Jazzová KLAUSura 4 - Deczi & DePino

The fourth concert in this new series under the patronage of former President Václav Klaus featured Slovak-born trumpet maestro Laco Deczi and the latest formation of his Cellula New York band, bringing their electric mix of jazz, Latin funk and blues to the ordinarily more genteel surroundings of Prague's Autoklub. Just to make sure they got the place really rocking they also brought along Chris DePino - a chromatic harmonica player, singer and larger-than-life character - who would effectively front the band on this unique night of Deczi's extensive homeland tour.

It was encouraging to see the Autoklub floor packed and rows of faces peering down from the balcony on a night when competition came not only from the usual jazz clubs but also Wayne Shorter, who was playing down the road. With the lights down, audience seated and Mr Klaus occupying his usual front row centre position, Cellula New York (minus dePino) opened with "Plostica", a live favourite and typical of Deczi's writing and arranging; fast and intricate with flowing lines and Latin beats and the band very, very together. Michael Krásný's mastery of the six-string bass is one of the defining features of this current Cellula formation. A phenomenal young (and loud) player, his speedy fingers allow him to lead from the back and push the band through countless changes of direction.

It was starting to seem like the Krásný show when the second song opened with his new-agey played and sung solo, until it merged into the slower "Atlantic" and DePino joined the band. In an evening of frenzied instrumentals it was pleasing to hear Cellula occasionally playing a moody ballad rather than just setting off the fireworks, and they also dug out the jazz standard "Lover Man" for a few minutes of aesthetically immaculate reflection.

DePino brought with him not only his chromatic harmonica but also the showmanship and stage presence of an American performer, interacting with the audience and paying as much attention to balcony as the front rows. As a singer he delivered the meaty "American Blues" convincingly as well as showing his instrumental agility;  it is no small achievement for a harmonica player to handle the lines required by this demanding music and this demanding musician, Deczi.

Drummer Vaico Deczi (Laco's eldest son) was working overtime for most of the night, maintaining perfect precision while rattling through his father's high-speed originals, including the test of physical and mental stamina that is "Poison Bird". Together with Krásný and keyboardist Jan Aleš he created the pulsating Latin sound that got some of the ladies of the balcony dancing and rattled the windows of this intimate hall.

At first glance you'd expect 75 year old Laco Deczi to be knocking on the door asking for the noise to be turned down rather than being the key noisemaker himself. Showing little regard for the calendar he's still an excellent trumpeter, capable of playing big, fast music without a stumble. His new incarnation of Cellula, packed with young talent, has settled in and  buzzes with energy. Received with loud applause from the full house, this popular Jazzová KLAUSura concert proved this is a series that can bring electric entrainment as well as more traditional acoustic-oriented jazz to the refined music fans of Prague.

Many thanks to Chris DePino for his insight and thoughts on the concert and their setlist. 

Intuition: Libor Šmoldas Quartet & Bobby Watson

The Czech jazz scene is a marvellous place. If it wasn't you probably wouldn't be reading this website and I certainly would not be writing it. But scenes, bands and individual musicians need external influences if they are going to grow and develop. Without fresh ideas and fresh perspectives there is staleness and stagnation rather than excitement and innovation. Sometimes that fresh perspective is found by going abroad, whether for an extended stay or for shorter tours or scholarships, and sometimes it is found by bringing in players from around the world and integrating them into existing outfits. The Libor Šmoldas Quartet have plenty of miles on the tour clock, but by hooking up with Bobby Watson for a tour and studio album they've propelled themselves to the next level. Both the band and the recording are deserving of global attention.

Bobby Watson, a wizard of the alto sax who honed his craft in the demanding school of excellence that was Art Blakey's Jazz Messengers, first encountered the Czech band at a party at a North Carolina jazz festival. The fit was right, and after a tour back in Europe the band, now as much a true Quintet as a Quartet plus guest, went into the studio to record Intuition. That was in 2012, and on July 1st 2013 the album was officially "christened" with ritual champagne at the Prague Proms, mid-way through a concert that brought joy and the "wow factor" in equal amounts to the prestigious Hybernia theatre.

Focusing on their new album they also provided continuity by including the Bobby Timmons piece "Moanin'", which had appeared as a bonus track on Libor's recent live album 18 days 2000 miles. There is no point trying to describe Watson's playing other than to say it was as good as you would expect it to be from one of the great living jazzmen. Every note was perfectly formed, every note told a story. He played like the devil when it was the right thing to do, before sitting down to add subtle ornamentation or take a few seconds of silent contemplation. His attention to detail was the hallmark of a true master, and some of his interactions with Šmoldas's were sublime. It was also clear how much he was enjoying the experience, especially towards the end of the set when he revisited the champagne table at the side of the stage to get some of the surplus left over from the album celebration, and frequently interacted with the members of the band as friends, not sidemen.

Of the new material, both on the CD and on the night, the delicate "Letter Home" (Šmoldas) is perhaps the most beautiful. Dedicated to his wife and children when he is away, this is where the connection between guitar and sax sounds at its most telepathically sensitive. Never mind the tempo, feel the quality. This is no collection of ballads though. "Side Steps" is a Watson piece, adapting elements of the similarly named Coltrane masterpiece, and "Off the Playground" (Šmoldas) is a fun slice of groove. "Twists and Turns" (Šmoldas) hints at jazz-rock, but thankfully stops short of full fusion silliness, and "Ferry Tale" (Šmoldas) is an unabashed tip of the hat to Art Blakey's legendary outfit. Drummer Tomáš Hobzek is up to the task here as elsewhere, with a light, busy touch that places interest and invention over raw power. Underpinning the lot is the acoustic bass of Josef Fečo, whose live performances seem to get more exuberant on a weekly basis. His solos are whole body events that would keep a demanding rock crowd amused, never mind jazz fans who do not expect much in the way of spectacle, and they always go down a storm. These are no cheap tricks though, and he is a bassist of quality who is very much one of the stars of his generation.

Pianist Petr Beneš sometimes got lost in the live mix, but can be heard clearly on the album. His own composition, "5:15 In The Morning" is a wistful little tune and gives Watson the backdrop for an especially soaring improvisation. Not everyone in the band can fit under the spotlight at the same time, but if you listen to what he is playing under the others he is important in the overall texture of the sound.

There were few, if any, left unmoved in the Prague Proms audience by the time the band were through. Some overwhelming names can be underwhelming in their presence, but Watson had the unmistakable aura of legend about him and it emanated from his playing, not an ego. The most satisfying thing for anyone who cares about the local branch of the jazz world was that his presence was bringing the best out of the rest of the band, bringing them into his light rather than overshadowing them. His respect and fondness for these young men from a country a long way from Kansas makes the music feel good. I hope the promo guys in the States and the UK are going to run with this one, and that Watson continues to mentor the band from within. The potential is huge.

Intuition was released on NEW PORT LINE (NPL 0013-04) and more information can be found here.

Vladimíra Krčková - The Rich Man Has Gone

Vladimíra Krčková Quartet - "Go For A Rich Man"
Jazz Dock
30.05.2013

Vladimíra Krčková is not your typical young female jazz singer with a band. For a start, her voice is far better than that of a typical singer. You don't get a Berklee scholarship because you're about up to banging out "The Girl from Ipanema" in a hotel bar. The strength and versatility of her voice frees her up to use some of the best musicians on the local scene and let them really play, rather than be backed by blandness in cheap suits. She is also willing to take risks and follow her creative instincts, both in her compositions and the presentation of her shows.

Krčková made her name singing standards, but in 2012 she unveiled her new project, Go For a Rich Man, an album of original songs and associated tour. Rather than play it safe as many artists do, shyly throwing a couple of recent songs into a tried and tested live set then getting back to familiar ground as quickly as possible, she presented the album as a whole and in sequence. This gave the show a strong thematic identity, but may also be the reason why Thursday was the final outing for the Rich Man show. Like a less mental, more jazzy Ziggy Stardust, she has felt the call of a new direction and is terminating her current incarnation.

The live Rich Man band is the same one as on the album: Adam Tvrdý on guitar, the seemingly omnipresent Petr Dvorský on acoustic bass and Jan Linhart on drums. As is so often the case the live versions, stripped of the studio as an instrument, had a simpler sound but packed more of a punch. Opener "Five Forty Two" sounded better without the double tracked vocals; there is a lot going on musically as the band plays at full throttle and maximum jazz, and the purer sound of her untampered voice cut through cleanly. The more ethereal effects of the album sound great through headphones, but would get lost in a venue offering anything less than perfectly balanced acoustics. "Go For A Rich Man", the title track, sounded better too. Built over some monster riffs from Dvorský that are too quiet on the album but pleasingly robust live, it has a cheeky chorus that could easily emerge from your radio and let the jazz diva flirt with being a rock chick.

