Jazzová KLAUSura Continues...

The fifth JK concert, featuring American singer Deborah Davis, completed the 2013 programme of the former President's concert series.

Having written the programme notes for concert there is little to add in the way of a review, other than to say it was a a thoroughly professional and accomplished performance by the well-travelled singer and her Czech and Slovak band for the night. Presenting herself with flamboyance and glamour she showcased her interpretations and arrangements of classic tunes, including a seasonal encore, and was a commanding presence in the intimate auditorium that is the Autoklub.

The band, led by pianist Tomáš Jochmann, maintained that delicate balance of being sensitive to the singer's needs while at the same time keeping their own playing interesting and attractive in its own right. Young saxophonist Jan Fečo was a revelation, and is definitely a star in the making.

Bringing together musicians from around the world for one-night-only collaborations has been one of the most exciting aspects of the Jazzová KLAUSura concerts, and hopefully 2014 will bring more excellent entertainment for fans of sophisticated and unique jazz concerts in Prague.

Soul Singer Coming to Prague

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.

News: Paul Desmond Biography

Acclaimed writer Doug Ramsey has been a friend of Czech jazz for many years, giving the scene here valuable international attention and reminding his vast US audience that jazz is not only an American phenomenon.

Take Five: The Public and Private Lives of Paul Desmond has sold out in hardback format but is now available as an e-book. Find out more about the book, read some reviews, and order it here: http://www.artsjournal.com/rifftides/2013/06/take-five-the-book-goes-digital.html

CD Reviews: George Mraz and Martina Fišerová

Two new CDs found their way to PJHQ last week. Both are by duos, both feature a Czech and a non-Czech, and both have a story behind them. Both are worth a listen.

Unison is the new album by George Mraz and English pianist Zoe Rahman. It was recorded live in 2012 on a UK trip that seemed to involve as much fishing as it did playing. The liner notes are split between the two preoccupations, and the positive effect of the riverside pursuit is evident in the music. It is an intimate, easy performance, and he is as at peace with his improvisations as he would be by the riverbank with a fly box and a haul of trout.

Just performing with piano and bass leaves a lot of empty spaces, which neither musician attempts to fight away with tedious overplaying. That's not to say that they are taking it easy, because the most certainly aren't. Mraz really cooks on his own composition, "Wisteria", bouncing melody and rhythm out of his instrument with great intensity. "Three Silver Hairs" is a Mraz original, but the sound is very similar to the wistful Moravian folk melodies that he has exported to the USA, and Emil Viklický's strident arrangement of the traditional "Pennyroyal" is faithfully executed by rising star Rahman. She has one original on the album too, "April Sun", proving herself a partner in this venture rather than a mere accompanist, and Mraz plays on her piece with the same conviction he shows on his own.

What gives this album something special is that the musical relationship worked, and it worked instantly and spontaneously. They met for the first time that day, and a few hours later pulled off a together and (no pun intended) unified performance. You can sense that something special was happening, and that is what makes this recording interesting. That sense of event, as well as a sense of creative joy, runs through the whole thing. That makes it worth listening to, in addition to the quality of the playing. They try, they take risks, they fly.

Another record, this time by a lesser known artist, also has an interesting background. Clearing Fields was recorded by Czech vocalist Martina Fišerová and American organist and pianist Brian Charette. Her biography is impressive, but this is the first thing she's put out in her own name. They first met 20 years before recording this album, and Brian's liner notes speak of a special chemistry in their act. Whether it was insight or wishful thinking I do not know, but they were to get together shortly afterwards. Thankfully this is the recording of two people who weren't quite at that point yet, so the feelings are present but mostly under the surface, rather than spewing out as a sickly sweet voyeuristic honeymoon document.

