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:

CD Review: The Funky Way of Emil Viklický

Emil Viklický
Vampisoul / VAMPI CD 115, 2009

It was November 2008 when Emil Viklický, a pianist whose work is revered not only in the Czech Republic but also globally, told Prague Jazz that there would be a release of some of his jazz-rock work from the 1970s and 1980s. The wait was long but now, one year later, The Funky Way of Emil Viklický is here!

Those who are familiar with Emil's piano work can be forgiven for looking puzzled. He is famous for his technical but melodic compositions, his fusion of jazz with Moravian folk melodies, and his effective treatment of jazz standards. There are many ways to describe his recent output, all of them complimentary, but “funky” would not be on the list. So, can Emil Viklický, grandmaster of the grand piano, really play funk? Of course he can...

The Funky Way is a collection of his work with different outfits from between 1975 and 1987. Some of the tracks were originally released by Supraphon and Panton on hard-to-locate vinyl albums, singles and EPs, and there are also four pieces that were previously unreleased. Real care has been taken with the sound quality: Ian Shepherd's 24-bit transfers of the original analog tapes are clean but still colourful. Care has also been taken with the presentation: there are extensive and interesting liner notes from Lukáš Machata (DJ Lou Kash) and some fantastic 1970s photographs provided by Emil and singer Eva Svobodová.

Five of the tracks, spread out across the album, are from a 1979 Prague session with Vinne Johnson (drums), Kermit Driscoll (bass guitar) and Bill Frisell (electric guitar). Friends from his year at Berklee, they came to Prague for a two-day recording session with Viklický. These pieces, originally from the Okno LP, are pure funk. The grooves are strong, with big bouncy bass riffs and tight, precise drumming. The keyboard parts will come as a revelation to those who consider Viklický solely as a pianist: here he's working on analog synthesizer, electric piano and clavinet.

“Trochu Funky” (“The Funky Way”, E. Viklický) is opened by the rhythm section before keyboards and guitar join in. The melodic approach and attention to detail that typify Emil's piano playing are much in evidence. There are washes of sound and delicate highlights as well as the down and dirty funk. He plays fast with a lot of intricate touches, and there is some good interplay and union with Frisell on guitar.

“Květen” (“Maytime”, E. Viklický) opens with a sweep before falling into a jaunty pattern. There are some sweet escalating chord progressions and Johnson employs a light and airy touch while still keeping things pinned down. There is more electric piano and some nice bendy synth notes. Frisell again goes for the burn before the whole thing rises to a powerful climax.

“Boston” (E. Viklický) is rapid and choppy, the quartet on overdrive. Leads are shared between keyboards and guitar, and Johnson gets to do a drum solo without abusing the privilege. “Zase Zapomněli Zavřít Okno” (“They've Left The Window Open Again”, E. Viklický) is a slower-paced funk experience, although still with a satisfyingly fat, squidgy sound. Less fiery and more contemplative, it shows a different side of this quartet. “Jumbo Jet” (E. Viklický), the final piece from this session, is again a slower and spacier number and is thoughtfully delivered.

The four previously unreleased tracks on The Funky Way feature Viklický in yet another role unfamiliar to many of his fans: as the leader of a big band. The Emil Viklický Studio Big Band pieces, arranged and conducted by the man himself, are 2-track recordings and so their sound quality is not quite as good as the rest of the collection. It is still pretty decent though, and the brass comes over brightly. Given the quality of the arrangements and their historical significance (they're out of Emil's own archives), their inclusion is most welcome.

“Ještě Jednou Slunce” (“Once Again Sun”, E. Viklický) is a full-blooded affair with stomping bass and punchy brass. It is mainly led by saxophone, with keyboard instruments taking a back seat. The arrangement is sophisticated and satisfying, blending the traditional big band sound with a funky rhythm section. “70. Východní” (“East 70th Street”, E. Viklický) starts with a brassy fanfare before opening out into busy high-tempo big band jazz. It is tight and precise stuff from this outfit of (according to the liner notes) unknown personnel.

