects and noises at Strawberry Studios in Stockport and The Manor in Shipton-on-Cherwell, Oxfordshire for 18 months. This was nothing new, Mike Oldfield’s Tubular Bells was already a classical album and many artists since sixties were experimenting with tape – one of first orchestral multiplication was Frank Zappa’s Uncle Meat. In 1976 problem was not “how”, but “what” to do in rock composition.
   Lol Creme and Kevin Godley collaborated with very few artists. As guest stars they hired Mel Collins and Sarah Vaughan. Mel Collins played soprano and tenor saxophones tracks in When Things Go Wrong. Guest appearances gave some new perspective as in Lost Weekend where the elements of gospel style choir are mixing with jazz vocal performance by Sarah Vaughan. Constructing complex narrative and musical structure artists hired Peter Cook who wrote dialogues and gave great gig playing different characters. His half comic performance has cabaret impact but in some parts it looks as it steals the show, making music weaker. Following critics, artists decided to publish two year later one LP compilation album Music from Consequences.
   As in many parts musical textures are perfect continuation of what Creme and Godley were doing as half of 10cc group, the end result ensures that sometimes the better, the worse – the excess of ambition often leads to the disclosure of weaknesses and to the moment when even best intentions have contrary effect. After four decades this album turns out to be worth listening. Not for old jokes, but for gentle musical changes defining the time and narratives, giving feeling of steadiness under every transitory moment. Quoted review by Phil McNeil in New Musical Express wrote at the end: “against my better judgment, I find myself enjoying it” and this shows subversive sense of the whole project. This album is perfectly made and ambitious attempt to go beyond the limitations of soft rock – two and half stars, full two for the album and a half for rising of Godley & Creme in next decade.