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.

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

Vladimíra Krčková - The Rich Man Has Gone

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

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

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

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

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

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

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

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

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...

CD Review: What's Outside

Ondřej Štveráček Quartet

Cube-Metier MJCD21048, 2010


What's Outside is the début album from the Ondřej Štveráček Quartet. Released in 2010, while Prague Jazz was still in hibernation, it caused a stir, pulled in some good reviews, and generally got the name of Ondřej Štveráček thrown about far more than it had been beforehand. He's a busy guy, with regular club dates both here and abroad (Germany, Poland, Slovakia, Hungary and Serbia are on his current schedule) and will be playing as part of the Bohemia Jazz Fest.

His Quartet features the frighteningly young Tomáš Baroš (b), classically trained Ondrej Krajňák (p) and the impressive Marián Ševčík (d). Štveráček wields the tenor sax in a manner that makes comparisons with John Coltrane impossible to avoid. He plays hard in the bebop style, cavorting around the instrument with virtuosity and grace. In the liner notes Jerry Bergonzi states that “his intonation and nuances are impeccable” and that about sums it up. His playing is never clumsy, never less that technically superb. The Quartet are joined by Radek Němejc on assorted percussion devices for three of the nine tracks, who sprinkles his offerings liberally in the background.

“What's Outside” (O. Štveráček) opens the album and is a slice of accelerated bebop. Drums and bass rattle away, tenor sax rises and falls through the scales, seemingly finding a new path every time. There's skimming phrases in unison, an occasional distressed honk and wail, and the whole thing teeters on the edge of control. The energy and intensity of this tune will be repeated often.

“Three For Kate” (O. Štveráček) calms things down slightly. The complexity initially rests with drums and percussion (Němejc is busy) while maturely phrased saxophone glides over the top. The Coltrane moment follows soon though, and again we are given a tour of Štveráček's range.

The album isn't all flash and hyperactivity. “Sasha” (O. Štveráček) is a little slice of after-midnight balladry and brushes, and their interpretation of “Weaver of Dreams” (V. Young) is so light and playful that it seems to belong to another band entirely. Baroš offers up a pretty solo, and the spacier arrangement of the music means that he can be heard more clearly. He's clearly got a lot of talent: the parts are up to scratch, the tone is rich, he's controlled but not too controlled.

Playing like this and not playing any Trane would be just plain disrespectful, and they put together an impressive “Africa” (J. Coltrane). Riffs and patterns fall out of evocative effects and they go for it with a bit of a swagger. Swaggering is something this band does well, as demonstrated on “Dedicated” (O. Štveráček). The longest track on the album, it is also the richest and most interesting of Štveráček's own compositions. A prolonged sweep of an intro, that offers no clue of what is about to come next, opens out into a piano-driven sexy strut, bluesy and full of spirit. It is Krajňák that drives it and keeps it together, also taking his most impressive solo while singing along with himself low in the mix.

It is the influence of bebop that predominates though, with “Out-Sight” (O. Štveráček) being a close but slightly calmer cousin of “What's Outside” and the final blast of “At 10 A.M.”(O. Štveráček) acting as a quick encore. Fire both barrels, solos all round, thank you and goodnight. The sense of the album being a live set is enhanced by the production: stick on a pair of decent cans, close your eyes, and you really could be on the front table, glass in hand, digging the vibe. Prepare to be stared at when you start to clap the solos, especially if you are on a tram at the time. The effect is spoilt only by the fadeout at the end of the otherwise excellent “Out-Sight”. Please don't do that. We like to know how it ends.

An adventurous album then, containing some great playing and some good (occasionally great) writing. It is a demanding listen and not the sort of thing you put on at a dinner party, unless you're like me and want all the dull people to leave. Few compromises and a decent amount of risk. Their gigs and future recordings will be worth following with interest.

Tracklist:

1. WHAT'S OUTSIDE / Ondřej Štveráček / 6:58
2. THREE FOR KATE / Ondřej Štveráček / 4:16
3. DEDICATED / Ondřej Štveráček / 9:57
4. SASHA / Ondřej Štveráček / 3:41
5. OUT-SIGHT / Ondřej Štveráček / 5:35
6. AFRICA / John Coltrane / 8:12
7. GET OUT OF TOWN / Cole Porter / 5:47
8. WEAVER OF DREAMS / Victor Young / 7:55
9. AT 10 A.M. / Ondřej Štveráček / 3:39

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.

CD Review: Live In Vienna

Emil Viklický Trio
Cube Metier / MJCD 2945, 2010

Earlier in March pianist Emil Viklický told Prague Jazz that he believes his new Live In Vienna record has more raw energy than any of his Trio's previous live releases. He has a point, and a good one at that.