Krčková is not afraid to try out different styles. There was some straight-down-the-line jazz: "Why the Nights Are So Bright" is a great strum'n'brushes ballad. Other songs retain the improvisation and jazz sensibilities (this band can turn on a penny and will do so at the slightest opportunity - no hotel bar complacency here) but have a more modern and mainstream flavour. "Inner Flights" could sell to the general public if it was marketed well, and "Tattoo Girl" again veered towards a rock sound, this time with Tvrdý's guitar slipping into a harsher mode.

We got a snapshot of the future at the end of the concert, with two new songs from the upcoming project. Both were at the more accessible end of the spectrum, but the guitar - vocal duet of "I'm So Afraid To Love" brought absolute silence to the Jazz Dock audience for the first time I can remember. Ah yes... the Jazz Dock talkers. What is the serious music enthusiast to do? You can't pretend they don't exist, and you can't hit them in the face with a flaming shovel until they die. Or so I'm told.

If Vladimíra Krčková pursues her next project with the same thoroughness that she did Rich Man it is unlikely that most of these songs will get much of an airing in the near future. The show is over but the album remains, and if you want to to hear an interesting take on modern vocal jazz it is highly recommended. Her lyrics are as beautiful as they are poetic (very little "boy meets girl", lots of goings on behind closed hotel doors and being sleazed up by slimeballs) and her work is yet further evidence that the jazz scene in Prague is still real and still producing good young acts to follow in the footsteps of the established greats.

The album is easily found on Spotify or can be bought from Amazon.

Review: Libor Šmoldas Quartet

Reduta
18th July 2011

One of the most interesting parts of following a local jazz scene is seeing the younger musicians grow and develop into interesting and respected artists. Libor Šmoldas first appeared on the PJ radar as a member of Organic Quartet: a good outfit but not the easiest place for the guitarist to make his own voice heard. Libor is now an established player in his own right, with his Quartet that performs regularly in the Czech Republic and also undertook a three-week tour of America.

In his band he has fellow Organic Quarteter Tomáš Hobzek (drums), pianist Petr Beneš and bassist Josef Fečo. Fečo is currently one of the hottest bassists in the country, working with the likes of Karel Růžička, Zuzana Lapčíková and Emil Viklický. He was a decent player when we first saw him five years ago, but now he is electrifying.

Playing at Reduta can be a strange one. Sometimes there's only a handful of people in the audience, sometimes it can be packed. This was an unpromising Monday night but even so the tourist groups filled out the benches, recently transformed from their traditional green to a plush and slightly disreputable red. There were a few locals too, and a few guys from the annual Czech Jazz Workshop where Libor was teaching. The band started unusually: on time and with a joke.

Not many jazz musicians chat with the audience during concerts. A lot smile and nod, most introduce some of the songs, and a couple communicate solely through the language of music. Libor was chatty throughout the show, asking which languages the audience spoke, introducing the songs with stories and dedications, and generally inviting the audience into his musical world. A nice touch, immediately making the Quartet a band that you want to like and want to see fly.

The setlist was primarily original compositions, most of which were penned by Šmoldas himself. “Blues in the Shower” (L. Šmoldas) was an uncompromising way to start: fast, syncopated, alternating broken patterns that rested uneasy on the ear with extended solo passages. Šmoldas's style is smooth and sweet, bebop-style jazz guitar rather than rougher, blusier playing, and he can produce an astonishing number of notes from seemingly no physical motion.

The Quartet moved through a balanced sequence of different styles. “On The Playground” (L. Šmoldas) was a funky groove ridden into submission. “Lenka”, written by the bassist and named after his wife, was a romantic and tuneful piece introduced by a well-crafted bass solo. Fečo is capable of working melody out of his instrument as well as well as rhythm, occasionally taking the lead as others fell in behind.

Hobzek has matured into an explosive drummer, his solos fired out with a rockier edge and his sound clear during ensemble playing. Beneš on the other hand was a bit lost in the mix, although he did produce some enjoyable passages and his own composition, “Waiting for Art”, was a pleasing dose of rippling piano occasionally rising into turbulent crescendo. The song title was given with full explanation: Art was the name of a dog. Despite the sophistication of their music this outfit is as unpretentious as it is friendly. It is also fun.

There were lots of moments that raised a smile from the keen observer. Fečo's total commitment: he seemed to be bodily absorbed into his distinctive cut-off travel bass. Tricksy endings that were beyond prediction. The competition to get the last note. Mischievous collusion in the rhythm section during the piano and guitar solos. Good stuff. Live music.

The quality of the writing was also commendable “Lyndian Blues” (L. Šmoldas) is as sweet a melody as anything I've heard in a long time, and “One For Kenny Burrell” (L. Šmoldas) is a sparky guitarist’s workout. There were very few songs during the night that didn't contain one of those "special moments"  either in the playing or in the tune itself.

The Libor Šmoldas Quartet are a band worth seeing, and definitely a band to keep an eye on in the future. Their Live At Jazz Dock album, free to download from Libor's site,was recorded in 2010. They sound good on there, but they sounded even better at Reduta.

Gig Review: Tribute to Miles Davis (Jazz na Hradě)

Bigger than a normal jazz club.

Prague Castle
23rd May 2011


In Prague there are many places to experience live jazz. There are the clubs of course, heavily documented on this website and a magnet for tourists from around the world. And there are the restaurants where good musicians play for bad audiences and what should be a painting becomes little more than wallpaper. There's Czech Radio's Studio A where you can listen to Big Band concerts and feel decades of Czech music history. You can stand on Charles Bridge and listen to some buskers. Or you can go to Prague Castle and have top international jazz stars introduced by the President.

The Jazz na Hradě (Jazz at the Castle) concerts are no ordinary events. They are played in majestic rooms, such as the ornate Španělský sál (Spanish hall), in front of large audiences. Splendid surroundings deserve splendid musicians, and the Castle concerts are known for bringing together the cream of Czech and international talent. This time the honour of representing the home-grown species fell to pianist Emil Viklický, assisted by Jaroslav Jakubovič (a 1968 émigré currently living in NYC) on baritone saxophone. On the international team were Lenny White (d), who previously played with Davis, Corea, Getz and many others, Jon Faddis (t.) and Tom Barney (b). Barney also played with Davis, as well as with Hancock, Gillespie, Aretha Franklin and many rock acts including Clapton and Steely Dan.

The stage was set, in this case a temporary stage in a 17th century state room rarely open to the public. The audience gathered: a hefty slab of VIPs as was to be expected, a fair collection of musicians (Jiří Stivín easily identifiable in his hat, Elena Sonenshine sitting near the front, Ondřej Hejma in a military-styled suit), and of course the ordinary music fans. There was still room for us, and getting to the Castle early meant being able to get a good view and comfortable chairs; important at a concert performance without breaks.

The music was all Miles: either his own compositions or pieces that he recorded. After a short introduction by President Klaus they kicked off with “Ah-Leu-Cha" (C. Parker), following it up with “Some Day My Prince Will Come” (F. Churchill). Different sides of the band, just as there were different sides to Miles. The first a hard-bopping rapid-fire blaze, the second more lyrical, moody and (in terms of trumpet) muted. Faddis himself admitted that it was no easy for a job for a trumpeter, paying tribute to the man who had done so much to define the sound of modern jazz, but he did an excellent job. During “Some Day” his playing was fluid, caressing and coaxing the melody into existence; during the harder sections he made the instrument wail and cry.

“Summertime” (G. Gershwin) mixed things up: the familiar legato lines giving way to trumpet improvisations, while Emil added a touch of boogie-woogie underneath before taking his turn in the spotlight. His evocative bitter-sweet sound perfectly suited the song, and got a well deserved round of applause from the audience.

Ah... the audience. They were there too, perfectly behaved, perfectly mannered, looking like they'd all had a shower and a shave and were ready to say hello to the President. They were appreciative, or certainly wanted to be, and if someone set them off clapping in the right place they followed obediently. They were perfectly silent, essential for recording (all the Jazz at the Castle gigs are recorded) and good for my blood pressure. But a survey of heads and feet revealed few foot tappers, few rhythmic nodders, few beard strokers, few wry smilers. There were some. More would be better.

