AghaRTA Jazz Centrum
18th March 2008
Of all the groups that play regularly on the Prague scene, the LAG are probably my favourite. They combine jazz with blues, and even intelligent touches of rock here and there. As such they have their own sound, unique to this ensemble. Of all Andršt’s current projects this is probably the most adventurous and, while accessible, there is a distinct flavour of musician’s musicians about the band. That’s not to say that they are self-indulgent (although that’s not the sin that some like to pretend that it is), but the pieces are complex, multi-layered, richly textured, and occasionally knowingly but wryly showy. Above all these guys play hard. Real hard.
Andršt is one of the best guitarists in Central Europe, and has frequently appeared on the wider radar. Check out YouTube for his duet with B.B. King. He has the stature and demeanour of a proper guitarist: a traditional axe-man of the old school who looks like he belongs on stage, says little, and plays loud. A musical heavyweight, he not only has the chops and the taste but he also is a remarkable writer. The bulk of the LAG’s set is his own material, and this emphasises the quality of the guy’s work, and is also what sets him apart from many able guitarists on the Czech scene.
The Group features the maniacal keyboard work of Ondřej Kabrna, a young player of outstanding ability who loses himself totally in the moment. His instrument is not something he plays but an extension of his physical form and he embraces, caresses, and occasionally pounds and thumps the required sounds out of the yielding piano or synth. Trading leads and accompanying guitar lines, Kabrna’s input shapes the sound greatly, as does the six-string electric bass work of “Wimpy” Tichota. An inventive and solid bassist, he is capable of slapping out a damn good solo when the mood takes him.
The importance of Kabrna and Wimpy in the band can be heard by comparing their live renditions of tracks such as “Wide Open Door” and “Song for Saxophone Joe” with the studio versions on the Acoustic Set album (1996). A fine and splendid album but, with vibes instead of piano and acoustic instead of electric bass, it lacks the sheer balls of this live line-up. Indeed, the piano lines added to “Saxophone Joe” by Kabrna utterly transform it, rendering it into a swirling masterpiece. None of the subtlety of the originals is lost, and indeed the current live LAG’s “Follow Your Heart” is more even aching than the sensitively played album track, but there is just an extra bucket of whack available for use when required.
The other musician (apart from LA) who also played on Acoustic Set is drummer and Prague music kingpin Michal Hejna. Now Michal, and this is meant nicely, is not a little chap. As a not little chap myself I feel I can say this. But this guy can move with a speed and fluidity that would leave youngsters and gym-monkeys shaking their heads. Powerful yet nimble, he has a flair for complex drum patterns and a nice line in jolly Latin rattles and shakes, excellently exhibited on Cuban-influenced “La Bodiguita del Medio”.
With a splash of B.B. King and jazz standards in the proceedings, the LAG played a balanced and inventive set. They’re not afraid to expand on ideas and develop the music into extended and satisfyingly segued pieces. Acoustic Set is available from the club’s shop and it is a great piece of music. But this, the live, electrified treatment of the tracks, is even better. This gig proved once again that LAG are one of Prague’s must-see bands. They are also one of the very few bands that would genuinely make the world a better place by releasing a double live album!
Friday, March 28, 2008
CD Review: Luboš Andršt Blues Band with Reesie Davis
Everything I’ve Done
BEST I.A., J10071-2, 2007
The LABB is an ever-evolving beast, usually supplemented by a guest musician or vocalist. Young guitarist Lukáš Martinek and veteran Ramblin’ Rex sometimes fill this role, but Everything I’ve Done captures the band with smoky-voiced American singer Reesie Davis up front. Also onboard were the groovy organ talents of Jan Kořínek and a powerful rhythm section of Pavel Razím on drums and “Wimpy” Tichota on bass.
The album is a mixture of original material and blues standards, including the jaunty opener of “Watch Yourself” (Little Walter Jacobs). The sound is tight, glossy, and quick paced, and this is the format for most of the album. Guitar and organ trade leads, the latter keeping things nice and funky. There are no quick hits on this album – the shortest track is almost six minutes long – and so development and progression are exhibited. A place for everything and everything in its place.