It is mainly an assortment of standards ("My Favourite Things"? Check. "I Got Rhythm"? Check.) but it has a certain charm. Fišerová sings clearly in English with just enough of a European accent to make it cute, which is infinitely better than than the attempt to sound 'Transatlantic' that is attempted all too often. Charette is perfectly capable on both piano and organ, and while he never really lets rip and lets it all hang out it is also no snooze-fest. There is one one original on the album, "Song for Brian" with words and music by Fišerová, and its actually rather good. It also has some acoustic guitar which helps give the sound some of the diversity that is lacking elsewhere. Jazz pop? Folk jazz? Either way it's cool, and if this is the sort of stuff she is capable of writing then I hope there is more on the way.

Clearing Fields is a charming little album. It doesn't set the world on fire but then very little does, and some of the things that do are napalm and atomic bombs so it is not always a great thing. It is, however, two talented people doing some songs together like it actually matters. If they are going to go on and do more of their own, more adventurous, music, then that's a great place from which to start.

Unison by George Mraz and Zoe Rahman is out on Cube-Metier: MJCD 21250 

Clearing Fields is out on Blue Season: BS 002-2

News: Jazzová KLAUSura Concert 2

Tickets for the second Jazzová KLAUSura concert are on sale at www.ticketstream.cz.

Jazz After The Castle

Lew Tabackin and the Emil Viklický Trio
Autoklub České Republiky
23.05.13

As President of the Czech Republic, Václav Klaus may have irritated the environmentalists but he delighted his fellow jazz lovers by hosting monthly concerts at Prague Castle. There were 90 Jazz na Hradě concerts in all, performed in the Castle state rooms and gardens, where some of the biggest names in world jazz performed alongside the cream of the Czech scene. While lacking the closeness and informality of club gigs, these prestigious showcases demonstrated Klaus's personal commitment to the music, and the associated sponsorship allowed a Prague audience to see players who would otherwise be unlikely to drop by. They also had the advantage that even the densest of tourists understood that this was a concert, not an opportunity to talk loudly and eat crisps, and so music could occur against a blank sonic canvas, not a symphony of morons.

New President Miloš Zeman has not continued with Jazz na Hradě but the concept, the logo, some of the organisers and the man himself have relocated. Under the title of Jazzová KLAUSura, the new concert series kicked off at the Autoklub České Republiky with American flute and tenor sax maestro Lew Tabackin. He needed a band to play with, and when the Czech Republic needs a pianist you know that Emil Viklický will probably get a phone call. With Petr Dvorský on acoustic bass and Tomáš Hobzek on drums, Tabackin had a band with which he could speak the language of music even if he couldn't pronounce their surnames.

It worked. This Czech trio were able to keep up with Tabackin through his own compositions as well as the standard songbook, and while he was the star of the show he also had star quality behind him too. The originals included "Desert Lady", the title track of his 1990 album held together with evocative flute work, and the hard swinging and smile-inducing "B flat". There were a couple of superb Duke Ellington interpretations, "Self Portrait (of the Bean)" and "Sunset and the Mocking Bird", which were performed with exuberance and panache, his virtuoso improvisations stretching out far beyond the recorded originals. Stalking around, stamping the stage and generally being cool, this was ninety minutes of music that started well and got even better as the band played itself in.

Everybody got some time in the solo spotlight and nobody abused it. Hobzek is maturing into an excellent drummer, making good on the potential he showed when he was with the Organic Quartet, Dvorský is one of the must-have bass names working in the country at the moment, and Emil is Emil. As much as we love his usual concerts it is always interesting to see a musician you know well doing something completely different, and it is unusual to see him in the role of sideman. He provided sophisticated but unselfish accompaniment, listening and responding to Tabackin, and that connection made the show so much more than just a star and some hired hands.

The Autoklub is smaller than the halls of Prague Castle, but what is lost in swank is gained in intimacy. Klaus had a smaller entourage and he was happily talking to people before and after the music. The lone protection officer stayed out of the way, enjoying his earpiece and radio, and while there were still some VIPs they were there for the music rather than to be seen and photographed. The machinery around Jazzová KLAUSura is just starting up. Hopefully there will be a web page soon, and a bit more promotion. It would have been easy for Klaus and the organisers to look back at almost a hundred Castle gigs and decide that it was time for the music to stop. Jazz enthusiasts in Prague should be happy that this did not happen, and although the new setting is less glamorous it may well turn out to provide an even better experience for the true music fan.

