Showing posts with label Jan Hrubý. Show all posts
Showing posts with label Jan Hrubý. Show all posts
Sunday, June 21, 2009
Michal Prokop & Framus Five at United Islands (20/6)
The early afternoon rain didn't dampen spirits at the Czech Stage of the United Islands festival, although admittedly we were nicely sheltered in a big tent! PJ's highlight of the day was undoubtedly the set by Prokop and his Framus Five band. Incredibly three of the outfit (Luboš Andršt, Wimpy Tichota, Pavel Razím) had just stepped off a flight from Bucharest where the night before the Luboš Andršt Blues Band had been in action!
Wednesday, December 31, 2008
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
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
Saturday, November 1, 2008
CD Review: Luboš Andršt Group
ARTA F10172, 2008
Things are rough at the moment. The world is plunging into an economic crisis. Across the globe war and famine are taking their toll and showing no sign of doing anything other than harvesting yet more innocent lives. There’s global warming and it rains too much. Gangs of youths roam and terrorise the streets of the Western world with knives and ill-fitting hooded sweatshirts. You can’t fly to
First of all it sounds superb. The quality is crisp and clean, but not too clean. This is music by men, not music by numbers. Everything is heard with clarity, and when played through a good quality stereo or a decent pair of headphones it should satisfy even then whiniest audiophile. For this fact it is worth a tip of the hat to producer (and drummer) Michal Hejna, mixer Peter Binder, and all others involved in committing the music to disc. Quite how the local boys manage to achieve this quality while many prestigious labels peddle records with shockingly foul production is one of life’s sweet mysteries.
And then there are the tunes. This is an instrumental album recorded in the traditional way, with the material road-tested, honed, tinkered, and knocked into shape during live performances. As a result it sounds accomplished and confident, as it should do. They know this material works and works well. Aficionados of the Luboš Andršt Group will be happy to hear studio versions of their live favourites. Random tourists in the jazz clubs of
Things get underway fittingly with “Underway”: tinkles of percussion and a slide on the bass as the band revs up, and then into a fast-paced guitar-driven fusion of jazz and rock. This opening track sets the tone for the album as a whole: catchy guitar motifs that seamlessly blend into searing improvisations, thick and funky bass from Wimpy Tichota, and spacey, jazzy keyboard solos from Ondřej Kabrna that extend into exciting extrapolations.
Michal Hejna’s drumming is joined by the percussion of Imran Musa Zangi, and this is put to good use on the Cuban flavoured “La Bodeguita Del Medio”. Appearing previously on Andršt’s acoustically orientated Imprints album (1992), it has been brought vividly to life during gigs by this electrically powered incarnation of his band. Now this longer and more spectacular version of the tune has been captured on record and, although not as frantic as the live performances can sometimes be, it still pushes and pulses like some sort of wild beast. Kabrna’s piano arrangement builds and builds in a classic example of tension and release, finally letting go with flair and Latin abandon, while Luboš contributes silky smooth liquid guitar runs. Emphasising the “live in the studio” feel of the album, Hejna throws in a pleasing drum solo at the end.
“Moment in Time” features the talented and charismatic Michal Žáček on soprano saxophone in beautiful interplay with soft jazz guitar, subtle bass, and persistent percussion. Joyful and celebratory, with fine soloing woven into ensemble playing and with a hint of romance too, “Moment in Time” is a gorgeous and complex piece of music with its own distinctive voice.
“Child’s Play” introduces a trio of shorter tracks (under six minutes!), returning to a harder-edged electric guitar sound. Again a pretty motif is used as the basis for heartfelt improvisation. Unlike some guitarists Andršt does not suffer from a phobia of silence, and as such his solos are elegantly phrased with pauses and room to breath: clear and purposeful strokes on the canvas rather than a panicky blot.
“Binky’s Beam” (John McLaughlin) is the only track on the album not composed by Andršt himself, but as a staple of the Group’s current live set it is again good to have it on the record. Angular sequences spiral slowly upwards, seemingly without end, before cascading down like a waterfall. The theme is picked up by Kabrna, before a satisfyingly dark and churning blues groove kicks in.