This album is an explosion of music. Emil's shows are never dull, never lacklustre and never half-hearted, but the one that he played on April 27th 2007 was something special. Live albums never convey the full effect of a gig, as anyone who has ever heard a recording of a concert they attended knows well, and so we can only imagine what it actually sounded like to the audience in Vienna. The rest of us will have to make do with this album: a second best, but a very fine second best.

The band was moving fast. Emil and drummer Laco Tropp had just flown back from America, where they had been gigging and recording with bassist Cleveland Eaton. According to Victor Verney's liner notes this was a journey that their luggage and Laco's cymbals failed to complete, their progress halting at Frankfurt Airport. In Vienna Laco and Emil joined up with regular bassist František Uhlíř, borrowed some cymbals, and went on the attack.

The strident opening of “Father's Blues” (F. Uhlíř) sets the tone for the whole record. There is an aggression in the piano playing that gives it percussive overtones even during the melodic phrases. Tropp trades thunderous exchanges with his travelling companion. Uhlíř plays with his customary refined woody twang throughout, breaking off only to unleash his bow upon the strings for an energetic sawing solo. They don't call him the “Paganini of the Bass” for nothing!

What stands out is how the three musicians are giving their all. There are no lazy moments, no lapses into ordinariness, no times of being merely average. And they can do all this without tripping over each other, without showing off to the detriment of the piece, and without even seeming to think about it.

“A Bird Flew Over” (E. Viklický) and “Highlands, Lowlands” (E. Viklický) are both pieces heavily influenced by Moravian folk tunes. The former starts off with the lilting bitter-sweetness that typifies that type of music but morphs into a rollicking piano-driven blues, a change hinted at in the opening bars but saved until later. Uhlíř plays another tuneful solo, this time eschewing the bow and getting stuck in with his fingers.

It is “Highlands, Lowlands” where the extra energy in this recording is located in greatest concentration. This piece will be familiar to everyone who has seen Emil's Trio live over the last few years. Its cascading depiction of the hills and the valleys is one of the most memorable moments of their shows. This incarnation still has the same melodies, but in jagged and rocky form. Initially it sounds like a pretty normal version, but the improvised section takes on a whole new dynamic as Viklický flings his elegant playing right to the ragged edge, calling back the theme as a reference point then ferociously cutting loose again. It is refined yet raw at the same time. Uhlíř's solo is a moment of rest by comparison, coming before the Trio hurtles the composition to resolution. This version of “Highlands, Lowlands” is possibly the most exciting piece of music recorded by a Czech jazz outfit in the last few years and is worth the price of the album in itself.

There is slower stuff on Live In Vienna too, including a beautifully expressive version of “Coral” (K. Jarrett) containing yet another great bass solo, and also the appropriately named “Longing” (E. Viklický). The latter contains delicate interplay between piano and legato bass while Tropp takes a back seat with his brushes.

“Wine, Oh Wine” (E. Viklický) speaks of one of the favourite pastimes of Moravia, and again the spirit of that part of the Czech Republic shines through strongly. It begins with sonorous chimes, in the same way that “Highlands Lowlands” does, but this time heads into a joyous romp via some teasing solo piano. There are comic bass slides from Uhlíř that always go down well with the crowd, while Tropp rides the metals and pushes from behind.

Laco Tropp's dynamic playing is worthy of special note. He was 68 when this album was recorded, and the events preceding the Vienna concert were hardly conducive to restful preparation. On “Wine, Oh Wine” he puts in a two minute drum solo, and not one of those gentle spacey ones either. He goes for the full works, assaulting the kit in a way that would be impressive for a man half his age.

Tropp is also working hard on “Buhaina” (R. Brown), the final track of the album and the final encore of the night. He grooves away tirelessly, the entire band going out with an air of triumph. This was a hot gig. Never mind being exhausting to play, this thing is exhausting to listen to, and that's without being 68 and having just endured an overnight transatlantic flight.

As well as the music this package also includes two other treats. Victor Verney's liner notes reveal a slice of Viklický's family history, and with it his enduring relationship with the city of Vienna. There is also the artwork, by Jiří Anderle, that makes one wish that CDs were sold with L.P.-sized covers.

Here at Prague Jazz we do not use a system of stars or marks out of ten, feeling that trying to crudely quantify something as complex as music is a pointless endeavor. However we do recommend, and we do fully recommend that you get Live In Vienna. Whether you are interested in Emil Viklický, Czech jazz, jazz with a national identity, or just piano jazz in general, this is one of the finest new recordings that you could purchase. Viklický has proven once again that he is a world-class pianist, composer and bandleader, as good as any and better than most. Their special gig has given us a special album.