Recent Releases (Part 1)

This blog may have been in hibernation over the last few months but the Czech jazz and blues world didn't stop turning, and some noteworthy albums were released by some of the biggest names on the local scene. Here then is the first part of our roundup of the best recent albums and re-releases. 


Prague's very own Chicago bluesman, Rene Trossman, returned to the studio to produce the upbeat I'm On a Roll. This is a full-blown, lush-sounding Chicago blues experience, featuring the swirling Hammond of long-time collaborator Jan Kořínek, the funky, clipped bass of Jan Tengler, and a horn section with enough punch to win a barroom fight. Rene is sounding happy here, with the title track an exuberant celebration of winning at life and "Down at Rosa's" paying tribute to one of Chicago's most famous blues venues.


Even the love songs, and this being the blues they aren't songs of happy ever after, are free of bitterness. "I Still Think About You", sung as a duet with Lenka Novotná, is a fusion of joyful playing and heartbreaking lyrics. "You Sure Left In A Hurry" is exactly the story you'd expect it to be, but Rene sings as the affected but worldly-wise and accepting participant rather than the pathetic struggling victim.


This album makes you feel good. The musicianship is as excellent as you would expect it to be, with Rene's Strat coming through loud and clear.  Nine of the eleven songs are originals, and creativity was clearly high when they were written. No fillers, and all good stuff. There's always an edge to Trossman's work, the edge of a man who has lived a lot and got hurt along the way but is still standing. If there is an overall message to this album it is that love is not easy and the world is not right, but that's not going to keep a good man (or a good guitarist) down for long.


More information about Rene and I'm On a Roll can be found here.


Jan Kořínek also appears on Daily Specials, an instrumental album by American guitarist and producer Steve Walsh. Joined this time by Tomáš Liška on bass and Daniel Šoltis on drums, this is a recording blending jazz, blues, rock and a little bit of country (see the delicate "A Little Piece of Tennessee" for proof).


Highlights include an absolutely storming version of Duke Ellington's "Blue Pepper" and the aggressive "Conjunction Mars" (Melvin Sparks).  Walsh plays with a dirty, fuzzy tone that takes up a lot of space. Liška is the unsung hero, holding his own with an acoustic bass in an electric band.


There's nothing on Daily Specials that is going to change your life, but it is interesting enough to make it worth a listen. International collaborations are good things, and we're in favour of anything that spreads the word and shows musicians around the world just how good the Czech players are. It would have been a better album if they'd taken a few more risks and let things hang out a bit more, but there are plenty of moments to make you smile. 

More information on Daily Specials here.


Continuing with the transatlantic theme, but this time with Czechs in America rather than the other way round, we have 18 Days, 2000 Miles by the Libor Šmoldas Quartet. This album was recorded during a studio break on their 2011 USA tour, a tour that lasted and covered... well.. you can guess. Although it is a studio album the Quartet were in full live performance mode,and so it does feel like a live recording with the audience silenced.


Libor has blossomed as a guitarist over recent years, and here he is heard with his fellow ex-Organic Quartet bandmate Tomáš Hobzek on drums, Petr Beneš on piano and Josef Fečo on acoustic bass. It is very much a no-nonsense modern jazz album, with cohesive ensemble playing and skillful solos. The standout piece is the absolutely gorgeous "Lenka", written by Fečo, a sophisticated ballad that opens with a melodic and perfectly judged bass solo.  There is no trickery here, no attempts at being overly clever, just a reminder that there are still good things for musicians to say when they open their hearts.


There is a joyfulness about Libor's guitar playing that is conveyed well on this record, and he can swing and bop with the best of them. One moment paying tribute to Wes Montgomery with his own composition, the next performing a credible interpretation of John Carisi's "Israel", this is a cool album to listen to on a hot summer's day.


A taste of the band's genuinely live sound is provided by the bonus track, "Moanin'" (Bobby Timmons) with special guest and ex-Jazz Messenger Bobby Watson on sax. They do the event justice, and once again Czech musicians perform credibly alongside world-famous counterparts. 