“'Round Midnight” (T. Monk) and “All Blues” (M. Davis) were very much familiar territory for Viklický, both being played regularly by his own Trio. The potential power of this ensemble finally broke through: brutal stabs and a menacing “All Blues” throughout which Barney's bass vamps beat like a pulse. Faddis may have introduced it as an example of the calmer side of Miles but this was a simmering interpretation, aided and abetted by the obedient listeners. One by one the players took their solos and dropped out , eventually leaving nothing but the ever-present bass against a backdrop of silence. No chatter, no chewing of salt peanuts, no camera flash and whir. A blank canvas on which a sparse pattern could be drawn. Just how it should be.

Lenny White was continually present, but tastefully so. When you've got his history there's nothing to be proved by unnecessary egotism, and throughout the concert he pitched it expertly. Shifting, dropping beats, playing around: he should have been the main inspiration for wry smiles exchanged between foot tapping beard strokers. A class act through and through he shone on “Bye Bye Blackbird” (R. Henderson), and when he finally took a full solo during “Walkin'” (R. Carpenter) it was worth the wait. The echo of the room added extra thunder as he worked his way around the kit. By the time he had finished even the suits knew they should go wild. Jakubovič also had his finest moment, growling through the bottom notes with a richness that makes you wish that more saxophonists would put down the ubiquitous tenor and go low.

The finale brought lots of flowers and photos with Klaus, and a final blast of “Milestones” (M. Davis) to complete 90 minutes of music, most of which will presumably emerge on a Jazz na Hradě album in the coming months. It wasn't an evening of cutting-edge far-out creation, and I (and perhaps about fifty other people in the room) would have liked to have heard some more esoteric numbers from the Davis repertoire. But we should not forget that this was a one-off, not a regularly gigging band, and so it was always going to err on the side of orthodoxy. What they did do they did very well, and it is always a joyous moment for a lover of Czech jazz to see local artists demonstrating clearly that they can hold their own alongside so much globally-recognised talent.

The Jazz na Hradě experience is not for everyone. Specifically it is not for people who want musical wallpaper. It is a listening concert. The Corridors (or in this case Halls) Of Power do not have the greatest acoustics in the world, but I've heard a lot worse and it is made up for by the lack of distraction. To all the foot tappers, rhythmic nodders, beard strokers and wry smilers out there who have never been, this is your call to arms. If you can stand to wear semi-smart clothing please join me. Let us march en masse to these gigs and help the VIPs time their applause. Jazz fans – to the Castle!

Gig Review: Face of the Bass

Jazz Dock
30th March 2010

In February Prague Jazz reviewed Little Things, the Jaromír Honzák Quintet album that was subsequently announced as the winner of the Czech Jazz Society's “album of 2009” poll. As well as working with this outfit Honzák also performs with a less conventional band, Face of the Bass. On their website they describe themselves as being “Jungle/Experimental/Freestyle”. Quite what the rainforest and a swimming technique have to do with jazz is a mystery to us at PJHQ, but we are willing to take a chance with “experimental” when at least one of the band (Honzák) is a known quantity. He is a musician of talent and taste, and therefore unlikely to be involved with something too insane.

Face of the Bass is a quartet comprised of Honzák on acoustic (but heavily amplified) upright bass, Marcel Bárta on bass clarinet and soprano saxophone, Michal Nejtek on piano and keyboards, and Roman Vícha on drums and associated acoustic and electronic devices. Between them they create a highly expressive sound that is not totally free but often steps away from simple song structures. It is definitely music (as opposed to “performance art”), but music of an intense and demanding nature.

It was Bárta who dominated the stage, standing at the front and regularly swapping between his two instruments. Soprano saxophones are not uncommon in Prague jazz clubs but a bass clarinet is a rarer beast. As well as being visually striking it emits pleasingly rich dark tones. The two different voices provided an attention-grabbing contrast and kept his contributions interesting.

Bárta seemingly has two modes of playing. Often he would be standing quite still at the start of a piece, as though feeling his way into the music, emitting drones or alternating honks and parps. And then, like a man possessed by the spirit at a religious meeting, he would break into fluid soaring solos, fingers working overtime as they scrabbled to make real the music he envisioned. Once spent he would fall back into rest, leaving the audience genuinely impressed and just a little bit stunned.

Many of the compositions were based around simple patterns that, once established, would be built upon by members of the band. These were underpinned by Vícha, his drumming being sharp and tight. He did very little in the way of solos, but he did sometimes augment his rhythms with electronic samples and beats layered underneath the rest of the music. This technique was used sparingly, almost too much so: the use of electronics is one of the things that gives Face of the Bass a distinctive sound.

More electronic distinctiveness was provided by Michal Nejtek. He did sometimes turn to play Jazz Dock's trademark white grand piano but more often he was working at his own keyboards and samplers, producing a wide range of noises including whirls, whoops, and symphonic sweeps. Again the overt use of electronics integrated successfully with the more conventional instruments and their further application would have been welcome. They are an important part of the act, not just a gimmick or superficial statement.

The poll-winning bassist stayed at the back, casting a shadow of authority over the younger three and nudging the band onwards with his mesmerising sequences and riffs. Unlike the drummer he did take the chance to sprinkle solos liberally over both sets, and he looked like he was genuinely having fun.

Most of the music was pretty hardcore stuff, but there were some gentler moments. The ballad “Mysterious Face” centered around a subdued stepped pattern, and played early in the first set it offered a crumb of hope to those who were finding events a bit tough on their concentration. And then there was “Dancing Queen”. Yes, the ABBA thing. No, I didn't see it coming either. This was late on and performed as a trio, the arrangement having no need for either soprano sax or bass clarinet.

“Dancing Queen” was turned into a perfectly respectable piece of instrumental jazz, including a lovely bass solo that was based strongly on the melody. It was the piano parts that kept it wry, with those distinctive chords recalling disco nights with full clarity. Everyone was smiling, and thankfully there wasn't anyone in the audience confident enough (in the case of non-English speakers) or drunk enough (in the case of us all) to sing along. From there they slammed straight into a bout of futuristic instrumental toughness. I would have been disappointed with anything else.

Face of the Bass are a band that illustrate yet again the vibrancy and innovation of the Prague scene. They are not just trotting out easy-on-the-ear ditties for the tourist trade, and they are not in any way a jazz-by-numbers combo, a pale imitation of masters (both Czech and global) tiredly copied. If you like your jazz experimental, and don't get scared if you can't find a chorus to hang your hat on every five minutes, then you should check them out. The faint of heart, and couples seeking a romantic soundtrack for a first date grope, should perhaps walk on.

Gig Review: Zuzana Lapčíková Kvintet

Jazz Dock
19th March 2010

Singer and virtuoso cimbalom player Zuzana Lapčíková is a big name in Czech music. She tours internationally, and her concert tours take in theatres, churches and other prestigious venues. As befits a purveyor of Moravian music her performances are not centred around the capital city, and so the chance to see her playing at Prague's Jazz Dock (as part of their Ethnojazz Festival) was a rare opportunity to see her in action on the Prague club scene.

Gigs at Jazz Dock are always approached with a degree of trepidation. Although it is in many ways a great club it does seem to attract the sort of people who think that it is acceptable to talk loudly and inconsiderately during performances. That is the problem when you go out of your way to make a venue accessible: the wrong sort of people access it.

Lapčíková's quintet consisted of herself, Ondrej Krajňák on piano, Kamil Slezák on drums, and a couple of well known players on the Prague scene: Rostislav Fraš on saxophones and Josef Fečo on upright bass. The front of the stage was dominated by Lapčíková's cimbalom, behind which she sat hammering away, singing using a headset microphone, and manipulating the pedal with her foot balanced on a stiletto heel.

The sound of the cimbalom is synonymous with the folk music of Central and Eastern Europe, and its integration within a typical modern jazz ensemble gave the unified outfit a wide range of moods and textures with which to play. There were moments that were very much Moravian folk, concentrating on voice and intertwined cimbalom and piano. At other moments it was pure instrumental jazz, with Lapčíková either playing percussively or temporarily sitting out altogether. The best moments were when the two extremes met in the middle: good hard jazz infused with the bitter-sweet lyricism and spirit of the folk songs. These provide strong melodies that can be liberally expanded and extemporised upon by jazzers hungry for new sources of inspiration.