If you would like to hear a free sample from the album as well as from other Emil Viklický albums then please visit his website.

CD Review: Little Things

Jaromír Honzák Quintet
Animal Music / ANI013-2, 2009


Jaromír Honzák is arguably one of the overlooked stars of Czech jazz. When thinking of bassists or bandleaders his name rarely springs to the top of the pile, and yet there is no reason why it should not do so. He has put out five albums in his own name and he has regularly appeared on recordings by the Eben Brothers, Karel Růžička, Pavla Milcová and Iva Bittová. He studied at Berklee in 1989 and subsequently won several awards. He teaches in both Prague and Brno, and as well as doing session work he currently fronts two outfits: his more conventional Quartet/Quintet and the more modern Face Of The Bass. A busy guy then, and certainly worthy of recognition.

Little Things is the latest album from the Jaromír Honzák Quintet, released by Animal Music in 2009. His usual Quartet includes the two Poles Michal Tokaj (piano and Fender Rhodes) and Lukasz Zyta (drums), and the young Czech guitar star David Dorůžka. Here they are joined by American Chris Cheek on saxophones who, like Honzák and Dorůžka, also attended Berklee.

“Little Things” (J. Honzák) opens the album with a lilting piano introduction, underpinned by tinkling percussion, before bass and sax step in to fill out the sound. Although it is the latter that defines the shape there is a strong sense of melody in Honzák's playing. He is a measured and mature operator of his instrument. When he solos his fingers are capable of working into a fine flurry but still there is room within the phrasing for the music to breathe. Indeed the whole album has a strong organic feel about it, as if it was grown rather than recorded. Cheek dances around the top end, hitting a pleasing crescendo before the ensemble finishes off.

“The Cue” (J. Honzák) is a groovier track, with bubbling bass in the background that reflects Honzák's interest in modern forms of music. Complex rhythms and handclaps rattle away while the first solo is taken on Fender Rhodes, the second on sax. This most iconic of the electric pianos seems to be making a comeback in Czech jazz: the instrument used on Little Things was on loan from Beata Hlavenková! Dorůžka finally wakes up on this track, throwing in a clean, electric solo. It's a sweet sound, as opposed to a dirty blues note, with good technique.

“Friendly Space” (J. Honzák) begins with assorted percussive sounds and harsh noises. From this falls piano, and from this hangs a stepped melody led by sax and underpinned by bass played in unison. The weirdness and dissonance carries on underneath, even during the long bass and saxophone solos. Coming in at almost eleven minutes this is the longest track on the album but it is time well spent. The title is ironic. The space is uneasy rather than friendly, and you are thoroughly urged to listen to this track through headphones in total darkness.

“Clear” (J. Honzák) is a positive affair containing some pleasant electric guitar strumming and also a neat solo from Dorůžka. Zyta cuts loose towards the end. His presence on the album is more about subtlety than the wild stuff.

“Song for Albert” (D. Dorůžka) is the only composition on the album not written and arranged by the bassist. Dorůžka again takes a purposeful excursion during his solo spot. There is no doubting his ability but he is always so controlled, almost infuriatingly so. As good as his contributions are, and they are indeed good, it would be interesting to hear him really let rip like a maniac.

“Bystander's Story” (J. Honzák) features bowed bass and moody sax over choppy drums. The result is disjointed and a touch experimental while still being listenable. In contrast “Faraway” (J. Honzák) is a dreamy elegy of a piece, dripping in warmth and beauty.

The final track should win some sort of award for its title alone: “The Blues Of A String Hanging In The Wind” (J. Honzák). The string(s) in question appear to be the PKF String Quartet led by David Danel on 1st violin, and this piece is not what you might first expect. Solo piano explodes into a world of violent stabs and high tension, interspersed with mournful legato passages. The strings are fully integrated into the sound and not merely used as a backdrop. Cheek emerges and soars above before strings pick up and play out.

Little Things is a relatively short album, coming in at just over fifty minutes. Being honest there aren't many CD-filling recordings that contain more than fifty minutes of the really good stuff, and that is what we have here. Fifty minutes of really good stuff. The traditional combines with the unorthodox to produce an experience that keeps the listener's attention. Just when you think you know what this album is about it plays a joker like “Friendly Space” or the hanging string thing. For anyone who is interested in Czech jazz, but has yet to embrace the music vision of Jaromír Honzák, Little Things could be just the place to start.

Audio samples from this album can be found here.