“Keep Your Money” (Reesie Davis) follows the same format and tempo, with a nice snarly lyric and catchier lead lines than are normally socially acceptable in serious music. However it is with the third track, “No More Excuses” (Luboš Andršt / Reesie Davis) that the album really catches alight. Andršt is a fine interpreter of other people’s material, but he is an excellent writer in his own right. Taut, pushier, and darker than usual, “No More Excuses” fairly clatters along as a salutary warning to the overly-compliant. The guitar work is down and dirty, although the opening riff will raise a smile amongst those who own a copy of Andršt’s Imprints album (1992). Kořínek also throws in some broad walls of sound and pleasing organ rumbles.
If further evidence was required of the quality of the original writing on this album then Exhibit A would have to be the title track, “Everything I’ve Done” (Luboš Andršt / Reesie Davis). This one is the epic, the elegy, the prayer and the pudding all rolled into one. From the opening soaring guitar, to the vocal lines soaked in desolation and desperation, it kicks some serious proverbial. If this song was a drink it would be the first swig from the second bottle of bourbon on the night your third wife left you. With the dog. Nine minutes of pure beauty and sadness, with the Andršt hallmark stamped all over it. Like the best of his work it doesn’t fit neatly into a pigeonhole. A touch of rock in the blues? A touch of blues in the jazz? The purist may look at lines in the sand but the wise listener will be too busy playing air guitar and /or drinking to care.
The only problem with “Everything I’ve Done” is that it puts the rest of the album in the shade. For sure their romp through classics by Little Johnny Taylor and T-Bone Walker are sharply played and delivered with panache, and Wimpy knocks out a fine slappy solo on “Cryin’ Won’t Help You” (Hudson Whittaker / Tampa Red), but you’ve already been sucker punched.
Everything I’ve Done is a good album with some great moments and, unlike a lot of LA albums, is easy enough to obtain. It does leave you wondering though… if the two Andršt/Davis originals are that good, why they Hell didn't they write a whole album together?!
BEST I.A., J10071-2, 2007
The LABB is an ever-evolving beast, usually supplemented by a guest musician or vocalist. Young guitarist Lukáš Martinek and veteran Ramblin’ Rex sometimes fill this role, but Everything I’ve Done captures the band with smoky-voiced American singer Reesie Davis up front. Also onboard were the groovy organ talents of Jan Kořínek and a powerful rhythm section of Pavel Razím on drums and “Wimpy” Tichota on bass.
The album is a mixture of original material and blues standards, including the jaunty opener of “Watch Yourself” (Little Walter Jacobs). The sound is tight, glossy, and quick paced, and this is the format for most of the album. Guitar and organ trade leads, the latter keeping things nice and funky. There are no quick hits on this album – the shortest track is almost six minutes long – and so development and progression are exhibited. A place for everything and everything in its place.
“Keep Your Money” (Reesie Davis) follows the same format and tempo, with a nice snarly lyric and catchier lead lines than are normally socially acceptable in serious music. However it is with the third track, “No More Excuses” (Luboš Andršt / Reesie Davis) that the album really catches alight. Andršt is a fine interpreter of other people’s material, but he is an excellent writer in his own right. Taut, pushier, and darker than usual, “No More Excuses” fairly clatters along as a salutary warning to the overly-compliant. The guitar work is down and dirty, although the opening riff will raise a smile amongst those who own a copy of Andršt’s Imprints album (1992). Kořínek also throws in some broad walls of sound and pleasing organ rumbles.
If further evidence was required of the quality of the original writing on this album then Exhibit A would have to be the title track, “Everything I’ve Done” (Luboš Andršt / Reesie Davis). This one is the epic, the elegy, the prayer and the pudding all rolled into one. From the opening soaring guitar, to the vocal lines soaked in desolation and desperation, it kicks some serious proverbial. If this song was a drink it would be the first swig from the second bottle of bourbon on the night your third wife left you. With the dog. Nine minutes of pure beauty and sadness, with the Andršt hallmark stamped all over it. Like the best of his work it doesn’t fit neatly into a pigeonhole. A touch of rock in the blues? A touch of blues in the jazz? The purist may look at lines in the sand but the wise listener will be too busy playing air guitar and /or drinking to care.