“
The final track on the album is a rerecording of “Paprsek ranního slunce” (A Ray of Morning Sunlight), from the Energit album (1975). An unashamed slab of Proggy fusion, it features the last of the album’s special guests: violin virtuoso and beer enthusiast Jan Hrubý. Guitar and violin duel and duet in a joyful folky dance, before the crashing middle section drives forward with symphonic pomp, heavy chords, and a rocking electric solo.
There are some who will sniff: purists mainly, who wish to protect the bloodline of their chosen genre. Fusion music? More like confusion… I can’t call this album a pure jazz album because it contains too much rock. Similarly for a blues album it contains too much jazz and for a rock album it contains too much intelligence. What it does is take a blend of all three, and more, and present it as original and inventive music. It is music that satisfies the head and the heart. It draws on traditional sounds but is a contemporary statement. It is an album that exudes creativity but does not turn its back on the importance of strong melody and structure.
It is Moment in Time, the new album by the Luboš Andršt Group, and it is damn good. Play it often. Play it loud.
Monday, October 20, 2008
Gig Review: Luboš Andršt’s 60th Birthday Concert
Lucerna Music Bar
14th October 2008
It was a decision I hoped that I would not have to make: whether to leave a Slavia hockey match a few minutes early or risk being late for Luboš Andršt’s 60th birthday gig and album launch. With one eye on the clock and one eye on the ice I constantly willed the officials to hurry up and get play moving again. The breaks lasted an eternity, the delays were measured in geological time, and those seconds never stopped ticking away. Finally, with the match against Pardubice balanced at 2:2, and with one minute to go and extra time a certainty, I cut my losses and ran for the Metro. In doing so I missed the 60th minute goal that handed Slavia a 3:2 victory. It was the first, and probably last, home goal that I will miss this season. And yet I am not bitter or angry. That tells you how good this gig was.
It was not so much a concert as a public celebration of the man’s work. The set-list featured music from different incarnations of Andršt genius. Sitting in with his usual Group musicians were some of the biggest names in Czechoslovak jazz. The audience, unlike the usual mix that you find in Prague’s jazz clubs, had come solely to listen to Luboš and were quietly attentive and noisily appreciative in the appropriate places. The Lucerna Music Bar, bigger than AghaRTA Jazz Centrum, allowed for louder and wider soundscapes: audio CinemaScope for the discerning listener. They also have pretty coloured lights and unusually good (and cheap) Pilsner Urquell.
The band began with material from their new Moment in Time album, including the re-recorded live favourite “La Bodeguita Del Medio”, sounding loose and relaxed. Michal Hejna’s enthusiastic drumming was augmented by guest percussionist Pavel Plánka, while Wimpy Tichota’s bass supplied well-amplified and satisfying funk and Ondřej Kabrna let rip with usual gusto on keys. “Series of Goodbyes”, honed live before it was recently committed to record, ended with a heavyweight guitar solo that emphatically bridged the divide between jazz, blues, and rock.
The core of the band was soon joined by charismatic saxophonist Michal Žáček, playing as usual his double-miked and effect-boxed tenor sax. The duelled solos between guitar and saxophone were especially effective on the beautiful original “Moment in Time” where Žáček demonstrated some fine whole-body playing. With the addition of Emil Viklický on piano (freeing Kabrna to add some effective synthesiser work), and Jan Hrubý on violin, the instrumental supergroup was complete. Familiarity forged over the years, and intuitive improvisation skills, meant that this new ensemble played with the conviction and surefootedness of a regular outfit, only with more smiles.
Fittingly, for such a celebratory concert, the clock was rolled back with “Paprsek ranního slunce” (“A Ray of Morning Sunlight”). Originally from the Energit LP (1975), it featured mesmerising interplay between guitar and violin, and a thumping Prog Rock slab of fusion in the middle.
The tradition of pouring champagne on a copy of the new album was observed, and there was a quick speech from the man himself, before the final guest of the night: vocalist Peter Lipa. Slovak jazz legend Lipa and Andršt worked together in the 1980s, spreading their own brand of blues, funk and jazz through two records and many live performances. “Let the Good Times Roll”, a blues standard and a sentiment that summed up the two hours of music that preceded it, was a call to party in an era when it sometimes feels like the party is over.