The format of the concert was unusual. They played two long sets with just one interval, and both sets were performed as a single medley of pieces with virtually no gaps separating them. This made for an intense music experience that offered little compromise to the casual listener, especially one that was not familiar with any of the material. Strong glorious themes rose out of the more ethereal soundscapes, we flicked between folk and jazz and back again, and the magic happened. It was one of those times when the audience focused, the music unfolded, and for a few minutes the whole was so much more than the sum of the parts.

The second set, although musically as strong, didn't hit those same heights. Lapčíková sat out for the first two songs as the remainder of the band had a brief straight jazz workout. It was good stuff, but without the star of the show it didn't instantly grab the audience's attention. Those who tend to talk did so, and that changed the mood. The genie cannot be put back in the bottle, no matter how many ugly looks and clenched fists are shown to the room, and the focus was lost. The casuals sitting at the back became disengaged, and they had voices that carried. During the louder sections they were drowned out, but the softer folky moments were placed against a backdrop of rudeness.

The band played well, and of particular note were Fraš and Fečo. The former did some wonderful things on the soprano sax, and was especially prominent in the full-blown folk/jazz fusion passages. Fečo is a sensitive acoustic player but is also good with an electric bass, and although he didn't use that instrument during the gig some of his solos were packed with electric-style groove and fun.

With no announcing of titles, and possessing a limited knowledge of Moravian folk, it is hard to put together a setlist. However there were a couple of pieces that I recognised, and it was like meeting an old friend in a room full of strangers. Interesting and beautiful strangers who I would want to see again, but strangers still. “Vrať se milý” was particularly beautiful, and would have been the perfect finale to the concert if the louts at the back had shut up to let the magic happen once again.

It was a privilege to finally see Zuzana Lapčíková in action and her concerts are recommended to anyone interested in music with an authentic Czech voice. The fusion of local folk songs with jazz is a winning combination, as other Czech artists have often shown, and it is fascinating to watch the cimbalom being mastered so thoroughly. Her gliding of the hammers across the exposed strings unleashes a full and satisfying sound, and she plays with an obvious passion for, and understanding of, the instrument. Together with her singing she puts in a performance of total commitment, possessing a massive stage presence despite her diminutive stature.

Her decision to present the music in such an uncompromised form is worthy of respect, as is eschewing chatter and communicating purely through the performance. It is as though she expects the audience to show the same commitment in their listening as she does in her playing, and we here at Prague Jazz believe that is a good and reasonable expectation. However perhaps Jazz Dock is not always the place to find an audience that will unanimously agree with this sentiment. That is a shame.

Gig Review: Stan The Man's Bohemian Blues Band

U Malého Glena
17th August 2009

Edinburgh-born Stanislaw “Stan the Man” Wolarz is a true legend of the Prague live music scene. His Bohemian Blues Band has been in action for over a decade, based here but also touring around Europe. Even those expatriates who have somehow (I blame ignorance and stupidity) managed to remain unromanced by the music of Prague have heard of Stan. Tales of stumbling upon him and his outfit playing in some pub somewhere are part of the standard tale of the “good old days”, along with how cheap the beer used to be and how pretty it all was BT. Before Tesco.

Stan gigs a lot, but his most famous engagement is Monday night at U Malého Glena, the club that boasts “you have never been so close to music”. They have a point: At Little Glen's is a tiny place, with two rows of tables lined up in a semi-claustrophobic tunnel. At my usual seat at my usual table, at the front of course, my feet were only a few inches away from the front of the kick drum. It's a fun little joint, only let down by the fact that you have also probably never been so close to punching people to make them shut up during the sets. And gentlemen, beware the toilet door that opens with a clear view out onto the stairs. You have never been so close to flashing your wang at strangers.

The problem of talking isn't so great during Stan's concerts as it might be with others. Most people are stunned into silence, breaking it only to show their appreciation or express astonishment at the ferocious guitar technique they are seeing. The few remaining chatterers are drowned out, because the Bohemian Blues Band is loud. Seriously loud. Refreshingly loud. Electric guitar from Stan and electric bass from Anton Duratný. Acoustic drums from Kamil Nemec, but hit so hard and placed so close that amplification was unnecessary.

This is a band that sounds raw and real. They do not produce a slick, polished, syrupy “music product” to be played in the background at dinner parties. It is about emotion, it is about having fun, but it is mostly about the blues. Stan's trademark growled vocals are all feeling: even when the words get lost in the wall of sound the meaning is always clear. The meaning comes through his instrument as well, the Telecaster wailing, humming, responding to delicate touches and aggressive strikes alike. His mastery of his axe is staggering. The meaning comes through the man as well. He means it with every inch of his body. There is expression in everything he does.

Even when they played more familiar material it was never ordinary or average. “The Thrill Is Gone”(R. Darnell, R. Hawkins) was darker, dirtier, and spikier than B.B. King's famous version. “Further On Up The Road” (J. Veasey, D. Robey) was unforgiving. “I Just Want To Make Love To You” (W.Dixon) was pure sleaze. “Not Fade Away” (C. Hardin, N. Petty) was a blast, in the middle of which Stan left the stage while his band took their solos. The bass solo was funky, the drum solo was fast and showy; a drumstick-between-the-teeth moment got a loud cheer. It was their only big solo session of the night, the format of the gig being based on songs rather than extended individual extrapolations.

For the last two sets the band was joined by Robin Finesilver on piano. The small size of UMG means that a grand is out of the question, the only choice being an upright against the wall, honky tonk style. It suited the Bohemian Blues Band: a more refined instrument would have been unsatisfyingly out of place. With Finesilver in position the sound was more diverse, his enthusiastic pummelling of the keys sharing solo spots with Stan's six strings. Again the audience loved it, lapping up the action from a close range. Even those attendees who knew nothing about music liked the fact that the band was working hard. It was also fun to watch these guys working together, and at times fooling around. The occasional deliberate false start, the occasional jokey introduction.

We were well into tomorrow morning when the gig finished. “Big Boss Man” (J. Reed) ended the main set. Even though some of the earlier crowd had left during the last break – it always happens with late gigs – there were still more than enough of us to force an encore of “Hound Dog” (J. Leiber, M. Stoller) before the performers were allowed to escape.

Stan Wolarz is an entertainer. He speaks to the audience, will chat with the punters after the gig, and obviously takes pride in putting on a good show. He is also a musician to the core, who loves the blues and plays it with a passion and authenticity that brings it to life in a whole new way. It is not karaoke. It is not blues-lite. It is rough around the edges but in a satisfying way: a roughness that scratches away the itch of everyday life. Take the chance to see him if you can. You will never have been so close to the blues.

Gig Review: Karel Růžička Quartet feat. Karel Růžička jr.

Jazz Dock
2nd August 2009

I am very glad that they play different instruments and in different styles. Karel Růžička senior, a driving pianist, master of uneasy listening, caller down of the thunder. His son, Karen Růžička junior, a Grammy-nominated saxophonist, slick and soaring with lightening moves. Both incredibly talented, both writers, both arrangers, both charismatic onstage and off. But thankfully different: different enough that the awkward question of which of the two is better need not arise, and therefore the thoughtful listener is spared from making an arbitrary decision in order to tick a mental box. Like two fine spirits they are both intoxicating, both enjoyable. But mix them together in the right way, throw in a couple of extra ingredients, and let them shake it all up: jazz cocktail, jazz brilliance.

Růžička sr., award winner, composer, and former president of the Czech Jazz Society, can often be seeing playing in the jazz clubs of Prague with his Trio. His son is now based in New York City, a busy and acclaimed player on the local scene there. The two of them playing together is a special event, a fact reflected in the atmosphere at Jazz Dock. The rain was pouring down outside, a passing storm ripped the sky apart, but inside the purpose-built riverside venue there was even more of a buzz than usual.

Alongside the Karels the band comprised of Růžička sr.'s frequent collaborators, Josef Fečo on basses and Radek Němejc on drums: a tight unit of proficient musicians who know each other well. They played hard and with purpose, opening their account for the evening with a salvo of solos set into melodic group playing. That would be the format of the night, with the transitions between ensemble and individual sections always slick, always organic, never forced or clumsy.

Růžička jr.'s tenor sax work was spellbinding and clearly appreciated by the audience, who responded to his explorations spontaneously and enthusiastically. He is fast, very fast in fact, but never loses his sense of melody, never just burns for the sake of it. The tone he produces is rich and pleasing, as expressive as the notes he plays. At times he evoked grandeur, and at times beauty, and at times it was just nice'n'sleazy, the way that midnight jazz should sometimes be.