The majestic “Hromovka” (“Thunderhouse”, E. Viklický) has a melancholy opening but soon settles into the funky pattern once more, with a slower ultra-groovy bass riff and staccato piano rumbling away under a wide-screen sleazy feast of brass and woodwind. “Siesta” (E. Viklický) picks up the pace again, with some mellow sax and piano moments being juxtaposed against powerful brass.

The Okno session and the Studio Big Band are both projects that are no longer currently active, but that is not true of some of the other collaborations featured on The Funky Way.

There are two tracks from SQH, the outfit that Viklický joined in 1974. SQH also featured Karel Velebný on vibraphone, Ivan Smažík on drums, Jaromír Helešic on percussion, and František Uhlíř on double bass. Yes... the same František 'Paganini of the Bass” Uhlíř who currently plays in Emil's Trio. When you see them play together their communication is almost telepathic. Little surprise, given that their shared history reaches back over 35 years!

“Týden” (“Week”, E. Viklický) is a joyfully airy piece of jazz-rock that feels good. It's fast and it bounds along with playful interaction between vibes and piano, often falling back into satisfying phrases. Drums and percussion are busy and skittish, and Uhlíř's melodic bass twang sounds very much like it does today. The second SHQ piece also features Eva Svobodová on vocals. Yes... the same Eva Svobodová with the same velvet voice that it is worth going to Reduta to see. “Země Plná Lásky” (“A Land Full Of Love”, E. Viklický / V. Čort) heads more into acid-jazz territory, with disjointed rhythms, super-rubbery bass, and a gorgeous sweet chorus excitingly delivered by Svobodová who sounds like she is having real fun. Some slightly surreal spoken comments from Velebný to the rest of the band also help to keep the acid vibe going. It may only clock in at 3:44 but every second is a pleasure.

“Kam S Tím Blues” (“Chega De Saudade”, A. C. Jobim / V. Čort) is taken from Svobodová's own album, Můj Ráj, on which Viklický appeared as part of her backing band. The wooden twangy bass tones give Uhlíř away without even having to look at the credits. It's an enjoyable track, as would be expected from the fusion of an interesting and talented singer with an interesting and talented band.

Last but not least, The Funky Way includes two tracks by 1970s Czechoslovak jazz-rock legends Energit, a band that also included guitarist Luboš Andršt. Yes. The same one.

“Zelený Satén” (“Green Satin”, E. Viklický) dates back to 1976 and is one of several recorded versions of this award-winning piece. The opening melody is lyrical and haunting, played on electric soprano sax by Rudolf Ticháček. Viklický solos on electric piano before making way for a hard-edged burst from Andršt. The conclusion is a reprise of the initial evocative melody.

The last track is the mini-epic “Ráno (Part 1)” (“Morning (Part 1)”, L. Andršt). This is a slightly edited version, but at 13:13 it is still a substantial beast. Intense jazz-rock, with more than a hint of progressive rock in there too, it again kicks off with Ticháček's electric sax. This time the mood is sinister, with unsettled electric piano and guitar patterns swirling underneath. Andršt's solo is fast and jagged. Ticháček walks the line between control and chaos. The electric piano solo is bluesy, the underlying rhythms are funky, and the overall effect is not dissimilar to one of the early 1970s jazzed-up incarnations of King Crimson, only done better. A suitably prolonged outro ends the track and the album.

And so there we have The Funky Way of Emil Viklický. It was worth the wait. The music is very different from the sort of material that he is usually heard playing, and yet it sounds so natural that it is hard to believe he is not a dedicated full-time funk and jazz-rock musician.

For fans of Emil's piano work it is a fascinating insight into his other lives. For those interested in Czechoslovak jazz it is an essential archive collection of excellent and important material. It is also a great listen: a recording full of life and excitement and fun. That is the Funky Way. The only question now remaining is whether Viklický could ever be persuaded hit the road with a Funky Tour...

Blast From The Past: Energit

Here's something very special: Energit's "Paprsek ranního slunce" (Ray of morning sunshine) from the 1970s. Energit were a jazz rock band that featured some of the best local musicians of the time. On this recording you can hear the magical guitar work of a young Mr Luboš Andršt. Enjoy, and play it loud!

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!