By combining his 60th birthday concert with the launch of his new album, Luboš Andršt looked to the past and the future at the same time. The new material shows that his writing and playing remain undimmed by the years. The old forms a repertoire that most young musicians can never even aspire to matching. His ability to not only play, but write and arrange, marks him out as one of the best guitarists in Central Europe. And when he plays it is done with feeling and depth, rather than just callow empty chops and “look at me everyone” posturing. All this and more, plus the rare sight of him jamming with the likes of Emil Viklický, made it truly a night to savour.
I’m sure that goal wasn’t a good one anyway…
14th October 2008
It was a decision I hoped that I would not have to make: whether to leave a Slavia hockey match a few minutes early or risk being late for Luboš Andršt’s 60th birthday gig and album launch. With one eye on the clock and one eye on the ice I constantly willed the officials to hurry up and get play moving again. The breaks lasted an eternity, the delays were measured in geological time, and those seconds never stopped ticking away. Finally, with the match against Pardubice balanced at 2:2, and with one minute to go and extra time a certainty, I cut my losses and ran for the Metro. In doing so I missed the 60th minute goal that handed Slavia a 3:2 victory. It was the first, and probably last, home goal that I will miss this season. And yet I am not bitter or angry. That tells you how good this gig was.
It was not so much a concert as a public celebration of the man’s work. The set-list featured music from different incarnations of Andršt genius. Sitting in with his usual Group musicians were some of the biggest names in Czechoslovak jazz. The audience, unlike the usual mix that you find in Prague’s jazz clubs, had come solely to listen to Luboš and were quietly attentive and noisily appreciative in the appropriate places. The Lucerna Music Bar, bigger than AghaRTA Jazz Centrum, allowed for louder and wider soundscapes: audio CinemaScope for the discerning listener. They also have pretty coloured lights and unusually good (and cheap) Pilsner Urquell.
The band began with material from their new Moment in Time album, including the re-recorded live favourite “La Bodeguita Del Medio”, sounding loose and relaxed. Michal Hejna’s enthusiastic drumming was augmented by guest percussionist Pavel Plánka, while Wimpy Tichota’s bass supplied well-amplified and satisfying funk and Ondřej Kabrna let rip with usual gusto on keys. “Series of Goodbyes”, honed live before it was recently committed to record, ended with a heavyweight guitar solo that emphatically bridged the divide between jazz, blues, and rock.
The core of the band was soon joined by charismatic saxophonist Michal Žáček, playing as usual his double-miked and effect-boxed tenor sax. The duelled solos between guitar and saxophone were especially effective on the beautiful original “Moment in Time” where Žáček demonstrated some fine whole-body playing. With the addition of Emil Viklický on piano (freeing Kabrna to add some effective synthesiser work), and Jan Hrubý on violin, the instrumental supergroup was complete. Familiarity forged over the years, and intuitive improvisation skills, meant that this new ensemble played with the conviction and surefootedness of a regular outfit, only with more smiles.
Fittingly, for such a celebratory concert, the clock was rolled back with “Paprsek ranního slunce” (“A Ray of Morning Sunlight”). Originally from the Energit LP (1975), it featured mesmerising interplay between guitar and violin, and a thumping Prog Rock slab of fusion in the middle.
The tradition of pouring champagne on a copy of the new album was observed, and there was a quick speech from the man himself, before the final guest of the night: vocalist Peter Lipa. Slovak jazz legend Lipa and Andršt worked together in the 1980s, spreading their own brand of blues, funk and jazz through two records and many live performances. “Let the Good Times Roll”, a blues standard and a sentiment that summed up the two hours of music that preceded it, was a call to party in an era when it sometimes feels like the party is over.
By combining his 60th birthday concert with the launch of his new album, Luboš Andršt looked to the past and the future at the same time. The new material shows that his writing and playing remain undimmed by the years. The old forms a repertoire that most young musicians can never even aspire to matching. His ability to not only play, but write and arrange, marks him out as one of the best guitarists in Central Europe. And when he plays it is done with feeling and depth, rather than just callow empty chops and “look at me everyone” posturing. All this and more, plus the rare sight of him jamming with the likes of Emil Viklický, made it truly a night to savour.