CD Review: Joy For Joel

Beata Hlavenková
Animal Music / ANI 011-2, 2009


The number of young musicians rising to prominence on the Czech scene is impressive. They have a lot to live up to, and with many of the great names of Czech jazz still going strong it is not easy for the newcomers. The old kings have not only retained their stunning technical skills but they also have a lifetime of experience and emotion to pour into their music. That is what makes it so rich. It is inevitable that those with a shorter lifetime have less to draw on, and sometimes that means their performances, while still very good, just don't have that magical special something that separates the very best from the merely better. Something in the depth, something in the tone. Perhaps it is just something in the way they sit at their instrument that conveys so much.

Beata Hlavenková is one of the few that truly bridge the divide. She is one of the younger generation – we have almost three decades to wait until she does her “60” gig – but her music betrays little inexperience. As a pianist the mechanical competence of her playing is strong, but it is more than that. Her compositions are interesting. You can never be sure which direction things are going to go in next. Her live performances can be a roller-coaster, some parts sweet and some parts edgy, uneasy listening for the attentive audient. In this context it is fair to say that we at PJHQ were excited at the prospect of her first solo album finally hitting the shelves.

Joy For Joel is not a typical Czech jazz album. For a start it was recorded in New Jersey, and it was recorded with mainly American musicians. Although Beata usually performs in Europe with more local names here we have Rich Perry on tenor saxophone, John Wikan on drums, Matt Clohesy on bass, and Dave Easley on pedal steel guitar. Regular collaborator Lenka Dusilová is however featured on the recording, providing vocals. Some interesting sounds are provided by Canadian Ingrid Jensen, who plays trumpet and flugelhorn as well as fiddling with electronics.

Joy For Joel is very much a big album, and very much a studio album. The larger band is used to create a larger soundscape; a world of varied textures and moods interwoven together. It does not have a “live in the studio feel” in the way some albums can do. You're never holding your breath, disbelief suspended, wondering if the whole thing is going to crash out of control. To borrow the analogy used so well by rock guitarist Robert Fripp, the album is the love letter whereas the gig is the hot date, and both have their place and their charm. And so here we have the love letter, carefully crafted and pleasingly delivered, and containing some fairly spicy bits for good measure.

Hlavenková is a pianist with a timeless sound. It is rich in melody, with a tempestuous rolling quality that is all about expression. She rarely goes for the obvious, and isn't afraid to leave space for others to occupy. A perfect example of this is the first track, “Jazvečík vo hmle za stĺpom” (B. Hlavenková) which opens with the full spectrum. There's brass from Jensen, a delicate vocal line from Dusilová, light and fluttery sax, the hum of pedal steel, and all are crafted together with piano. There's so much going on but still it feels airy, with Wikan restraining himself to gentle punctuation. Together they move, shift, push forward as a group. Perry's solo is fast but tasteful. There is a moment of peace as all subsides, bar the piano, heralding a tight, twangy excursion on pedal steel before the ensemble finale drives the track home.

“Rainy Afternoon” (B. Hlavenková) leans more on the piano, combining mesmerising patterns and strident chords with a twinkling melody. Clohesy steps out of the shadow, grooving away while Hlavenková moves through a variety of moods and explorations. Again a wordless legato vocal line (this time sung by the pianist herself) adds emphasis and an extra layer to the big finish. It is ambitious stuff.

“Bullerbyn” (B. Hlavenková) is faster paced, bouncy, and a bit more conventional. Jensen plays with clarity, taking time between phrases. “Spring Story” (B. Hlavenková) on the other hand is eleven minutes of mini-epic. It is announced by an extended flourish of piano and voice. From there it is a journey of tension and release as varied ensemble playing builds up in pace and vigour, climaxing with a ferocious blast from Jensen and followed by a rapid diminishing to almost nothing. A repeat of the initial flourish follows, before again rising up joyfully. An unexpected but perfectly placed pedal steel solo adds the extra dimension.

There are other notable compositions on the album, including “The Riddle” (B. Hlavenková) and “4 Days” (B. Hlavenková). The former utilises electronic distortions to create a warped environment (dig the evil piano!), and the frantic beat even hints at modern dance music.

The album finishes with “A Little Something” (B. Hlavenková), the shortest track on the recording, which takes a simple cascading phrase and rides it hard. There are crazy moments of disorder that make it all the more lovely when the melody kicks back in.

If you're going to do a full-on studio album you might as well use everything at your disposal. Joy For Joel is complex, contemporary, well structured, and through the use of pedal steel and electronics it has an uncliched sound. At its core is strong writing and arranging, and there is little doubt that these compositions will also work with a smaller outfit in a live setting.