Prague Jazz - World Stage

Once again the stars of the Prague Jazz world are globetrotting in the name of music.

The Robert Balzar Trio have just completed five nights in New York City, helping to highlight the soon-to-end Czech presidency of the EU. Meanwhile the Ondřej Pivec ORGANIC Quartet are packing their bags for Beijing where they will be performing for one night at the Czech embassy and then the following night at a Beijing jazz club!

The Luboš Andršt Blues Band website has been updated with pictures from their recent concert in Hong Kong - you can check them out here.

News: Luboš Plays in Hong Kong!

Luboš Andršt must now be regarded as the Czech Republic's foremost artistic ambassador! Here's the story of his Hong Kong visit from the Czech Ministry of Foreign Affairs!

News: Luboš At The Castle

At least one good thing came from Obama's visit to Prague - before Barry the Prophet took to the stage the gathered crowd were treated to some music from the Luboš Andršt Blues Band! Sadly we were not there to witness this great event (the music, not the speech), but hopefully it was much appreciated.

Prague Jazz, Jazz Legends

The music scene in Prague features some truly world-class players who belong with the great names of jazz and blues. A big claim for sure, but you don’t need to take our word for it. Here are two videos from YouTube that prove the point: Emil Viklický and Jiří Stivín sitting in with the Dizzy Gillespie Band, and B.B. King passing judgement on Luboš Andršt. Enjoy.

Emil:


Luboš:

CD Review: Luboš Andršt Blues Band

Blues Grooves
Fontana Music library FN 164, 2004

Albums of library music can be curious beasts. They are not often destined for the limelight, usually languishing in the utilitarian obscurity of a need-to-know basis. Put together for television, radio, and any other situation where music is required as a backdrop, they are the session musicians, the backroom boys, and the unknown soldiers of the record world. Making library recordings is part and parcel of the life of a working musician in reality, just as much as world tours and endless groupies are an essential part of any rock’n’roll fantasy. They may not arrive with the fanfare of a “normal” record, but they can contain some damn good music.

Blues Grooves, from the Fontana Music Library, is a Luboš Andršt Blues Band album in thin disguise. With Luboš are his regular rhythm section of Wimpy Tichota on bass and Pavel Razím on drums. Organ is provided by prolific Czech player Jan Kořínek, and there’s some down and dirty blues harmonica from Ondřej Konrád.

There are twelve original tracks, all penned by Andršt, and mostly given unromantic practical names such as “Major Blues” or “Relaxed Funky”. Each is given a brief description in the liner notes to aid hurried selection by hassled media underlings, ordered to find a suitable blues tune for the given occasion. Like all library albums there is no sense of continuation or notable structure in the order of the pieces. It would be unusual for the tracks to heard in their entirety, let alone the whole album. So what we have here is not a complex concept masterwork of elaborately constructed mini-epics, but rather a series of sketches, and like any artist’s sketchbook there is a rawness and vitality present. So this is not the Luboš Andršt Blues Band’s very own Mona Lisa, but rather a record of outlines and ideas. And it rocks.

Whatever the band does on this album it does at full pelt. “Good Time Boogie” opens the album with a ferocious roar before settling into a mid-tempo groove complete with a busy harmonica solo. It is guitar that dominates overall, and unashamedly so. Luboš spits, sprays and slides his killer licks all over the place, some of which will be familiar to people who have seen him play live and slip a few of them into his improvisations. The lovely main phrase from “After Midnight”, or something very like, has frequently raised its head onstage in the last year. Endless amusement for riff-spotters is close at hand with this album.

On a similar (and very fine) note, the inconspicuously titled “Minor Blues” sounds remarkably like the instrumental from the title track of the Everything I’ve Done album, released three years after Blues Grooves. It showcases some of Andršt’s best emotive blues playing, combining fearsome chops with raw feeling and mature good taste, and is one of the standout pieces in this collection.