The only problem with “Everything I’ve Done” is that it puts the rest of the album in the shade. For sure their romp through classics by Little Johnny Taylor and T-Bone Walker are sharply played and delivered with panache, and Wimpy knocks out a fine slappy solo on “Cryin’ Won’t Help You” (Hudson Whittaker / Tampa Red), but you’ve already been sucker punched.
Everything I’ve Done is a good album with some great moments and, unlike a lot of LA albums, is easy enough to obtain. It does leave you wondering though… if the two Andršt/Davis originals are that good, why they Hell didn't they write a whole album together?!
GigTips: April 2008
Need something to drive away the late-winter blues until spring finally arrives? Well here’s some reasons to be cheerful: Prague Jazz’s April GigTips!
3rd April, Akropolis
MICHAL PROKOP & FRAMUS FIVE – Legendary singer-songwriter and his all-star band, including L. Andršt on guitar and the electrifying Jan Hrubý on electrified violin.
http://www.palacakropolis.cz/pakr/pub/home/action/actual/Main$pageletManager$ActionView/38561.jet
6th April, Lucerna Music Bar
ALLAN HOLDSWORTH BAND – veteran fusion axe-man, Bruford collaborator and Canterbury legend. Proggers and jazzers unite! Part of the AghaRTA Prague jazz Festival.
http://www.agharta.cz/index.php?p=program&site=agharta_apjf
7th April, USP Jazz Lounge
MIRIAM BAYLE BAND – Jazz standards, but delivered in style by one of the best vocalists on the scene.
http://www.jazzlounge.cz/index.php?show=prog&select=5#prog_odkazy
24th April, AghaRTA Jazz Centrum
EMIL VIKLICKÝ TRIO – Superb piano-led modern jazz from one of the giants of Czech music. Pick up a copy of his latest album, Ballads & more, while you’re at it.
http://www.agharta.cz/index.php?p=program&site=agharta_ajc&month=4&year=2008
If you plan to go to any of these concerts remember to check with the venue first – all things in this world are subject to change.
3rd April, Akropolis
MICHAL PROKOP & FRAMUS FIVE – Legendary singer-songwriter and his all-star band, including L. Andršt on guitar and the electrifying Jan Hrubý on electrified violin.
http://www.palacakropolis.cz/pakr/pub/home/action/actual/Main$pageletManager$ActionView/38561.jet
6th April, Lucerna Music Bar
ALLAN HOLDSWORTH BAND – veteran fusion axe-man, Bruford collaborator and Canterbury legend. Proggers and jazzers unite! Part of the AghaRTA Prague jazz Festival.
http://www.agharta.cz/index.php?p=program&site=agharta_apjf
7th April, USP Jazz Lounge
MIRIAM BAYLE BAND – Jazz standards, but delivered in style by one of the best vocalists on the scene.
http://www.jazzlounge.cz/index.php?show=prog&select=5#prog_odkazy
24th April, AghaRTA Jazz Centrum
EMIL VIKLICKÝ TRIO – Superb piano-led modern jazz from one of the giants of Czech music. Pick up a copy of his latest album, Ballads & more, while you’re at it.
http://www.agharta.cz/index.php?p=program&site=agharta_ajc&month=4&year=2008
If you plan to go to any of these concerts remember to check with the venue first – all things in this world are subject to change.
Friday, March 21, 2008
News: Hot-Price Honzák!
The cheap DVD boys at newspaper Lidové noviny have done it again. Their recent release is a 2004 concert from the Eben Brothers (Bratři Ebenové) featuring Jaromír Honzák (last seen at AghaRTA with Pavla Milcová) on acoustic bass. It comes in at less than 50 Kč and has 75 minutes of concert footage, and 30 minutes of archive and documentary material. And if you think the name Eben is familiar, yes, one of them is TV star Mark Eben!
Gig Review: Robert Balzar Trio
U Malého Glena
14th March 2008
The Robert Balzar Trio are always worth seeing. Their playing radiates skill, commitment, and lots and lots of class. They play with feeling and little compromise. And, if the chattering is kept down, the intimate surrounds of UMG provide a great vantage point to observe their master class in tension and release.
The RB Trio consist of Balzar himself (acoustic bass), pianist Stanislav Mácha, and Jiří Slavíček on drums. All three of them are experienced and acclaimed recording and performing artists, with Balzar and Mácha having the rare distinction of performing with Bill Clinton at his famed Reduta blowing session. This line-up has been together since 2000, allowing them to flex and move the music with the freedom and telepathy that such familiarity allows.
