The ALAN LEE /JO ABBOTT JAZZ QUARTET MUSIC of JOHN LEWIS
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The ALAN LEE /JO ABBOTT JAZZ QUARTET MUSIC OF JOHN LEWIS The Nevertheless, our intense interest, love The pieces John Lewis created for and respect for John Lewis’‚ music has the MJQ provided the group with a ALAN LEE/JO ABBOTT allowed us to overcome these objections framework within which there is ample JAZZ QUARTET on the grounds that this is music room for improvisation, and thus the presents which we love to play, music that we aforementioned self ‚expression. Often (and others) have never heard the MJQ though, as with most of the best-written perform “‚live‚”, (and never will), and music and inspired music, it is the compositions Music of John Lewis which was composed specifically for our themselves that linger in the ear of the instrumentation and which deserves to behearer long after the soloists have had be performed by whomsoever desires to their say. The combined influences of do so, given the jazz musician‚s on-going European classical music and the essence desire for self-expression and to spread of the blues in many of his pieces The decision to begin performing the joy and happiness whilst doing so. make John Lewis‚‘ compositions most music of John Lewis is one that was not About John Lewis‚‘ music, Gunther satisfying to perform, as is the concept taken lightly. First up, there is the concern Schuller (composer, conductor, author and of simultaneous improvisation from the with the jazz police, whose reaction French hornist), has this to say: ‚ piano and vibraharp very much in the will no doubt be to regard the playing “In a very simple, unspectacular way, manner of a traditional New Orleans of many of John‚‘s compositions, and he (Lewis) combines the romantic and the front line going all-out together. Or a in this particular instrumentation, with classical in a judicious blending. His great Bach two-part invention. that derogatory term, ‚“covers‚” (although melodic gift is very much in evidence. people who perform, let‚s say, Beethoven John has that rare ability to create a string quartets don’‚t seem to attract melody which is thoroughly conventional, the same labelling). Also, of course, there immediately hummable, sounds as if one is the terrifying prospect of having had heard it somewhere before, and yet our versions of these and other pieces is in fact absolutely original. Above all, compared with those of the Modern Jazz his music has that unassailable quality Quartet (MJQ). of rightness‚, for which there is no substitute‚.” 1 BADEN-BADEN 4 THE GOLDEN STRIKER 6 VALSE SENTIMENTAL (Ray Brown and Milt Jackson) (John Lewis) (Peter Tchaikovsky) Began life as a blowing piece created From the film “No Sun in Venice”‚. A delightful waltz by Tchaikovsky no for a studio session in 1951 for what was Inspired by the clock tower in St. Mark‚s less. Has nothing to do with jazz, but Jo then the Milt Jackson Quartet (MJQ). Its Square, Venice, where a life-sized bronze and I play it because we like it. As John original title was “Milt Meets Sid”‚ (Sid was figure strikes time on the hour. A Lewis states, concerning the inclusion the recording engineer). It was re-named development of the first theme in “Three of David Raksin‚‘s “Serenade” in the in 1958 by John Lewis with a title closer Windows”‚. album MJQ AT MUSIC INN, “I refuse to be to the image of the new‚ restricted by any formulas‚”. MJQ. 7 LONELY MOMENTS 2 DIGGERS REST (Mary Lou Williams) (Brian Brown) An exhilarating piece to Melbourne tenor- play. It is another example saxophonist Brian Brown of Lewis’‚ influence in the composed this in 1959. spontaneous improvisations The influence of John between the piano and Lewis can be heard in this vibraharp. contrapuntal arrangement,‚ a co-creation from that 8 THREE WINDOWS time with pianist Graham (John Lewis) Coyle. Another piece from “No Sun in Venice”. Combines three 3 ENGLAND‚S CAROL leitmotifs depicting different (John Lewis) characters and scenes in the John‚‘s ‚Variation #1 on film‚s story. A jewel in the “God Rest Ye Merrie, Gentlemen”‚. There 5 MIRJANA crown of John Lewis’‚ oeuvre. are several other recorded versions of (John Lewis) this piece, with varying instrumentation. Full title, “Mirjana of my Heart This one, for quartet, came first (as the and Soul”. Written for John Lewis’‚ wife, title says). Mirjana. The Czech name, Mirjana, means the centre-most point‚. Nuff said. 9 VERSAILLES Lucky Oceans, among others. (John Lewis) His quartet has appeared as support Goes by in a hurry. Possibly the most act for many visiting jazz stars, and jazz-inspired line of Lewis‚ early trilogy in the late eighties he spent two years of fugal pieces (the other two are playing in Kansas City. Alan played “Vendome” and “Concorde”‚). The title congas, percussion and vibraharp in the does not refer to the palace or gardens pit band for the Melbourne season of but to Porte de