I’m sure that goal wasn’t a good one anyway…
Feature: Pictures from Luboš Andršt’s 60th Birthday Concert
Lucerna Music Bar
14th October 2008
Emil Viklický sits in:
Jan Hrubý on violin, Wimpy on bass:
14th October 2008
Emil Viklický sits in:
Jan Hrubý on violin, Wimpy on bass:
Happy Birthday!
Peter Lipa on vocals:
Peter Lipa on vocals:Monday, August 25, 2008
Photos: Vladimír Mišík and ČDG
Czech music legend Vladimír Mišík was in action last week, as part of a free concert to commemorate the 40th anniversary of the Soviet invasion. Playing with him in his outfit were Prague Jazz's favourite violinist, Honza Hrubý, and Czech guitar supremo Radim Hladík (Modrý Efekt / Blue Effect). Sadly we can't bring you any of the free beer or free food that was there, but we can bring you some pictures:
Wednesday, July 9, 2008
News: Prokop / Framus Five Box Set
If you have some cash to spend on music then one of our recommended purchases is the new box set featuring the first six studio albums from Michal Prokop and the different incarnations of Framus Five. Ranging through soul, progressive rock, blues, quality pop,and jazzy ruminations, it traces the evolution of one of the Czech Republic’s biggest musical stars. It also has extensive contributions from Prague Jazz favourites Luboš Andršt and Jan Hrubý, amongst many others.
POŘÁD TO PLATÍ is available in record shops , at around 700 CZK, and will be reviewed on Prague Jazz in the coming weeks.
POŘÁD TO PLATÍ is available in record shops , at around 700 CZK, and will be reviewed on Prague Jazz in the coming weeks.
Tuesday, May 20, 2008
Feature: The Prague Jazz Cinema Show!
Obviously the best way to sample the musicians who play this town is to get down into the clubs, sink a few cold ones, and let the night work its magic. But for those of you who do not know where to start, or don’t really appreciate what is out there, or simply live in far-away underdeveloped countries (e.g. Great Britain), there is the Prague Jazz Cinema Show! So log in, turn down the lights, and grab a drink…
First of all we have a couple of crackers from Prague’s resident Chicago bluesman, Rene Trossman. His original piece , "My Endless Blue Mood" and the classic "Caldonia". The latter is taken from an NME feature on different versions of "Caldonia", showing once again the world-class nature of the local scene.
I first saw Nika Diamant performing at an anti-communist demonstration on 1st May 2007. Here is a great version of “Spoonful” (Willie Dixon) from that concert from my own vaults:
First of all we have a couple of crackers from Prague’s resident Chicago bluesman, Rene Trossman. His original piece , "My Endless Blue Mood" and the classic "Caldonia". The latter is taken from an NME feature on different versions of "Caldonia", showing once again the world-class nature of the local scene.
I first saw Nika Diamant performing at an anti-communist demonstration on 1st May 2007. Here is a great version of “Spoonful” (Willie Dixon) from that concert from my own vaults:
Also, from the same event, Michal Prokop, Luboš Andršt and Jan Hrubý "unplugged":
The Emil Viklický Trio are known for their exciting and vibrant performances, with Emil’s adaptations of traditional Moravian tunes always worth hearing. Here is a clip of the trio performing "Buhaina, Buhaina" (Ray Brown).
The Robert Balzar Trio often work with Czech singer Dan Bárta, in this case performing "Looking at the world"
Time for a timeless blast from the past. Michal Prokop performing “Bitva o Karlův most” from 1985! Watch out for some excellent violin work from composer Honza Hrubý.
We’ll leave the last word to the king of cool himself, the one and only Luboš Andršt. Here he is, “Walking the Dog” (Rufus Thomas) with his Blues Band. Enjoy!