There are some other notable cuts that deserve to be wrenched out of anonymity and given a wider audience. “Rumba Blues” is a joyous and fast-paced (172 bpm, according to the liner note) Latin-flavoured valedictory romp. Guitar and harmonica dance over bass and drums, and it is hard not to smile when you hear this fun-infused slab of sound. “Major Blues” on the other hand is a darker affair, opening with a gorgeous moment of gospel organ that leads into dirty, crying guitar. Kořínek also gets in a dextrous final solo towards the end. The playing all the way through is what you would expect it to be. Even if these guys are messing about they don’t mess about.

There are some good, original pieces of music on this album and it would be a shame if they were not appreciated. It is no grand statement or monumental personal opus and it has no pretensions to be anything of the like. It is a selection of “pure electric blues with hot guitar solos” (as the cover clearly states), and it is a good record of how the LABB sound when they’re working together in the studio. So get yourself a copy, crack open a beer, and notch your air guitar up to eleven. It’s one louder than ten, and it is the volume that this hidden album deserves.

Happy New Year

Happy New Year to all our readers!

We hope that wherever you saw in 2009 you had a good time. We at Prague Jazz spent the night at the Charles Bridge Jazz Club, where the Luboš Andršt Blues Band played their last gig of 2008 and their first gig of 2009. It was a fantastic night, and we humbly thank Luboš and his band (Wimpy Tichota, Jan Holeček, Jiří Stivín jr.), and also Jiří Londin and his team at the CBJC. Your night at work was our great night out.

For all of you who couldn’t be there, here’s a taste of what you missed…

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.

CD Review: Luboš Andršt Group

Moment in Time

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 America without a billion pieces of biometric data and having to take off your pants while passing through security. You can’t drive anywhere because a tank of petrol costs more than your car. The future is bad. But I really don’t care about all of this because the new Luboš Andršt Group album is out and it is just fantastic. So forget the troubles of the world and enjoy…

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 Prague who are lucky enough to see the group play will have an instant souvenir to take home. It is genuinely reflective of the sound and the feel of the band as currently constituted – the nuances and details have survived intact.

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.

“Downtown Street” is a bouncy little number, sprayed liberally with splintering bluesy guitar and a jazzy keyboard solo. Bassist Tichota steps out of the shadows for an elastic solo of the kind that always gets a big round of applause from a watching audience. The upbeat skip of “Downtown Street” is in stark contrast to “Series of Goodbyes”. Appearing regularly in their live set, this is an epic elegy of stately grandeur. The curve of every guitar note is as perfect as a vintage Hollywood starlet’s smile. Background chords wash back and forth like the ebb and flow of the tide. A piano solo rises up like the sun at dawn. The last five minutes are all guitar: a genre-spanning solo that steers a steady course away from pointless excess and superannuated posturing and goes straight to the heart. It is a ten minute long song that seems to slip by in an instant; an interesting journey along a worthwhile road.

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.

New Andršt Website

Luboš now has an official site -http://www.lubosandrst.cz/

There is still material being added to it but it does already have some detailed information about his different bands and past recordings.

A review of the his new Moment in Time album will be on Prague Jazz in a couple of days, but as a sneak preview, it is a very, very, very, very good record indeed.

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…

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:

Happy Birthday!Peter Lipa on vocals:

CD Review: Eva Svobodová feat. Luboš Andršt Acoustic Set

Fine and Mellow

Multisonic 31 0334-2, 1995

There are lots of very good albums in the world, and the Czech jazz scene probably has a disproportionate number of them. Some are better than others, but it is hard to find a real stinker. However, despite the consistently high quality of the music being produced in this country, there are occasionally albums that really stand out. Even for the listener who now has his quality threshold raised above his hairline due to an over-exposure of greatness there are still some treats out there waiting to be discovered. Fine and Mellow is such an album: a jewel of note in the very sparkly crown.

The album features established Czech singer Eva Svobodová backed by Andršt’s acoustic-orientated band. It oozes class and style. The musicianship is splendid. Eva’s smoky vocals provide a charged thrill verging on the erotic. Luboš eases out the curve of each note with such perfect proportion that Michelangelo's statue of David seems clunky and half-arsed in comparison. The band hums, sings, jiggles, sprawls, attacks, tenses and releases. The choice of songs is striking, original, and totally lovely. It is an album by grown-ups and for grown-ups, but it can still induce the childish joy of virginal discovery. As a package it satisfies in a way so complete that it shouldn’t belong to the modern world. Yes. It is very good.