Read more about Libor at his website.




The second part of our overview of interesting recent releases is coming soon, so do stick around...

News: New Czech Jazz Album from Steve Walsh

Well, almost. The American guitarist, composer and producer has just recorded a new album for Animal Music with three of the hottest young Czech players: Jan Kořínek on Hammond B3, Tomáš Liška on acoustic bass and Daniel Šoltis on drums. Daily Specials was launched at Jazz Dock on Friday 10th February, and as soon as our review copy arrives we'll let you know what it sounds like. We may even have a free copy to give away...


Steve Walsh: www.stevewalshmusic.com
Animal Music: http://www.animalmusic.cz

Gig News: February's Castle Concert

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!

CD Review: Richie Cole Q & Emil Viklický (Jazz na Hradě)

Multisonic (31 0799-2)
2011

It is fair to say that Václav Klaus is not the least controversial politician in the world. He attracts attention on both the domestic and the international stages, and the critical coverage often seems to outweigh the positive. Where Klaus cannot be faulted is in his promotion of Czech jazz, not as some sort of historical relic but as a living, breathing cultural identity. The most visible evidence of his support for the genre is the Jazz na Hradě (Jazz at the Castle) concert series, played and recorded in the halls of Prague Caste itself. This is no mere paper endorsement: Klaus turns up and introduces the concerts himself. Whatever else you may think of him there is no doubt that Klaus is, in the words of Richie Cole, a "Jazz President".

The concert on October 17th 2010 brought together talent from both sides of the Atlantic. Richie Cole (as), Ted Hogarth (bar) and Ernie Adams (d) were joined by local guys Josef Fečo (b) and Emil Viklický (p). The resulting album is upbeat and joyous; a celebration of music and cultural collaboration.

The record is a mix of standards and original compositions, including two new Cole numbers penned for the occasion, "Castle Bop" and "Swinging With President Klaus". Cole is known for playing in the style of Charlie Parker, and during "Castle Bop" he revels in rapid twists and turns. Adams impresses with intricate percussion that never overwhelms the band but is worth listening to in its own right. Strong interplay between the two horns can be heard, with Hogarth blowing hard at the low end. Viklický tears it up during his solo, as would be expected. Although miles away from the Moravian interpretations for which he is famous, his playing is still infused with the innate sense of bitter-sweet melody that defines his sound.

It is Viklický who kicks off "Swinging With President Klaus" with an expressive, bluesy piano solo that leads into a strident and snappy piece. Fečo is reassuringly twangy and the melody is sweet enough. "Cacharel" is an infectious Viklický original during which the contrast between alto and baritone instruments is used with great effect.

There are two Gerry Mulligan pieces on the album, bringing the essence of cool jazz to the Castle. "Song For Strayhorn" unites the sax players in fragile and ethereal expression. The poignancy is even echoed in Fečo's bass solo. "North Atlantic Run" contains some of the most proficient ensemble playing on the recording: a good example to busy young musicians of how to not trip up over each other while still being able to do your thing.

Other names who are visited on this album include Ray Brown ("Buhaina"), Horace Silver ("Opus De Funk" - listen out for Adams as he sublimely shifts and changes his patterns under the angular romp of saxes and piano), and of course Charlie Parker. "Confirmation" is full-blooded bebop. They handle it well, audibly enjoying the furious pace. The Cole composition "Bossa Nova Eyes" ends the album in a calmer and more relaxing style; a fluid Latin-tinged workout with satisfying solos.

Just because you put a group of able musicians together on the same stage it does not mean that the gig is going to work. Lack of familiarly or a clash of styles can render the whole substantially less than the sum of its parts. However sometimes they seize the moment and fly. That is what happens here. It shouldn't be regarded as a Czech jazz album but as a world jazz album, recorded in Prague and with some Czech guys on it. There are a lot of Cole fans out there. Hopefully they will discover this disc, and with is discover two excellent Czech musicians who deserve the widest possible global audience.