Tuesday, May 13, 2008
Gig Review: Michal Prokop, Luboš Andršt, Jan Hrubý
10th May 2008
Jiřího z Poděbrad
There are many ways to enjoy the live music scene in Prague. A personal favourite has to be the free open-air concerts that can regularly appear celebrating this, that, and usually some of the other. Whether it is to commemorate the anniversary of Czechoslovakian Statehood (remember that country?) or just to remind people that Communism is bad (remember the KGB?), nothing cries freedom better than standing around in the sun and watching great bands while drinking beer.
This time it was the 550th anniversary of the crowning of Jiří z Poděbrad (George of Poděbrady), Hussite leader and King of Bohemia. A day-long programme featured a variety of Czech talents, from veteran singers Jitka Zelenková and Marta Kubišová to Jakub Smolík, who could quite easily beat Cliff Richard in a Cliff-A-Like contest. He threw photos into the crowd for signing later, while Jagabab threw in some rhythmic medieval tunes. We also had drum majorettes from Poděbrady (see the raincoats scuttle), a championship cocktail mixing demonstration, and a historical recreation of Czech George getting his shiny hat. The temperature of the afternoon sun was high and the price of the brewskis was low, but it was in the evening gloom that the Michal Prokop, Luboš Andršt and Jan Hrubý took to the stage.
One of the disadvantages of festival gigging is that there is little time to set up beforehand, and as such a frantic ten minute sound check and amp-slap (in order to get rid of an annoying buzz) was required. But once the gear was set up and they launched into “Rain” (Jose Feliciano) it was clear that they were on form. Punchy, rhythmic, and with its English lyrics convincingly sung, it was a good song to get the crowd in the mood and also to kill off the last of the squeaks from the valve amps. It also showed (as always) that this “unplugged” band is not a weak, watered-down version of Framus Five. It is a dynamic and interesting outfit in its own right, even though it might share some of its repertoire with its big brother.
The great strength of this acoustic trio is that they have space and freedom to improvise and adapt. As such the music always has a spontaneous feel that you can’t reproduce with a larger band. After playing together for many years there is an almost telepathic relationship between Andršt on acoustic guitar and Hrubý on violin, best exhibited during their duel at the end of “Bitva o Karlův most”. Playing off each other, and occasionally tripping each other up in their battle of virtuosity, it was perhaps the bow that won tonight. A close call though...
With no bassist in the outfit LA manages to assume some of the low end duties on his acoustic axe, integrating the beat within his dextrous flurries. Meanwhile Prokop himself, playing more rhythm guitar than with the larger electric band, is a powerful and emotive singer in both languages. “Hoochie Coochie Man” was delivered with an emphatic growl and harmonica, while the Czech centrefold of “Miss July” was light and wry. It was Luboš who took the lead during the instrumental jam in the middle of HCM with some lightening moves over the frets, before Jan hit it with a solo that almost made him slide off his chair. Looking calm and reposed during rare moments of inaction, then exploding with body language and sound when the mood takes, he is always a character worth watching on stage.
There are many ways to enjoy the live music scene in Prague. A personal favourite has to be the free open-air concerts that can regularly appear celebrating this, that, and usually some of the other. Whether it is to commemorate the anniversary of Czechoslovakian Statehood (remember that country?) or just to remind people that Communism is bad (remember the KGB?), nothing cries freedom better than standing around in the sun and watching great bands while drinking beer.
This time it was the 550th anniversary of the crowning of Jiří z Poděbrad (George of Poděbrady), Hussite leader and King of Bohemia. A day-long programme featured a variety of Czech talents, from veteran singers Jitka Zelenková and Marta Kubišová to Jakub Smolík, who could quite easily beat Cliff Richard in a Cliff-A-Like contest. He threw photos into the crowd for signing later, while Jagabab threw in some rhythmic medieval tunes. We also had drum majorettes from Poděbrady (see the raincoats scuttle), a championship cocktail mixing demonstration, and a historical recreation of Czech George getting his shiny hat. The temperature of the afternoon sun was high and the price of the brewskis was low, but it was in the evening gloom that the Michal Prokop, Luboš Andršt and Jan Hrubý took to the stage.