Czech jazz piano does have many kings. Is it now time to crown a queen?


A full track listing and free audio samples can be found on the Animal Music website.

CD Review: Invisible World

Tomáš Liška
Animal Music / ANI 015-2, 2009

There are many new, younger artists currently making music on the Czech jazz scene, including bass player Tomáš Liška. He's a busy guy, appearing on recordings by the likes of Matej Benko, Nika Diamant and Radek Krampl. He also plays live alongside Lenka Dusilová in the Eternal Seekers, and with award-winning quartet Points. Now he has a solo album out, Invisible World, and it is something rather different.

Invisible World was recorded with a trio of Liška on bass, David Dorůžka on (mainly acoustic) guitars and Daniele di Bonaventura on bandoneón. To save you all a trip to Wikipedia, the bandoneón is a concertina-type instrument, invented in Germany but now associated with Argentinian dance bands. There are some additional contributions - Marta Topferova sings on one track and Tomáš Reindl plays percussion on two - but apart from that it is just the three of them making music together.

What they have created with Invisible World is an intricate and intimate album. The studio-recorded tracks have a live feel about them, but it is the feel of a fireside or a chamber concert rather than one played in a large hall. It is mellow and poignant, blending jazz with touches of folk, country and tango. Each note is played to be heard, not lost in a solid structure of sound. It's a contemplative album, with spacey arrangements that allow the music to breathe.

The first track, “Bonami” (T. Liška), gives a clear idea of what this album is about. Acoustic guitar picks at a clear, Latin-tinged melody, Liška plays tight and syncopated melodic bass, and di Bonaventura adds the drawl of bandoneón, occasionally running in unison with Dorůžka and occasionally taking the lead. The acoustically sensitive recording conveys the impression of music being created at close quarters: a clear sense of fingers pulling on strings and hitting buttons.

Liška is a strong presence on the album, occasionally going for the burn with a solo but mostly leading from the back. He's always working there, throwing in interesting patterns and tones, never settling for being pedestrian. The lack of a drummer means that it is often his work that keeps the beat and suggests structure. It also means that there is more space from him to manoeuvre as a one-man rhythm section, and so he can stretch out comfortably without being intrusive or clashing with anyone else at the low end. It is his bass patterns that keep driving things forward, emerging to provide extra emphasis and withdrawing when not required. It was a brave decision by the bassist to record like this, rather than with a conventional Trio or Quartet, but he handles it with style and maturity.

“Alegría en masca” (T. Liška) and “Silent Talking” (T. Liška) both feature Tomáš Reindl on tabla and udu, lending them even more of a "world music" feel. The former is a legato slice of yearning, and the use of sweet and simple electric guitar as well as percussion gives it a bigger band feel. The latter begins slower and simpler, very bass driven, with the other instruments echoing and complimenting the thick, twangy notes before rising up in elegant ensemble playing.

It is not all slow stuff on this album: “Nihemiah” (T. Liška) lifts the pace, and “Strade deserte a Praga” (D. di Bonaventura) is a brief (1:11) shimmering interlude. “River Way” (T. Liška) rolls along like its name suggests, and again features some good interplay between acoustic guitar and bandoneón. This device, rarely found on a a Czech jazz album, works as a lead instrument as well as being able to provide sharp chordal accompaniment and elongated washes of sound.

“Tierra de mis padres” (“The Land of my Parents”, T. Liška / M.Topferova) is complemented by brooding, breathy Spanish vocals from Marta Topferova. It reeks of Latin tragedy and the call of destiny: longing, sunsets, regrets, returning to home to die, the usual sort of stuff.

“Etheric Moments I.” (T. Liška) is the longest track and it brings the album to a fitting conclusion. It contains the same mix of sadness and celebration that permeates the whole recording. There are shifts in mood and theme, sometimes rich and sometimes sparse, sometimes gentle and sometimes dissonant, and it is perhaps the most musically challenging piece in this collection. The big-finish cliché is eschewed, the final bow consciously understated

In some respects this album is not what you would expect from a Czech jazz musician. Invisible World sounds more influenced by South America than by Central Europe, and while it contains strong jazz elements it not the most straightforward album to classify. It is pleasant music to have on in the background without offending anyone, but with close listening the fine details of craftsmanship make themselves known. Invisible World is also interesting, innovative, technically superior, and a satisfying listen. In that respect it is exactly what you would expect from a Czech jazz musician. For his début album Tomáš Liška has not taken the safe option. I, for one, like that.