His father was not left in the shade, playing deep with lots of left hand, his work on their interpretation of “House of Jade” (W. Shorter) exciting yet contemplative. It was a pleasure seeing the pair perform together; the astonishing telepathy by which jazzers communicate being even stronger than normal between the two of them.

They played a lot of original material, concentrating on Růžička jr.'s compositions. “Lucky in Kentucky” (also known as “Seven Hills”) gave us sweet, stupefying saxophone and some thumping work on piano. “Coffee Machine” did exactly what the title suggests, frantic, edgy and at high speed, but again it was a good tune and not just a technical exercise. “Coffee Machine” also saw Fečo swap his acoustic bass for an electric five-stringed version, on which he funked and slapped joyfully. Normally with Růžička sr.'s Trio he keeps it acoustic, and it was a bit of a shock to see him on guitar. He also used it for “Groovy Blues”, (his electric solo was a revelation – who knew?) and “Flight”, both upbeat Růžička jr. numbers.

It was spectacular, it felt good. It was one of those nights. Libor Pešek, the world famous conductor and former musical director of the Royal Liverpool Philharmonic came forward to the stage when a song was dedicated to him and was clearly having fun. We had a blast of "Summertime" (G. Gerswin) as a sax, drums and bass trio. Růžička sr. directed the clapping. I got filmed grooving in the corner by Růžička jr.'s girlfriend. Some glass got broken in the back rows towards the end of the night. It wasn't that the music was the background to some social event; people were listening intently. It's just that with so much energy on the stage some of it rubs off onto the audience!

All through the night Radek Němejc kept time and kept it anchored. Subtle and responsive, his shifting rhythms and patterns took their place in the soundscape without being overbearing. Some nice work with brushes and mallets kept his sound interesting, kept the listener wanting to listen.

It was back to the standards towards the end, with “Giant Steps” (J. Coltrane) bopping hard with lots of energy. There was no way that they were getting away from Jazz Dock without an encore that night. Father and son returned to the stage, the younger picked up his flute, and together they finished off with “Largo” from Dvořák’s “New World Symphony”. It started simple, a duet straight and by the book, before each in turn took their bow with a last flash of improvisation. Two men, two instruments, a simple melody, but somehow epic and definitely emotional.

It was great stuff, and it was a special treat to see the two Růžičkas playing together. Senior is one of the great names of Czech jazz, not only in terms of his playing but also his importance in developing the music in the country. Junior is worthy of taking the stage with this modest giant of the genre, and worthy of carrying his name.

Gig Review: Rhythm Desperados

AghaRTA Jazz Centrum
28th July 2009


Turning on the television or reading a newspaper can bring you down. Swine flu, terrorism, floods, droughts, economic chaos, unemployment, the enduring appeal of Oasis: everything's total rubbish. Sometimes it feels like there is no fun left in the world. But then something comes along to remind you that, against all odds, there actually there is: Rhythm Desperados.

This is not a reversal of policy at PJHQ - we're still music snobs of the highest order - but outfits that can combine excellent original writing, interesting arranging, superb playing, and still fool around on the stage joyously are sadly few and far between. As such they deserve all the attention they can get.

The band is based round a core of Boris Urbánek (keys), Michal Žáček (saxes and flute) and Michal Hejna (drums). Bass and percussion duties are more flexible, with Martin Lehký and Pavel Plánka often filling the roles but for this gig it was Imran Musa Zangi hitting things like a nutter and Wimpy Tichota taking care of the low end. All of them are fine musicians, playing in a wide variety of bands. When they come together as Rhythm Desperados it is almost a “supergroup” of modern Czech jazz, although the term is not really correct. Supergroups tended to collapse under the weight of their own egos and the whole was often less than the sum of the parts. This is certainly not what happens with this band.

The first set was straight down the line, focusing mainly on original work composed by the talented Urbánek. Žáček leads from the front, an emotive whole-body player who really makes the instrument sing and uses the range of the soprano saxophone well. His solos were intense and instinctive, real crazy knife-edge stuff, but they were always placed naturally into the songs and never uncomfortably stuck on to prove a point. The keyboard solos were pretty intense too, again dispensed with good taste as well as fast fingers.

The rhythm section was certainly not being shown up while all this was going on, playing very fast and very furious. "Volcano" (B. Urbánek) featured both drummer and percussionist thrashing away like mad while tension was built up using synthesiser rumbles and swooshes. Tichota, as well as putting bounce into the funky sound, also had some really sweet moments such as in "First Snow" (B. Urbánek), playing melodic bass runs in unison with rolling piano.

The overall tempo was fast and upbeat, moments of funk and moments of fusion, with some Latin flavours too. It was a good mix of sounds, cohesive but with enough variation to be interesting. There were also gentler times during the show, such as the romantic "Déjà vu" (B. Urbánek), but celebratory rather than contemplative was the order of the day.

The second set was where the fun broke loose. An opening piano and flute duet that deviated into The Big Country. "Sunny" (B. Hebb) was given a lively presentation with gaps left for the audience to sing the “I love you” line. That then turned into a medley that incorporated Für Elise, Bésame Mucho and Popcorn. All with tongue very firmly in cheek of course, the band having previously set out its impeccable artistic credentials and now at complete liberty to screw around. The crowd loved it, although I do wish that audiences in general were as receptive to original, exciting music as they always are to stuff they've heard on the radio.

The club was pretty full considering that it was a midweek gig, and as usual for AghaRTA most people were there to listen. There are always exceptions, in this case a few French persons who drank small coffees and had big mouths. A couple of dirty looks did the trick, and pretty soon they were fully collaborating. But if you want to talk why get a table right at the front, right by the stage? As well as disrupting the music for others it is just rude to the band, an especially odd thing to do when the garlic gang were actually enjoying the show.

The remainder of the evening wasn't just fooling around with familiar numbers: there was more original material to come, including “All Or Nothing”, that Urbánek told us he wrote a quarter of a century ago. Regardless of age it sounded fresh, something that could be said about the Rhythm Desperados in general, and also about their stomping version of “Birdland” (J. Zawinul). Big and meaty, properly loud, and the band having a ball.

Watching this outfit was half the pleasure. Zangi's work on percussion was relentless, only interrupted when he reached down to pull out yet another stick, block, shaker, thing that goes boing, or a cocktail. Žáček's total commitment to his playing was spectacular, and Urbánek is no slouch either; some excellent playing from him as well as a lot of enthusiasm, getting the audience clapping along and generally looking like he was enjoying himself.

The Rhythm Desperados are an interesting and unusual band. There are some groups in this city that pursue creative excellence and there are some that just set out to entertain. These guys prove that the two are not mutually exclusive. It was hard not to be impressed by their musicianship and the original compositions. It was also hard not to smile. Go and see them. It's probably more fun than anything else you've got planned.

Gig Review: Ondřej Pivec / Petr Kalfus Trio

Jazz Dock
5th July 2009


Gigs often leave an overriding impression, something about them that really stands out during the night and dominates memories. Sometimes they are historic, sometimes they are outstandingly beautiful. Sometimes you see technical wizardry that makes your fingers hurt just by watching it. Sometimes it is serious and dark and sometimes it is all a bit of a giggle. Sometimes, as was the case this time, it is all about energy. That is not to say that there wasn't virtuoso playing or moments of spine-tingling “rightness” or any of the other good things, but boy was it turbo charged. From opening number to the encore (half past one, the next morning) this band never seemed to let up for an instant.

The Trio was fronted by superb young saxophonist Petr Kalfus, a player who combines the ability to knock out lightening runs with subtlety and a sense of melody. He handles his horn with good taste and, even in the wilds of improvisation, maintains a sense of purpose that keeps the music moving forward.

Ondřej Pivec on Hammond organ made sure that there was plenty of width to the sound, playing melody, left hand bass, and also dancing his feet over the bass pedals. The Hammond is an instrument of restrained power, with one firm full-on blast being all that is needed to leave the front rows of the audience with bleeding ears. Pivec is a true organist, not just a pianist or keyboard player transplanted onto the instrument, and shows a real understanding of how the Hammond works. He's constantly in control of the sound, changing its texture and washing it in and out using a volume pedal.

The regular Trio was completed by drummer Martin Novák, a sensitive and listening player who complimented the work of others instead of ploughing on straight through. His solos were hot, but it was the shifting, sliding, responsive rhythms during ensemble playing that really stood out. The fourth member of the "Trio" was a special guest, acclaimed guitarist and recent returnee from Canada, Petr Zelenka.