One of the disadvantages of festival gigging is that there is little time to set up beforehand, and as such a frantic ten minute sound check and amp-slap (in order to get rid of an annoying buzz) was required. But once the gear was set up and they launched into “Rain” (Jose Feliciano) it was clear that they were on form. Punchy, rhythmic, and with its English lyrics convincingly sung, it was a good song to get the crowd in the mood and also to kill off the last of the squeaks from the valve amps. It also showed (as always) that this “unplugged” band is not a weak, watered-down version of Framus Five. It is a dynamic and interesting outfit in its own right, even though it might share some of its repertoire with its big brother.
The great strength of this acoustic trio is that they have space and freedom to improvise and adapt. As such the music always has a spontaneous feel that you can’t reproduce with a larger band. After playing together for many years there is an almost telepathic relationship between Andršt on acoustic guitar and Hrubý on violin, best exhibited during their duel at the end of “Bitva o Karlův most”. Playing off each other, and occasionally tripping each other up in their battle of virtuosity, it was perhaps the bow that won tonight. A close call though...
With no bassist in the outfit LA manages to assume some of the low end duties on his acoustic axe, integrating the beat within his dextrous flurries. Meanwhile Prokop himself, playing more rhythm guitar than with the larger electric band, is a powerful and emotive singer in both languages. “Hoochie Coochie Man” was delivered with an emphatic growl and harmonica, while the Czech centrefold of “Miss July” was light and wry. It was Luboš who took the lead during the instrumental jam in the middle of HCM with some lightening moves over the frets, before Jan hit it with a solo that almost made him slide off his chair. Looking calm and reposed during rare moments of inaction, then exploding with body language and sound when the mood takes, he is always a character worth watching on stage.
There was time for a single encore of “Dobrú noc má milá”, a plaintive discordant melody that transforms into an extended instrumental thrash worthy of the most Proggy of folksters. All of this to loud and well-deserved applause of course, from the hardy crowd who were starting to button up their shirts and restore their outer clothing in the cooling Prague night. Maybe some of this coolness was due to a storm coming from the west, or maybe it was due to the guys on stage; their acoustic trio is about as cool as it gets.
Friday, April 4, 2008
Gig Review: Michal Prokop & Framus Five
Palác Akropolis
3rd April 2008
Michal Prokop’s live band is always worth seeing, although the chances to do so are not that numerous. Playing a handful of gigs at a time, up and down the country, they can be quite hard to catch. As such it is a pity that more people didn’t take the opportunity to come to this show. It could have been due to the early start time of 7:30, which on a working day in a capital city is just silly. Or it could have been because the tickets didn’t go on sale until a week before the gig, deterring all but the determined from booking in advance. Whatever, it was a small but enthusiastic crowd that gathered at the Akropolis, and it was to the credit of the band that they played such a blinder of a show.
The set-list contained the usual Prokop material, including the dark Beatles-quoting “Kolej Yesterday”, the anthemic “Blues o spolykaných slovech” and the boozy, brassy romp of “Vedro nad Prahou”. The instrumental ending of Prokop’s signature “Bitva o Karlův most” featured, as usual, a duel between Luboš Andršt on guitar and Jan Hrubý on violin. Done countless times before, yet always sounding fresh and spontaneous, this friendly battle between two long-time associates and musical heavyweights is a high-energy and high-thrill blast.
We can go no further without turning an affectionate eye to the violinist of this outfit: the living legend that is Honza Hrubý. With shaggy hair, a slightly bemused look, and a bottle opener perpetually hanging from his belt, Hrubý has a presence that would make even Paganini blush. Whether it is his rapid rhythmic playing or the glorious swoops of gypsy-style “Zloději času”, he adds a unique sound and sensibility to proceedings. A true classical rock violinist in the great Progressive tradition, he pauses from genius only to swig more beer, before setting off again on another journey of musical exploration. He is an excellent writer too, as evidenced by “Tullamore Dew”. Songs about whiskey are cool and you know it.
Prokop, singer and rhythm guitarist, TV star, and formerly the deputy minister for culture, delivers the lyrics with inimitable gusto. A large and charismatic stage presence, he sings with emotion, humour, and real feel. During the instrumental passages he is often found either mimicking or teasing the lead players, offering Hrubý some busker’s cash or highlighting Andršt's deft finger movements. Despite his years on stage he performs with an earthy roughness; a pop-star who has never forgotten that he is a musician.