Full track listing:

1."Bonami" (T. Liška)
2.“Colour For You” (T. Liška)
3.“Alegría en masca” (T. Liška)
4.“Silent Talking” (T. Liška)
5.“Nihemiah” (T.Liška)
6.“Tierra de mis padres” (T. Liška / M. Topferova)
7.“The Truth About Unspeakable Things” (T. Liška)
8.“River Way” (T. Liška)
9.“Strade deserte a Praga” (D.di Bonaventura)
10.“Forever Lost” (D.Dorůžka)
11.“Long Time Ago” (T. Liška)
12.“Etheric Moments I.” (T. Liška)

Free samples of this album can be found on both the Animal Music and the Tomáš Liška websites.

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...

London Review of Emil Viklický 60

The Vortex Jazz Club in London has just published a good review of the Emil Viklický 60 live album, previously reviewed on Prague Jazz. It is good to see this special recording getting worldwide recognition. The review can be found here.

CD Review: Pavla Milcová

Pavla Milcová & Tarzan Pepé
Independent / PM 02-2, 1998


And now for something a little bit different: Pavla Milcová. I first saw her perform in the spring of 2008 and, disgusted at the lack of English coverage of her work, set up Prague Jazz as a result. She was one of the most unique artists I have ever seen take the stage and continues to be so. Her infrequent appearances are on my must-see list and she never disappoints.

Milcová’s sound is distinctive and delightful, if not 100% jazz (so we don’t need any emails from jazz purists informing of us this). However there are distinctly jazzy passages, she does play in jazz clubs and at jazz festivals, she sometimes dips into the Great American Songbook, and her cohorts include the very jazzy Jaromír Honzák (acoustic bass) and Pavel Plánka (percussion). With the jazz there is a rich blend of folk and world music, expressed through a mixture of original material and inventive interpretations of (sometimes unusual) other work. Wrap all this up in a sense of fun, without losing the depth of purpose, and you have some sort of idea of what is happening here.

Of her four albums to date Pavla Milcová & Tarzan Pepé is perhaps the most consistently interesting, although all of them are definitely worth having.

The first track, “Neví se, zda odletěli” (P. Milcová), opens with low, brooding acoustic guitar and slightly sinister background effects, creating a tension that opens out into a more welcoming chorus.

Both electric and acoustic guitars on this album are provided by Milcová’s main collaborator, Peter Binder. As well as being good with the strings he is a pretty mean piano and synth player and also a sound engineer, perhaps explaining the clean sound of both their recordings and their live shows.

“Hvězda na nebi” (P. Milcová) is a sweet number with some nice violin from Tomoko Suzuki and lovely vocals. Although sung in Czech (like most of the pieces) Pavla’s voice is sufficiently interesting to be worthy of attention even if you don’t understand a single word. Expressive to the last, she jumps between high angel and low growl, throwing in the occasional giggle and yelp along the way.

“Petře!” (P. Milcová) is a more straightforward slow piece, but again with delightfully breathy vocals and some lovely legato trumpet from Michal Gera. The sinisterly named “Mr. Lurk” (P. Milcová) starts off with the sound of tea being made, possibly with a kazoo. The trademark use of kazoo is one of the more unusual aspects of Pavla’s particular musical style, and oddly enough it works. Powered by rhythmic acoustic guitar, bouncy bass and clattering percussion, it is a playground through which her vocals romp. With a kazoo.

“Rusalka”(P. Milcová) and “Otče!” (P. Milcová) both bring percussion to the fore but in very different contexts. The former is a short but hypnotic piece with vocals delivered over little but rapid percussive effects. The latter is a high-tempo romp, complete with some pleasingly fuzzy electric guitar.

Next up are two of the most unusual covers you are likely to hear on a Czech record. Scottish folksong “Silver Herring” is performed in a joyfully upbeat fashion (lyrics in English, or rather Scottish), while Shakespeare’s Sonnet No. 66, set to music by Peter Binder, is a moment of delicate sadness. Binder joins in on vocals to create a duet in which both voices wind and wander around each other, separate and yet together. The sparse music brings with it a hint of darkness, and something that could have ended up sounding cheap and cheesy is in fact a highlight of the album and of their concerts.

In “Podzim” it is Czech poet Ivan Blatný who has provided the words. Having left Czechoslovakia after the Communist coup in 1948 he lived as an exile in England, including a spell in a retirement home in Clacton-on-Sea. He died in 1990 but here his words live on, again set to music by Binder. This time the duet is between acoustic guitar and forceful violin, subsiding as Milcová sings the poem unaccompanied, before resuming in mournful tone.

