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:

Infinite Quintet on YouTube

Given that their album was reviewed on Prague Jazz last month, and that they are playing in Prague in January (see the last GigTips for details), here are a few video clips of the very promising Infinite Quintet.

On Czech television:


At Reduta:


In Berlin:

CD Review: Speak Slowly

Infinite Quintet
Animal Music / ANI 014-2, 2009


Speak Slowly is the first album to be released by Infinite Quintet, but flicking through the liner notes you could be forgiven for thinking otherwise. Their names and faces are nothing if not familiar to anyone who frequently attends jazz gigs in Prague. Miroslav Hloucal leads the outfit on trumpet and flugelhorn, with Petr Kalfus (saxophones) and Viliam Béreš (piano) also featuring prominently. The rhythm section consists of the excellent bassist Petr Dvorský and drummer Martin Novák. A ubiquitous bunch who, if a supergroup of young Czech jazzers was to be assembled, would all be strong candidates for inclusion.

Although Hloucal wrote the majority of the compositions he does not unduly dominate proceedings. This album has a strong feeling of collaboration and the combination of talents. Hloucal plays sweetly and often with an edge of melancholy, also echoed by Kalfus. While not an especially slow recording it does have an atmosphere of contemplation that makes it seem to belong to the small hours of the morning, regardless of the time of day that it is actually played.

The first track, "Ghost Town" (V. Béreš), opens with a twangy bass rhythm and delicate drum pattern before Hloucal and Kalfus come in with a lilting melody that endures. They spend a lot of time on this album working together, two intertwining strands of sound. It works well, with the different tones of woodwind and brass contrasting nicely. There is no rush. Plenty of space is left. Béreš's solo is unhurried, even when nudged along from behind. The saxophone solo is high and nimble, the ensemble playing has depth.

"Night Callin´" (M. Hloucal) is one of the more interesting pieces on Speak Slowly. It features some delicate interplay between Béreš and Kalfus before the former teams up with Dvorský at the bottom end, providing a broken pattern over which a legato melody is layered. It is another spacey composition with all five members managing not to trip up over each other.

There are some lighter shades on this recording. "Cup of Bb" (M. Hloucal) has whimsical moments, fed by a playful piano line. "Song For P.K." (M. Hloucal) has periods that are almost strident and chaotic (in an understated sort of way), with Kalfus getting a good workout. "Gaza" (V. Béreš) swirls enjoyably, bubbling with pacey staccato attacks.

"Gone So Fast" (Petr Kalfus) is not one of the lighter shades. Dedicated by the writer to his father, it starts with ambient effects and haunting piano. Novák goes for the brushes. Emphatic and grandiose chords give way to an expressive saxophone solo. Dvorský pitches it just right when it is his chance to go alone. While the musicianship on this album is of a generally high standard it is his consistent contributions that so often stand out as worthy of note.

Hloucal steps out into the spotlight on the title track, "Speak Slowly" (M. Hloucal), stretching himself on what is ironically one of the quicker pieces. It is also ironic that it is this playing that shows up the album's weak point most clearly: it never really lets rip. It never goes balls-to-the-wall fury. There's never a point where the listener utters an involuntary curse of amazement and rewinds to listen again. The music is introspective and thoughtful and often beautiful, but there's always a feeling that it is never quite in top gear. It isn't that sort of recording.

Speak Slowly is therefore not the most exciting album in the world, but it is a satisfying début with plenty of moments to grab the attention. What it does it does well, and it will be worth following this outfit to see where it goes from here. It will also be interesting to see how their live shows develop, and what music they choose to compliment the material from the album. There is a lot of talent in this band. It is worth taking seriously.

News: Filip Benešovský Interview

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

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

Gig Review: Ondřej Pivec / Petr Kalfus Trio

Jazz Dock
5th July 2009


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

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

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

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

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

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

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

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