News: Lynne Arriale in Prague

Pianist Lynne Arriale will be visiting Prague during her latest tour. Her current band includes bassist George Mraz, one of the most internationally famous musicians to come from the former Czechoslovakia. They will play at the Divadlo u hasičů on 5/5/10.

Rene Trossman & Deitra Farr

Prague's very own Chicago Bluesman, Rene Trossman, will be joined by acclaimed Chicago Blues singer Deitra Farr for some very special gigs in March. They will play at the Palác Akropolis in Prague on 18/3, as well as in Šumperk on 12/3 and in Ústí nad Labem on 16/3.

Deitra is the real deal, as for that matter is Rene. Come along and enjoy authentic Chicago Blues without the hassle of transatlantic flight!

News: Najponk in London

This week our readers in London have a chance to sample some genuine Prague jazz without all the expensive and tiresome travelling that it would usually entail. Pianist Najponk will be appearing at the Pizza Express Jazz Club on 9/2, and also in the afternoon at The Vortex on 14/2. He should be performing with Alec Dankworth on bass and Matt Fishwick on drums at Pizza Express, and solo at The Vortex.

Alec is the son of British jazz legend Sir John Dankworth, who sadly passed away earlier this week. He will be widely missed.

Video Selection

The snow and ice that cover Prague's streets at the moment make every trip outside an adventure, so here's three videos that you can enjoy at home without risking a trip to the hospital with broken bones.

To kick things off we have a rehearsal video from The Wall 2009, a concert in which Czech musicians recreated the legendary Pink Floyd rock show. So why feature it in Prague Jazz? First of all there is a pretty hot saxophone solo from Petr Kalfus, who is now more usually seen playing with the Infinite Quintet. Secondly, it features singer Lada Soukupová who is not only excellent but is also more than capable of delivering a jazz tune or two. Thirdly, on keyboards we have Harry (son of Roger) Waters, who is establishing a name for himself as a jazz musician in his own right.



Next up, following our review of her Joy For Joel album, we have pianist Beata Hlavenková and band. Here they are performing "The Riddle" on Czech television:



Finally, because he's very cool and that's reason enough, here's Luboš Andršt with his Blues Band playing a nice bit of Hendrix:

News: AghaRTA Prague Jazz Festival (Spring)

The spring dates for the AghaRTA Prague Jazz Festival are now out. The concerts will take place (as usual) at the Lucerna Music Bar: a great relaxed venue with very reasonably priced beer.

Acts appearing this year include the John Scofield Quartet (27/4), Courtney Pine (9/2), and the rockers-who-can-jazz-a-bit supergroup Bozzio/Holdsworth/Levin/Mastelotto (23/4).

Full details are available here.

News: Filip Benešovský Interview

My interview with Filip Benešovský, the man behind The Wall 2009, can be found here.

This recreation of the famous Pink Floyd show will take place on October 31 in Prague, and the performers will include Prague Jazz favourites such as Radim Hladík, Petr Kalfus and Lada Soukupová. Also appearing will be keyboard player and jazz musician Harry (son of Roger) Waters.

Bohemia Jazz Fest in The Prague Post

An unusually interesting article about the Bohemia Jazz Fest is featured in this week's Prague Post - you can read it here.

Viklický / Wellins At AghaRTA

The last night of this CZ-GB mini-tour (28/6) was once again a delight to witness. Bass duties were taken over by Petr Dvorský but otherwise the outfit was the same as before: Emil Viklický, Bobby Wellins and Dave Wickens.

It was probably the tightest of the three performances, loaded with improvisation but always retaining melody and musicality. From the lyrical to the blistering they tore through such exciting material as Caravan (J. Tizol) and the gorgeous Monk's Mood (T. Monk). The lack of repetition over the three dates was truly impressive, with the outfit producing three very different shows.

It was a true privilege and pleasure to see these gentlemen making music together and it is to be hoped that Bobby and Dave pass this way again soon.




(Left to right: Dave Wickens, Bobby Wellins, Petr Dvorský, Emil Viklický, Tony Emmerson)