“Ještě že nejsou andělé” (P. Milcová / P. Binder) lifts the mood with a comparatively lush arrangement, vocals delivered as a duet, and some aggressive electric guitar from the normally restrained Binder. “Je každá vteřina originál” (P. Milcová) also utilises a fuller arrangement with dissonant and almost Spanish-themed trumpet, elastic bass from Honzák, background sound effects, and pulsing steady drums (Binder again!) Finally “Mniši & Rytíři” (P. Milcová), the last piece on the album, places the emphasis back on the singer with effective multi-tracked vocals.

There is an experimental (without entering silly territory) and celebratory feeling to this recording that makes it fit in with the spirit of jazz if not the strict definition. But then folk purists probably wouldn’t claim it as their own and it is too Western to be officially given the ultra-trendy stamp of “world music”. I would never call it pop and it really isn’t rock. It is what it is and I like it a lot. I may not know in which section to put it in a record shop but I do know that it deserves to be heard.

Artist information and mp3 samples can be found here.

CD Review: Emil Viklický 60

Multisonic 31 0756-2, 2009

It can be a demanding life being one of a country’s leading jazz musicians. Not only is there a heavy schedule of live performances and the strain of frequently being on the road to contend with, but also private events turn into public affairs. Spare a thought for the guys gigging over Christmas, Easter and other holidays. We fancy a night of entertainment. For them it is a night of work. And so it is with birthdays, especially the big ones. Most of us would like to have a night of idleness for our 60th birthday party, not a night at work that will be recorded for posterity. But thankfully for jazz fans that is exactly what Emil Viklický did for his 60th, and the result is the live album Emil Viklický 60.

The good thing about birthday parties is that you can invite your friends to come. If your friends happen to include inventive and acclaimed musicians from around the globe then so much the better. As such this album features a fine selection of players, including Hendrik Meurkens (harmonica), Steve Houben and Julian Nicholas (woodwind), and Richard Weller (drums). Low stuff is provided by regular collaborator František “Paganini of the Bass” Uhlíř, and there is also an appearance by the great Laco Tropp who normally drums with the Emil Viklický Trio.

The first track is listed as an introduction by Czech President Václav Klaus. It is not, as one might sneakily hope, samples of his more outrageous speeches set to a thumping avant-garde backdrop. Instead it is a simple and warm welcome, and held within this is an acknowledgement of the pianist’s stature.

The music begins with “In The Mists” (L. Janáček, arr. E.Viklický) played in the Trio format, with Uhlíř and Tropp. It starts with a sad but sweet solo piano line before the other guys kick in. From there it is a rolling ride, with Tropp subtly propelling things forward from his kit. Emil’s piano work is excellent as usual, combining lightening chops, good taste, touches of dissonance to create tension, and triumphant releases. Uhlíř solos with style, during which there is some nice piano interplay going on underneath. While this album is about the whole ensemble and Viklický’s big birthday band, “In The Mists” is a spectacular chance to hear what his regular Trio is capable of doing.

For the rest of the album Tropp surrenders the drum stool to California-based Richard Weller and they are joined by Julian Nicholas on saxes. “A Thousand Ships” (J. Nicholas) opens with nice’n’sleazy tenor sax before falling into a jaunty rhythm. Nicholas leads the way but the busyness and sophistication of the band gives the music a multi-layered feel while still retaining a strong sense of melody and clarity. There is also some fast piano work and a drum solo played over elastic bass.

“Noa Noa” (S. Mendez) sees the band completed with the addition of Houben and Meurkens. The latter is a blindingly good harmonica player who handles the humble instrument with virtuoso skills. His sound blends well with Houben’s work on flute, a fluid and airy combination that helps give this album a wide variety of moods.

“What’s New” (B. Haggart) sees Houben on sax for a number that he has regularly performed as a guest with the EVT. Again the interplay with harmonica is beautiful, giving the piece a slow bluesy feel rising to a wide-screen climax and fluttering finish.

“One January Morning” (J. Nicholas) has the full band working together, exchanging lines and harmonising around an optimistic melody. This is definitely a January morning of blue skies and scenic frost, not one of bleak grey and drizzle. Although playing as a sextet this outfit never falls into chaos. Everyone is busy and nobody is stuck on the sidelines keeping out of the way, but despite the density of the music it never becomes a slab of noise. It is an intricately woven tapestry of sound and you can tell that they were having a ball.

Meurkens first visited Prague in November 1989 and shortly after that he wrote “Prague in March”, a slinky winding piece that once more features wonderful interplay between harmonica and flute. “Aspen Leaf” (E.Viklický) is another smooth number, this time with sax and harmonica lines twisting and dancing together over busy drums, bass and piano. There is a cracking solo from Viklický towards the end that falls beautifully back into the main melody.