Together they formed a tight outfit, pumping out the material with gusto. Kalfus and Zelenka are both physically expressive players, losing themselves in the music as their solos climaxed. There was room for everyone to step out but also some satisfying moments of four-way cooperation. Pivec's rumbling bass notes gave soloists something to soar above. Sax and guitar merged and blended well with each other, the latter being lyrical and smooth at some times, sharp and angular at others.

The band took on some challenging material and delivered it well. Joe Henderson's Inner Urge and Wayne Shorter's Night Dreamer are not the easiest ones in the book to play but they were convincing and enjoyable, interpreted by this hard blowing combo that attacks with style. The tempo was mainly fast and furious, but even when it stepped down a notch the underlying energy remained, generated by the sense of a band having fun.

Some cute variations were thrown in, making sure that the show never got dull. There was a dark, sinister soundscape created by muted organ, guitar, and Novák squeaking the metals. The few ballads were duly balladic and, intentional or not, the playing of a dark smoky number at the stroke of midnight was a neat touch. Nothing says midnight like mellow legato solos and brushes, and it fitted the candlelit tables and waterfront location perfectly.

It was another good gig at the Jazz Dock, a sort of club that is suited to this sort of music. The volume was loud enough to drown out the occasional chatter of posers at the bar and the shaking of iced cocktails. The cool sounds of sax and organ fitted the cool atmosphere of the room, a room that feels like a small piece of New York City moved east. Above all it was good to see a young band playing with so much maturity and flair. While the performance contained many traditional elements this was not jazz by numbers: it was exciting, energetic and very enjoyable.

Gig Review: Elena Sonenshine

Jazz Dock
5th June 2009

Elena Sonenshine is one of the big names of Czech vocal jazz, appearing regularly in this country and also on international stages. She studied at the Berklee College of Music and has established her reputation as a singer of quality and interest. It is always worth making the effort to catch her when she is in Prague – yet another opportunity to see world-class talent without having to wander too far away from our own front doors.

Of course a singer cannot do it all by themselves – a good band can make or break the evening. Elena takes to the stage with a strong outfit behind her: the band for this concert comprised of legendary Czech vibraphone player Radek Krampl, the excellent Petr Dvorský on acoustic bass, electric guitarist and arranger Mirek Linka, and the skilful Branko Križek on drums. Together they worked to create a range of sounds from the simple to the complex and from the gentle to the brutal.

The new Jazz Dock, with its unparalleled Vltava location and glass walls affording a clear view of the passing waters, was starting to fill up as the band kicked off at ten o’clock. Very much a late night hangout this club does suffer a bit from chatter and noise from the bar, but sitting near the front it was not too distracting. Also in the club’s favour is that the music comes through with a nice clear mix, not too loud but usually able to drown out the clink of glasses.

The selection of songs over the three sets was nicely balanced. The more commonplace material such as “Cry Me a River” (A. Hamilton) was well done with lively arrangements and, of course, excellent vocals. Sonenshine’s voice is powerful yet expressive, allowing the band room to play around without the risk of drowning her out. There were some cute touches along the way: “Dream a Little Dream of Me” (F. Andre, W Schwandt, G, Kahn) was done as a delicate multi-lingual vocal and guitar duet (the rest of the band obediently stood at the bar, the audience obediently listened) while "Is You Is Or Is You Ain't My Baby" (L. Jordan) was emphatic fun with the crowd invited to sit in on finger clicks.

Lead lines were usually taken by either Linka on guitar or Krampl on vibes. The latter, wielding four mallets and throwing his arms at his instrument, coupled frantic solos with rhythmic chimes. He was nice and high in the mix, putting some real meat into his sound, and his work often drew admiring applause. Linka also got his fair share of the spotlight, alternating between harder solos and more atmospheric strumming and washes of sound.

There was some original material on the setlist including the effective and well-received “I've got Completely Lost In You”, featuring some classy work by Dvorský. Enthusiastic and versatile, as well as extremely talented, it is always a pleasure to watch him play.

It was however the more unusual material that made this gig really stand out, making the night interesting as well as musically satisfying. “Slow Hot Wind” (H. Mancini, N. Gimbel) was as sultry as it sounds, whereas “Save Your Love For Me” (B. Johnson) hit more of a funky tone. The standout piece, and certainly the one that really wowed the crowd, was a barnstorming “You And The Night And The Music” (A. Schwartz, H. Dietz). Starting off slow and stately, beats marked out by bass and drums, it rose into a monstrous clattering crescendo that filled the room with a sheer wall of sound. From there it fell away, back into a dark groove, before ending with some spectacular work from the previously understated Križek.

All through the concert Elena bantered with the crowd, both in English and in Czech. It made the tourists and foreigners feel welcome but also retained the feeling that this was a Czech concert in a Czech venue. When the band left the stage for the last time (at one o'clock on Saturday morning) a representative from a group of unusually attentive Americans begged for an encore. When a band plays into tomorrow and the crowd still want more they should know that they have done something right.

This was a good concert, and a lot more enjoyable and interesting than the work of some of the really big global names in female vocal jazz. The music was consistently exciting, never drifting into mere anodyne accompaniment. Elena, the star of the show, is a fine singer with a strong and expressive voice and who feels and interprets the songs with skill, passion, and good taste. Do go along and see them if you have the chance.

Gig Review: Robert Balzar Trio & John Abercrombie

Lucerna Music Bar
22nd March 2009

People were looking forward to this one. The release of their excellent album, Tales, was one of the highlights of the Czech jazz scene in 2008, and it was with high hopes that the joint Robert Balzar Trio / John Abercrombie tour was announced. A European tour by one of the world’s leading jazz guitarists fused with one of Central Europe’s leading outfits was an exciting prospect, and yet further proof (if any was needed) of the very high standard of Czech jazz.

Thankfully for Prague’s jazz and ice hockey enthusiasts the local concert didn’t clash with any of the home play off matches that dominate the domestic calendar in March. As such we were spared the sight of breathless latecomers thundering into the venue still sporting their shirts and scarves, wielding flags, and with their faces painted in team colours. Indeed there was plenty of time for a relaxing drink before the band took to the stage, with one of Lucerna’s very best features being its exceedingly cheap tank Pilsner Urquell.

Balzar introduced the band and there was warm and appreciative applause for the American guitarist, who sat down modestly behind a single guitar with a couple of pedals - no excessive paraphernalia required. Immediately it became clear that this was very much a true collaboration between the two parties. Although much of the material was familiar from Robert Balzar Trio gigs the arrangements were, as on Tales, adapted to make room for Abercrombie’s guitar. Similarly the star guitarist did not steal the show, never just soloing in the spotlight and using his younger, less experienced counterparts as a backing band. Instead they worked together, sometimes sweet in harmony and sometimes creating tension by dissonance. This quartet has not had the chance to play together a lot and they perhaps lacked the telepathy that is developed by playing hundreds of gigs together over many years, but still it was fluid and cohesive and frequently spectacular.

Virtually all of Tales was played, although for some reason “22 Years Ago” and “Portissimo”, both excellent tracks on the recording, were not included and seem to be live rarities. It was good to hear “Just In Tune” and ‘Sing Song”, both penned by Abercrombie, presented with their guitar parts in place. The main beneficiaries though were “Tale” (R. Balzar) and “Remember Hymn” (J. Abercrombie). Both of these pieces are staples of the Trio’s regular live set and they do sound good when presented as such, but the crisp, dry guitar lines gave them something special, something extra. It was as though the sound was presented with more definition: where before the curve of each note was a fuzzy edge it was now a simple single line, clear and satisfying to the ear. This was especially true of “Remember Hymn”, where Abercrombie’s fragile and ethereal phrases added a whole extra dimension to this slow-motion elegy.

All of the Tales material was given a thorough workout, with expansions, extrapolations and extensions abounding. Sticking very much to the jazz maxim of never playing something the same way once it was the music from the album brought alive before our eyes and ears. The audience, lacking the casual tourist element that so often spreads its sonic graffiti across the soundscape with wild abandon, was constantly attentive. Loud when offering applause and quiet when listening: the combination that some tourists find so hard to master.

Not all the material played was from Tales. A couple of Abercrombie pieces not usually played by the Trio were included, as was Balzar’s affecting “Ben-In-Jam”. Used to close the main set, as it usually closes a night with the Trio, this piece was presented in a very different form. Instead of the lead lines being provided by Balzar’s expert work with the bow they were taken by Abercrombie, who treated them with the same love and respect that he showed to his own compositions. It was also one of the few moments when he really let rip with some perfectly placed aggressive attacks.