Versailles, a convention the show ‘Hair’, and his interest in latin and exhibition centre south of Paris, the hand-drums led him to form a 70-piece fourth largest such centre in Europe. Very Brazillian batucada ensemble which busy. performed in Melbourne and Sydney in the seventies. He also began to combine 10 TWO DEGREES EAST ‚ his interest in European classical music THREE DEGREES WEST with jazz pieces, resulting in concerts (John Lewis) at Victoria’s National Gallery and the A blues composed by Lewis for a recording of the LP (now a CD), ‘Gallery recording session featuring two musicians Concerts 1973’ (Cumquat CQCD-2723). from the American east coast (Lewis and His abiding interest, however, has always Alan Lee – vibraharp bassist Percy Heath) and three from the been the music of John Lewis and the west (Jim Hall, guitar; Bill Perkins, tenor; Modern Jazz Quartet. Alan sees in the Alan is one of Australia’s foremost Chico Hamilton, drums). The 12-bar form compositions of John Lewis the perfect performers on his chosen instrument, was retained but re-harmonized for a blending of the most stimulating and the vibraharp. He began his jazz career Lewis solo album in 1960 (also with Jim attractive elements of the blues, early in the early fifties as a rhythm guitarist, Hall). jazz, be-bop, the classical disciplines but found his ‘voice’, the vibraharp, in of fugue and counterpoint, and the 1957 and formed his own quartet in 1959. 11 TWO BASS HIT freedom of creation within a structured Since that time, Alan has played jazz with (John Lewis) framework. The John Lewis pieces most of Australia’s leading musicians, A wonderful showcase for our performed and recorded by this current and his own small groups have included, drummer, Ben Hendry. Originally written quartet reflect these same qualities, as at various times, Brian Brown, Keith in 1947 for Dizzy Gillespie‚‘s Big Band do the other compositions incorporated Hounslow, Tony Gould, Ted Vining, Graham when John Lewis was its pianist and into the group’s repertoire. Coyle, Len Barnard, Bob Sedergreen, and arranger. specialising in the music of Kurt Weill and Agnes Bernelle. Also an accordionist, Jo has toured nationally and internationally at festivals such as Hong Kong Fringe Festival; Live en Aout (Noumea); Pinnacles Jazz Festival (Brisbane) and performed at venues such as Bennetts Lane Jazz Club; Manchester Lane; Dizzys Jazz Club; The Boite; The Famous Spiegeltent (Melbourne Festival). Jo has studied jazz piano with Steve Sedergreen; Tim Stevens and Bob Sedergreen and has a Postgraduate Diploma in Improvisation (piano) from The Victorian College of the Arts. Ben Hendry - percussion A stalwart of the Melbourne jazz and Jo Abbott – piano improvised music scene, Ben is one of Melbourne’s most sought after drummers. he has also played at major events and Melbourne based pianist/composer Jo Renowned for his delicate touch at the venues like the Sydney Opera House and Abbott studied classical piano with drums, he has graced the stages in the and the Melbourne Concert Hall as well Pamela Page (Qld University) and UK and North America – a drummer as major festivals like the Wangarata Stephen Savage (Qld Conservatorium) who can support and contribute to every Jazz and Blues Festival, the Melbourne and received her Bachelor of Music from type of music, from hilarious comedy International jazz festival and the Qld Conservatorium. Following this she acts to driving a jazz group. Given time Fringe Festivals in Edinburgh, Melbourne, worked as a composer, performer and he also teaches in schools. He relishes Adelaide and Sydney. Ben was a member coordinator with the Music for the Heart the opportunity to play this quartet’s of the winning ensembles of the and Mind series established by Brisbane intensely colourful and controlled music. Atheneium Awards for musical excellence based composer Rob Davidson (‘Topology’) Ben has performed throughout Australia in 2003 and 2004. and as accompanist and musical and the UK in clubs such as the director to cabaret performer Annie Lee Basement(syd) and Bennetts Lane(melb), Keller, Maria Mercedes, Tania Doko, I am deeply indebted to Jo Abbott for Anthony Costanzo and Bob Downe. As her time, dedication and enthusiasm well playing many long term residencies in learning, transcribing, practicing and around Melbourne (including the performing these wonderful musics. Jo, Sofatel and Grand Hyatt), Ivan has also thank you. Thanks also to Ivan Rosa performed at Bennett’s Lane, Manchester and Ben Hendry for some of the same Lane, Chapel Off Chapel, Montsalvat reasons. Thanks to Martin Wright for his and as part of Melbourne’s Umbria Jazz encouragement and the opportunity to Festival. Ivan is an inspiring and dedicated record all this; to Vaughan McAlley for his educator and ensemble director, working fine ear and technical expertise; to Ken in both the private and state school White for the cover art; and to Bill W.