“I Ain’t Got Nothing But The Blues” (D. Ellington / D. George) kicks in with Eva to the fore, caressing her way through a languid lament, while the Acoustic Set capture a late night mood of gentle sleaze. Andršt contributes a solo that is as sweet as honey and expressive as a Frenchman in love (although with better taste). Its laidback and slinky feel is indicative of the album as a whole: sophisticated and intelligent, sweet and wordly.

“Masquerade” (J. Loeb / P. F. Webster) opens with some jaunty vibes from Radek Krampl, and is an upbeat treatment of this standard. Instead of wallowing in darkness this is a vivacious and flirty romp, with Krampl also offering up a fine solo later on. The next track, “Black Coffee” (P. F. Webster / F. J. Burke) is a bluesier affair, featuring Štěpán Markovič on tenor saxophone. One of the local scene’s most respected sax-wallahs, Markovič accentuates and highlights the melody with airy phrases that complement Eva’s velvet voice and Luboš’s gentle phrasing.

Everyday (I Have The Blues) (P. Chapman) dates from Depression-era Chicago and features some sterling acoustic bass work from Petr Dvorský, firstly underlying a fine solo shared between Markovič and Andršt, and then moving to the front in his own right. The next number, “Goodbye Porkpie Hat” (C. Mingus / J. Mitchell), is probably the standout track on this album. Dark and shifting, this classic Mingus composition gives the band plenty to think about and they prove themselves to be more than up to the job. Andršt seizes the guitar lines, and in doing so adds himself to the list of guitar greats who have made the solo in this piece their own. Sad and sweet, with the occasional blistering run than he makes sound so easy, it is understated brilliance. Meanwhile Eva interprets Mitchell’s lyrics with empathy and panache.

“Same Ol’ Story” (B. Ighner) is a pulsating and feel-good piece that lists the common threads that bind humanity together. It has plenty of room for the band to flex and explore, and in doing so they give the song a satisfying depth that it would otherise lack.

“Only Women Bleed” (V. Furnier / D. Wagner) has had many lives, including being recorded by rocker Alice Cooper, and here it lives again. Svobodová delivers a mixture of wryness and sadness in the words, while chiming vibes punctuate and an usually raspy guitar contrasts with sweet soprano saxophone. Meanwhile “A Night in Tunisia” (D. Gillespie / L. Robin) is a twisty Latin-influenced affair, with Jaromír Helešic coming out of the shadows on drums with some flashy licks.

“All Blues” (M. Davis) is a catchy standard with its mesmerising six-eight bass motif. Over this Eva layers and stretches her vocals, and band and singer swirl and sway together in a circular lilting celebration that could go on forever and still be too short. Finally the album ends with the title track, “Fine and Mellow” (B. Holliday). It is one final blast of verve; a fitting end to a triumphant recording.

Fine and Mellow is one of those special albums that can take you by surprise. Its agenda is not particularly radical, and yet it is a collection of songs that sound fresh, new and exciting. A classy delight, this is a rare piece of Czech jazz that it is worth seeking out.

AghaRTA Open Air Concerts - Day 2

A fine opening set from the Luboš Andršt Group:

"Song for Saxophone Joe":

František Kop Quartet:

Rhythm Desperados:

A show-stealing set from Madfinger:

Woodwind master Jiří Stivín:

News: An Important Birthday

Today is the birthday of both Queen drummer Roger Taylor (1949) and Rolling Stones singer Mick Jagger (1943). But putting these superannuated egos-on-sticks to one side, it is also the 60th birthday of a musician and writer who is still good.

So Happy Birthday to the one and only Luboš Andršt!

Good health and good wishes from all of us here at Prague Jazz HQ.

News: Two Things Cool This Way Come

Interesting news from Michal Hejna, drummer with the Luboš Andršt Group and AghaRTA manager. During a break in what was yet another excellent performance last night, he said that the LAG will be releasing a new CD in September and Luboš will be celebrating his 60th birthday (belatedly) with a special concert at Lucerna.

More details when we have them.