While Balzar and Abercrombie dominated the concert, both with their presence and with their soloing, the other two members of the Trio worked equally hard and clearly enjoyed the experience. Stanislav Mácha contributed much of his trademark luscious, rolling piano and took a couple of excellent solos. Meanwhile, at the back of the stage, Jiří “Mr Swing” Slavíček pinned down the tempos with his precision work on the kit. The only thing missing from the night was a full-blooded drum solo, but he showed his skills (and as ever, his good taste) constantly during the entire performance. He is one of the outstanding drummers on the Czech scene and one of the best drummers I have ever seen play, and it is this combination of technical ability and artistic restraint that places him in this elite category.

A first encore of “I Fall In Love too Easily” (S. Cahn / J. Styne) was not enough to silence the audience who brought the band out for a second time before finally letting them quit for the night. It is to be hoped (and expected) that the music was this well received at all the gigs on the tour.

What the future holds for the collaboration between Balzar’s Trio and John Abercrombie is at the moment (to us at least) unknown. It would be a shame if this is the end of their work together, but if this is the case then they leave a legacy of an excellent studio album and resulting tour. Given the presence of four static and moving cameras at Lucerna there could also be a DVD in the future. More information on that if and when we get it. Until then we will just have to make do with some pictures from the Prague Jazz private vault.

Gig Review: Ondřej Pivec Organic Quartet

USP Jazz Lounge
29th December 2008

It is fair to say that the organ does not always get the best of press. Its reputation as a serious musical instrument is sullied by caricatures of cinema Wurlitzers, Hammond enthusiasts who will never have girlfriends, and the plastic plinky-plonk of the stereotypical Bontempi entertainer. Pianos are everywhere, analog keyboards are cult items, and modern synthesisers are so respectable that they’re now considered to be real instruments by all but the stuffiest snobs. Sometimes it feels like there is no room for the traditional sound of an organ in the choir of keyboard instruments, except in church. This is not true of course, and anyone with doubts should listen to a Brian Auger or a Van der Graaf Generator album as soon as possible. Alternatively they could go and see the Organic Quartet.

The Organic Quartet, led by organist Ondřej Pivec, are one of the busiest and most accomplished young bands on the Czech scene. At the heart of the Prague jazz world there are many musicians who are in their fifth or sixth decade, and they take to the stage with all the experience and gravitas that those lucky enough to have a long life eventually acquire. However there is also a crowd of younger players out there, gigging hard and paying their dues, who will eventually inherit the Prague jazz crown. It is important that these rising talents are up to the job because they will eventually become the custodians of a historically important musical legacy, and if the Organic Quartet are a sign of things to come then the future looks bright.

With Ondřej are Libor Šmoldas on guitar, Jakub Doležal on saxophone, and Tomáš Hobzek on drums. There is no need for a bassist in the band: Pivec provides the rumbling low notes with bass pedals and left hand key playing in the true organ tradition. The resulting sound is fresh and lively, mixing traditional jazz with elements of funk and blues.

Pivec was in the middle of a long and draining Christmas residency, but he and his band were still going strong. They were not afraid to wander on the wild side, and the turbo-charged “Bite your Grandmother” pulsated with high-tempo aggressive angular playing from all members. The more fluid “Overseason” was slick and smooth, and “Song for Sam” was warm and vibrant. At other times they slowed it right down, allowing the rich and thick gospel-like organ sound to filter though, an instrument that can be spiritual as well as groovy.

One of the things that stood out during the performance was that they really did seem to enjoy playing the music. Šmoldas rarely stopped smiling as he wielded his guitar, mostly subtle and understated but capable of going for the burn when the time was right. Similarly Doležal handled his sax with verve, acknowledging applause from the audience after his solos before retreating to the sidelines as others took their turns. Hobzek pounded the skins with control and taste, rattling out solos that were interesting and not too long. Their efforts were appreciated by most of the USP punters who were generally receptive and quiet, although the inevitable table of fools required several dirty looks and threatening gestures to finally shut them up.

The highlight of the evening, and the unique selling point of this ensemble, was Pivec’s playing. A veritable symphony of motion of feet and fingers, his gliding touch over pedals, keys and buttons worked to provide a wide palette of sounds. Balancing both melody and bassline in ever-changing tones he is a true jazz organist, not just a keyboard player who happens to be using an organ on that particular night.

The Organic Quartet provide a solid evening of entertainment. They are young but they are good, and any naïveté present in their writing and performing is counterbalanced by their enthusiasm and raw skill. They are certainly a band to watch, now and in the future.

It will be a little while before you can watch them though. Ondřej is returning to New York City for a few months. During this time the remaining members of the quartet will be busy with their other projects and will be seen around Prague and the Czech Republic, as well as nipping over to NYC to play with Pivec. Such breaks can be good for bands, and almost always see them back imbued with new vigour. As such we can but look forward to the resumption of the well-travelled Organic Quartet in the summer.

(Photo by Nancy Haselden)

Gig Review: Michal Prokop & Framus Five

Divadlo Archa
19th December 2008

Christmas in Prague means many things to many people. To some it means the smell of mulled wine and roasting chestnuts drifting over from bustling market stalls. To others it means choosing an oversized tree and hauling it home on the tram. To many it means trying not to fall into the tanks of live carp when drunk. To us at Prague Jazz it means all of these and more, and in the more we must include Michal Prokop’s Christmas gigs. A full length concert interwoven with special guests is what we’ve come to expect, and unlike many under-tree promises that turn out to be socks or hankies, it is never a disappointment.

Before the emails of complaint come flying in, we know that strictly (or even loosely) speaking Prokop isn’t a jazzer. But within his blend of rock, blues, soul and folk there are some jazzy moments. In his band are the virtuoso violinist Jan Hrubý and a guitarist called Luboš Andršt who can play a bit: real music played by real musicians. Their intermittent work together over the years has an iconic place in Czech popular music, and their current performances are joyous and exuberant affairs. With his other lives in politics and television Prokop could easily have turned into a caricature, a one-man “celebrity” variety show. Instead, when he takes to the stage, he is still 100% musician.

This concert not only celebrated Christmas but also the sixtieth birthday in 2008 of both Hrubý and Andršt. It was therefore fitting that they opened the show, together with Prokop who turned sixty two years ago, as their “unplugged” acoustic trio. Normally only seen during short sets at festivals, it was an unexpected treat to hear their staples “Rain” (J. Feliciano) and “Miss July” (P. Skoumal, P. Šrut).

There is usually some young talent showcased during these concerts, and this year it was the turn of Jana Šteflíčková. A folky songstress with a strong voice, she impressed the audience with her acoustic guitar technique, providing her own percussion with some hefty string-slapping. She is definitely worth watching out for in the future.

Next up were Kukulín, Celtic folk-rockers led by none other than Jan Hrubý, who hardly left the stage all evening in what was to be a marathon performance. He is never the most boring person to watch onstage, enthusiastically transferring his thoughts and feelings to the strained strings like Paganini on lager. As bandleader he was even more animated than ever, on his feet and jigging away through some stunning solos and euphoric ensemble playing. It was hard to believe that he, as with Prokop and Andršt, could possibly be sixty.

More defiance of the years came next, with the emergence of two more legends of Czech music, singer-songwriter Vladimír Mišík and veteran Blue Effect guitarist Radim Hladík. Another two gentlemen who by standard convention should be telling us to keep the noise down rather than making the noise themselves, they teamed up with Hrubý for a rousing blast of “Šmajdák a ploužáky” (V. Mišík, V. Merta) before being joined onstage by Prokop and Andršt. Collectively the five musicians have over two hundred years of playing experience, which is why they sound so damn good. An extended blues number with solos all round ended the first half of the concert, with the crowd enthralled by the sight and sound of the some country’s best known musicians jamming together.

After an interval to rid the stage of all extraneous gear it was time for Prokop to take the stage with his electric band for the main part of the concert, although few would argue that we’d had our money’s worth already. Everyone was thoroughly warmed up so classics like “Kolej Yesterday” (P. Skoumal, P. Šrut) and the rousing anthem “Blues o spolykaných slovech” (M. Prokop, J. Žáček) went down a storm. As is now usual a bulk of the set came from the Poprvé naposledy album (2006). Widely seen as Prokop’s renaissance and return to the musical first division after his time in politics, the newer tracks from this record sit easily with the older material. “Virtuální realita” (L. Andršt, P. Šrut), a powerful straight-ahead rocker came off especially well, as did the violin-driven “Zloději času” (P. Skoumal, P. Šrut).