The first set was based around shorter songs, but the second contained longer, extended instrumental work. Adaptations of blues classics such as “Boom Boom” (John Lee Hooker) and “Hoochie Coochie Man” (Willie Dixon) gave everyone a chance to shine. The familiar rhythm section of Wimpy Tichota on bass and Pavel Razím on drums kept everything anchored down while Andršt sprayed and splintered heartily. By this time the small crowd has lost some of its reservation and we even had some dancers by the front of the stage. Loud calls for an encore brought them out to finish off with the pleasing mellow bluesy “Noc je můj den”.
Michal Prokop is considered to be one of the mainstays of Czech music, from his triumph at the first Czechoslovakian beat festival in 1967 to his platinum-awarded sixtieth birthday concert released on DVD and CD last year. As such his shows are cultural experience as well as a top-notch concert. The next time he hits town you owe it to yourself to go.
3rd April 2008
Michal Prokop’s live band is always worth seeing, although the chances to do so are not that numerous. Playing a handful of gigs at a time, up and down the country, they can be quite hard to catch. As such it is a pity that more people didn’t take the opportunity to come to this show. It could have been due to the early start time of 7:30, which on a working day in a capital city is just silly. Or it could have been because the tickets didn’t go on sale until a week before the gig, deterring all but the determined from booking in advance. Whatever, it was a small but enthusiastic crowd that gathered at the Akropolis, and it was to the credit of the band that they played such a blinder of a show.
The set-list contained the usual Prokop material, including the dark Beatles-quoting “Kolej Yesterday”, the anthemic “Blues o spolykaných slovech” and the boozy, brassy romp of “Vedro nad Prahou”. The instrumental ending of Prokop’s signature “Bitva o Karlův most” featured, as usual, a duel between Luboš Andršt on guitar and Jan Hrubý on violin. Done countless times before, yet always sounding fresh and spontaneous, this friendly battle between two long-time associates and musical heavyweights is a high-energy and high-thrill blast.
We can go no further without turning an affectionate eye to the violinist of this outfit: the living legend that is Honza Hrubý. With shaggy hair, a slightly bemused look, and a bottle opener perpetually hanging from his belt, Hrubý has a presence that would make even Paganini blush. Whether it is his rapid rhythmic playing or the glorious swoops of gypsy-style “Zloději času”, he adds a unique sound and sensibility to proceedings. A true classical rock violinist in the great Progressive tradition, he pauses from genius only to swig more beer, before setting off again on another journey of musical exploration. He is an excellent writer too, as evidenced by “Tullamore Dew”. Songs about whiskey are cool and you know it.
Prokop, singer and rhythm guitarist, TV star, and formerly the deputy minister for culture, delivers the lyrics with inimitable gusto. A large and charismatic stage presence, he sings with emotion, humour, and real feel. During the instrumental passages he is often found either mimicking or teasing the lead players, offering Hrubý some busker’s cash or highlighting Andršt's deft finger movements. Despite his years on stage he performs with an earthy roughness; a pop-star who has never forgotten that he is a musician.
The first set was based around shorter songs, but the second contained longer, extended instrumental work. Adaptations of blues classics such as “Boom Boom” (John Lee Hooker) and “Hoochie Coochie Man” (Willie Dixon) gave everyone a chance to shine. The familiar rhythm section of Wimpy Tichota on bass and Pavel Razím on drums kept everything anchored down while Andršt sprayed and splintered heartily. By this time the small crowd has lost some of its reservation and we even had some dancers by the front of the stage. Loud calls for an encore brought them out to finish off with the pleasing mellow bluesy “Noc je můj den”.
Michal Prokop is considered to be one of the mainstays of Czech music, from his triumph at the first Czechoslovakian beat festival in 1967 to his platinum-awarded sixtieth birthday concert released on DVD and CD last year. As such his shows are cultural experience as well as a top-notch concert. The next time he hits town you owe it to yourself to go.
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