Jazz or classical? Try jazzical! TCCA concert does It again.By
By Charles Atthill
» More from Charles Atthill
12:01 a.m. PT Apr 24, 2008
What's in a word? We love to categorize. It helps us order the world. In music we like labels. Baroque, classical; jazz, rock; and subdivisions galore. Labels alert us to what to expect and, based on our preconceptions, whether to like it. But what to make of cross-over "Suites for Flute and Jazz Trio" by French composer and jazz pianist Claude Bolling, performed by two classically-trained and two professional jazz musicians, at Sunday's TCCA concert in the intimate surroundings of Peace Lutheran Church?
Was it "jazz" or "classical"? To judge from the enthusiastic reaction of familiar faces in the audience Đ the "usual suspects" I call them Đ the seemingly contradictory labels were not confusing. The music itself and the top-class performance were all that mattered, whatever the genre - which a friend suggested was "jazzical." Perhaps some of the audience remembered Bolling's "Suite for Flute and Jazz Piano" which topped the charts for an astonishing 464 weeks in the 1970s.
Bolling still startles for the way he moves imperceptibly from a formal, but highly rhythmic, classical style into swinging jazz and back. Like their classical models, Bolling's Suites consist of pieces contrasting in rhythm and tempo. The music is meticulously written out, except for passages where the pianist may improvise. It was intriguing to see Joe Gilman, a leading jazz pianist, move seamlessly from classical precision to exuberant improvisation. Not surprisingly, for the first Brubeck scholar, Gilman often evokes The Master, not least in the complex "Javanaise" in five-four time, recalling, yes, "Take Five".
Laurel Zucker, a flutist often compared to Jean-Pierre Rampal and James Galway, was at the top of her game, not daunted even by the fiendishly difficult "Espiegle", which opened the second half. Orchestrally trained percussionist Michael Bayard was a fascinating side-show of the complexities of his art, placed as he was at the front of stage, while bassist Matt Robinson provided vigorous rhythmic stability and impetus. Zucker reminded us before the last movement, "Jazzy," to fasten our seat belts. Quite right too, for a feast of all-out hard-driving jazz of the highest order.
Twin Cities Concert Association had done it again, offering first rate music and musicians, and perhaps opening up new horizons for its loyal patrons.
ooo
Charles Atthill lives in Alta Sierra. He is toe-tappingly happy to have been one of the sponsors of a great musical afternoon.