“Caravan” (J. Tizol, D. Ellington) receives a high-energy treatment delivered with panache and bite, including a double woodwind attack and fiery drum solo.

“What Now My Love” (G. Bécaud) is the last piece on the recording and sums up what the album is about. It’s lovely, it’s fun, and it features some very talented guys getting down and making music together.

Emil Viklický 60 is a special album, musically rewarding and an enjoyable listen. It is a celebration of the man who is not only a towering presence on the Czech jazz scene but who has also made an impact worldwide. It is also, in a music business that so often places business above music, refreshing to hear music played with so much joy. Listen to this album. You will be happier afterwards.

CD Review: Emil Viklický Quartet

'Round Midnight
ARTA F 10020-2511, 1991

One of the most exciting things about the Czech jazz scene is that there is a large number of new and interesting albums being produced by local musicians. But there are also some older “classic” albums that are easy to find and are a worthy addition to any collection. Sadly these recordings never got the recognition that they deserved when they were released. Even after the fall of Communism this was a relatively unknown and strange part of the world to many people, and Czech artists didn’t have the exposure that they would have had elsewhere. One album that thankfully has resisted the fate of total obscurity is 'Round Midnight by the Emil Viklický Quartet.

Recorded in 1991 this is a diverse collection of music that includes original compositions, Moravian folk songs and jazz standards. Viklický is accompanied by drummer Josef Vejvoda, trumpet and flugelhorn player Juraj Bartoš, and a promising young acoustic bass player called Robert Balzar. All four of the musicians are rightfully known not only for their technical virtuosity but also their thoughtful and tasteful playing, and this is indeed a thoughtful and tasteful album. There’s nothing on here that you can play to clear out a dinner party that has run its course or to frighten the neighbours. At the same time it is an album that rewards active listening, repaying attention by revealing the clever touches and satisfying nuances that give the music its depth.

The album begins with “Overflown”, a Moravian folk song. Melancholy solo piano opens the track, before the ensemble creeps in and Bartoš takes the lilting lead. The tempo increases and the mood shifts temporarily, but the piece ends as it began, a late night ballad delivered with a mature touch.

“Little Rootie Tootie” is the first Thelonious Monk piece on the album, and his ever-shifting, churning style is captured well. Vejvoda does overtime on the drums, keeping the beat but also adding to the shape and melody. Balzar also does good work, contributing a tight solo and also some cute slides during ensemble playing, echoing the piano lines.

The next two tracks are both composed by Viklický. “Not Yet” is dark and pensive, and not without a shade of Monk. Again the lead is shared between piano and trumpet, providing a contrast between the chiming flows and flurries of the former and the breathy legato rasp of the latter. “Bradley’s Blues” is more upbeat: a jaunty and lively jive that again features some lovely resonating Balzar bass under the melody. His solo is one of those that can make your fingers ache just from listening to it, and the current bandleader and luminary of Czech music is easy to identify in the playing on this recording.

“Capella”, written by drummer Vejvoda, takes us back into dark and brooding places with a sinister piano introduction and a slow contoured soundscape, repeatedly rising up before falling back down again. Switching atmospheres once again, “Waltz for J. H.” (R. Balzar) is lighter in mood and tone, twisting and turning and, as would be expected, containing some prominent work on the strings.

Petr Junk’s “Dr. Jekyll & Mr. Hyde” is a frantic romp that contains some tight unison playing and aggressive attacks from both piano and trumpet, while the rhythm section hammers away with little respite. High in energy and a lot of fun, this track showcases the quartet really letting fly. “Fall” (W. Shorter) is a nice’n’sleazy workout of evolving tempos, while “Money Money” (E. Viklický) is another high-speed composition with some excellent trumpet work.

The album is completed by the glorious “’Round Midnight” (T. Monk, C. Williams). At 7:55 it is the longest track on the album, and it is a rich and lavish interpretation of this classic. All four of the players shine as distinct voices working together to produce something special, combining their talents effectively to produce a whole greater than the sum of the considerable parts.

The liner notes to this album by Lubomír Dorůžka describe this quartet as being “fully integrated into today’s world jazz but at the same time keeping its own face” and it is hard to disagree with this assessment. Placing Moravian folk songs, original Czech jazz and Thelonious Monk side by side might not seem an immediately obvious thing to do. It works though, making for a body of music that has contrasts within it but still sounds cohesive and structured. As such it is a good listen as well as a valuable document from the early post-Communist days of Czech jazz.

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.