As usual they played a mixture of original compositions, jazz standards, and their sad and silky cover of Paul Simon’s “Still Crazy After All These Years” which retains enough of the original to be familiar but still has an interesting and impressive arrangement. Standout original tracks included the high-energy workout of “Black Cat, White Dog”, and the elegant closer “Ben-In-Jam”, written by RB for his son, Benjamin. This track in particular is a beautiful piece of music that showcases Balzar’s prodigious talents with the bow, leading the melody with dignity, hitting a frenzied climax, and then winding down with poignancy. Taken from their Overnight album (2005) it is worth the price of admission alone, and it is also worth missing a tram for.
As usual the RBT included works by guitarist John Abercrombie, in this case the brooding “Remember Hymn”. A new RBT album featuring Abercrombie, Tales, is due out in April, and it should be one of the highlights of the Prague Jazz year!
The strength of this Trio lies in the quality of the individual players. Slavíček possesses both power and subtlety, and doesn’t have the compulsion that some drummers have to fill every moment of silence with sound. Occasionally ditching his sticks in favour of fingers, his work carries with it a sense of melody as well as rhythm. Mácha too is a controlled and mature player, knowing when to let rip and when to hold back.
The Trio were well received, and by UMG standards the background chunter was not too bad. An intoxicated gentleman tried his luck dancing along to the bouncy riffs of last set opener “On Green Dolphin Street”, but thankfully decided that this was not for him. He may be a drunken ass but at least his taste in music is sound.
The RBT vary their set regularly, and so you never quite know what you are going to get. Some favourites left out usually mean some new favourites brought in. They are undoubtedly one of the jewels in the crown of the Prague jazz scene, and deserve your studious interest and enjoyment.
Website: http://www.robertbalzar.com/
14th March 2008
The Robert Balzar Trio are always worth seeing. Their playing radiates skill, commitment, and lots and lots of class. They play with feeling and little compromise. And, if the chattering is kept down, the intimate surrounds of UMG provide a great vantage point to observe their master class in tension and release.
The RB Trio consist of Balzar himself (acoustic bass), pianist Stanislav Mácha, and Jiří Slavíček on drums. All three of them are experienced and acclaimed recording and performing artists, with Balzar and Mácha having the rare distinction of performing with Bill Clinton at his famed Reduta blowing session. This line-up has been together since 2000, allowing them to flex and move the music with the freedom and telepathy that such familiarity allows.
As usual they played a mixture of original compositions, jazz standards, and their sad and silky cover of Paul Simon’s “Still Crazy After All These Years” which retains enough of the original to be familiar but still has an interesting and impressive arrangement. Standout original tracks included the high-energy workout of “Black Cat, White Dog”, and the elegant closer “Ben-In-Jam”, written by RB for his son, Benjamin. This track in particular is a beautiful piece of music that showcases Balzar’s prodigious talents with the bow, leading the melody with dignity, hitting a frenzied climax, and then winding down with poignancy. Taken from their Overnight album (2005) it is worth the price of admission alone, and it is also worth missing a tram for.
As usual the RBT included works by guitarist John Abercrombie, in this case the brooding “Remember Hymn”. A new RBT album featuring Abercrombie, Tales, is due out in April, and it should be one of the highlights of the Prague Jazz year!
The strength of this Trio lies in the quality of the individual players. Slavíček possesses both power and subtlety, and doesn’t have the compulsion that some drummers have to fill every moment of silence with sound. Occasionally ditching his sticks in favour of fingers, his work carries with it a sense of melody as well as rhythm. Mácha too is a controlled and mature player, knowing when to let rip and when to hold back.
The Trio were well received, and by UMG standards the background chunter was not too bad. An intoxicated gentleman tried his luck dancing along to the bouncy riffs of last set opener “On Green Dolphin Street”, but thankfully decided that this was not for him. He may be a drunken ass but at least his taste in music is sound.
The RBT vary their set regularly, and so you never quite know what you are going to get. Some favourites left out usually mean some new favourites brought in. They are undoubtedly one of the jewels in the crown of the Prague jazz scene, and deserve your studious interest and enjoyment.
Website: http://www.robertbalzar.com/
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