Rhythm was provided by Wimpy Tichota on bass and Pavel Razím on drums, a pairing who work together often and keep things both innovative and tight. It would have been nice to see these two younger statesmen of the Prague jazz scene given some room to solo, but that honour seemed to be reserved for those who were sixty or over. They were all joined for one song, “Hotel u přístavu (L. Andršt, P. Šrut)”, by young jazz singer Markéta Foukalová. Duetting with Prokop like on the album original, they exchanged lines while Luboš ran honey-sweet jazz guitar phrases behind them.

The finale was an explosive sprawl through the talents of great instrumentalists. It had been a long and fun night, and it is fair to say that not everyone concerned was entirely sober, and it was Christmas and time to rock. Andršt led the way with a delicious slide solo at the end of Loučení (P. Skoumal, P. Šrut), then we had the two usual blues numbers, “Boom Boom” (J. L. Hooker) and Hoochie Coochie Man” (W. Dixon). Both contained furious duels between guitar and violin, underneath which pulsated a churning blues groove pumped out by Tichota and Razím. Prokop’s attempts to end the instrumental section and finish his lyrics were amusingly frustrated by the soloists who for a long time couldn’t quite bring themselves to quit. The encore of “Noc je můj den” (L. Andršt, M. Bláha), was even more wonderfully chaotic with the guest appearance of Radim Hladík. If two soloists can cause trouble for a bandleader trying to control things then three of them are a nightmare. The rolling melody turned into a battle for the best lick of the night that only ended when the house lights were put on and everyone else was leaving the stage. The winner of this contest was undoubtedly…

Well, the winner was us really, the audience treated to the sight and sound of such luminaries playing together and playing with a free hand. It was a display of creativity rather than a recital of the script and, like the evening as a whole, a reminder that prolonged success in the industry need not kill off the spontaneity, creativity and excitement of making music. Technical skill, charismatic stagecraft, historic collaborations and emotional playing all combined to make a very special Christmas present for all who were there

Gig Review: Luboš Andršt Blues Band

Charles Bridge Jazz Club
6th December 2008

It is always interesting to see things for the first time. This time there were two firsts for the price of one. It was Prague Jazz’s first visit to the new Charles Bridge Jazz Club, and also our first look at the current incarnation of the ever-evolving Luboš Andršt Blues Band.

The Charles Bridge Jazz Club is a pleasing addition to the local scene. It is a bit of a squeeze for everyone to fit around the tables, but the close packing gives it the sort of front parlour intimacy that a good jazz venue should have. There is also a decently sized bar area, so those who wish to ignorantly talk over great music can do so without irritating everyone else. The atmosphere is friendly and the prices are reasonable for its location, almost literally in the shadow of Prague’s most famous landmark (excluding Darling Cabaret). Unlike some places in this city it feels like a real music venue rather than a tourist trap, and that is the most important thing for those of us who are real music enthusiasts rather than gormless travellers.

As well as a good venue a good evening requires a good band, and the Luboš Andršt Blues Band certainly falls into this category. We here at Prague Jazz are proud fans of the mighty Luboš and the musicians he usually plays with. With him for this concert were perennially funky electric bassist Wimpy Tichota, drum powerhouse Pavel Razím, and Jan Holeček on keys and vocals.

What the band delivered was three sets of hard-hitting electric blues, ranging from gospel spirituals to a rocking blast of “Cross Road Blues” (R. Johnson). Their arrangement was very close to the Cream interpretation that has become known as the definitive version to many people. Luboš’s improvised solo was dazzling, while Holeček wailed the lyrics with passion. His voice is very similar to a young Robert Plant, and he could no doubt make a good living in a Led Zeppelin tribute band if he was so inclined.

The rhythm section spent the night having a fun old time in the corner. Tichota and Razím have played together for many years, developing an instinctive communication that allows them to manoeuvre the music through a maze of twists and turns without ever breaking stride. Pavel forsook the “big kit” school of drumming, using only a snare with brushes, a kick drum, and a hi-hat. From this three piece collection he produced a surprisingly wide palette of sounds and some furious solos, sending a brush flying in his frenzy. Wimpy also unleashed some fine slapping solos from his Fender Jazz bass. Their constant interplay and asides showed a band that was really enjoying performing, and this came across strongly all night.

Andršt’s guitar work was the undoubted highlight of the concert. Whenever the band paused to make room for one of his solos there was a noticeable air of anticipation. We all knew that something great was about to be set free and he never disappointed. With both great technical skill and great feeling he guided his red Strat through the curves and contours of his imagination. Sometimes flashy, sometimes simple, but always in the best possible taste, his playing held the audience spellbound. During “Cross Road Blues” there was nobody in the room that missed Clapton, and the finale of “Hey Joe” (B. Roberts) was electrifying, sending shivers down spines and eliciting hearty cheers.

There are a lot of good nights out for the serious music fan in Prague, but the regular appearances of the Luboš Andršt Blues Band at the Charles Bridge Jazz Club must currently rank amongst the best. They don’t seem to make real guitar gods anymore, the old-school axe-men who let the strings do the talking. So make sure you go and see Luboš for he is one of the last of the old guard, a bluebood guitarist who can still make the magic happen.

Gig Review: Karel Růžička Trio

AghaRTA Jazz Centrum
15th November 2008


Karel Růžička is one of the heavyweight figures of Czech jazz. Composer, conductor, teacher, former president of the Czech Jazz Society and also, of course, bandleader and pianist, his is a formidable record. His Trio performances are events to be savoured but maybe not always for the faint of heart. They offer up no jazz-lite to give succour to the sort of people who think that Richard Clayderman albums are very exciting. They play hardcore, hardball, and hard hitting modern jazz with their own unique sound.

Central to that sound is Růžička’s piano. His technique is aggressive, and extensive use of his left hand gives it more bottom end than you would normally hear. He is quick and dextrous but at the same time there is a simmering violence that seizes the music into existence, carving and shaping soundscapes into reality like a sonic sculptor. His understanding of the shape and form and colour of music, coupled with his ability to concoct soaring improvisations of dizzying perfection, is a recipe for cool thrills.

Bass duties were assumed as usual by Josef Fečo, who pounded his way up and down the big strings with flair and taste. Drum duties were handled by Martin Šulc who I had not seen with the Trio before and was introduced as a guest player. He contributed an excellent percussive performance, and the virtual telepathy between the three men kept things exciting and fresh.

The opening piano solo, dark and mellow, raised the curtain and led into a bout of the sort of sophisticated ensemble playing that they do so well. Each voice was clear and distinct and had something to say, but like a good conversation they never talked over each other or drowned each other out.

On the previous occasions that I have seen this Trio it was Růžička’s own compositions that seemed to dominate the evening, but this time it was his interpretations of other material that stole the show. A good interpretation is always pleasing to the heart and mind: a familiar phrase placed in a new context, with enough remaining to make the piece recognisable but enough invention to make it a unique composition in its own right. Their rendition of “All Blues” (M. Davis) was a perfect example. The swirling riff of the original was kept intact but alongside it the Trio gave their creativity full reign. The result was a textured and contoured journey, sometimes so gentle that Růžička could add percussion to the sensitive drum solo by tapping his unamplified water glass, and sometimes emphatic and triumphant.

“On Green Dolphin Street” (B. Kaper) was also given a good run though with some dazzling piano runs and “They Can’t Take That Away From Me” (G. Gershwin / I. Gershwin) brought smiles from all around. A prime example of taking a great theme and running with it, it was a sad disappointment that this freewheeling and joyful blast of improvisation ever had to end.

Amid the more robust material there was also outstanding beauty on show. “You Don’t Know What Love Is” (G. de Paul) and “My Funny Valentine” (R. Rodgers) were moving and emotional dips into the Great American Songbook, while “Largo” from Dvořák’s “New World Symphony” brought with it an epic stillness and peace.

A final rattle through of “Oleo” (S. Rollins) dispatched the audience out into the cold night. In some ways it would have been nice to see Růžička’s own material given more prominence, if only to make sure that the passing trade knew that they had seen a great writer as well as great interpreter, but it was still a fine evening of demanding yet listenable jazz. If you haven’t seen them yet, and you like your jazz trios uncompromised and full on, then put them in your diary today.