GLASGOW JAZZ FESTIVAL PAT METHENY & BRAD MEHLDAU Carling Academy, Glasgow, Fri 29 Jun
The collaboration between guitarist Pat Metheny and pianist K .. -
Brad Mehldau was one of the hottest jazz developments of last year, and the initial duo album they released figured prominently in many best of the year lists. The follow up record, which featured a quartet with Mehldau’s regular rhythm partners, Larry Grenadier and Jeff Ballard, took the process a stage further, with even more impressive results.
Scottish fans will now get their first opportunity to hear the group live in this Glasgow Jazz Festival concert. On the face of it, it is tempting to see this as a grafting on of a major name soloist to Mehldau’s well-established trio, but the pianist sees it in more organic terms.
‘I see this as very much a quartet, not a trio plus Pat. Once we made the decision between Pat and myself that it was going to be Larry and Jeff, we weren’t thinking about Pat as an addition to my trio. Because Pat’s musical presence is so strong, he was going to tear out this new territory and create a whole new entity between the four of us, and as a result we were also going to change the way we played and interacted together.’
Metheny acknowledged that he did initially wonder how he would fit his own voice into the unit, but draws parallels with situations he has confronted earlier in his career, citing joining Gary Burton’s band or collaborating with Ornette Coleman and Charlie Haden as prime examples.
‘I had to find a place for me within those situations, and it was a similar situation here. Playing with guys like these is a kind of diving board spring mechanism that launches you off into that golden territory, and I definitely experience that in incredibly large doses playing with them.’
It will be fascinating to see how they stretch and transform the refined and sophisticated approach they brought to the music on both discs in a live context.
(Kenny Mathieson)
Cl ASCOW JAZZ FEESTlVAl SNJO PLAYS COLTRANE Old Fruitmarket, Glasgow, Tue 26 Jun
The Scottish National Ja/z Orchestra turn their attention to the music of one of the greatest of all ja/x masters. saxophonist John Coltrane. This year marks the 40th anniversary of Coltrane's death. a (IOIllCKTClTCC which struck Tommy Smith. the SNJO's director. on a personal level.
‘I turned «10 myself in April. and I realised that Trane tragically died at the same age. When you think about how much more Trane had to say. I can't believe he died so young. I toured With David Liebman and my quartet in 2001. and Dave always marked Trane's death With special concerts every :3 years. I've been planning this since then. but only in my head until now'
Smith commissioned new arrangements of a range of classic tunes from the Coltrane repertorie iniostly. but not all. by the saxophonist himself). Thus. we Will hear .Joe Locke's thoughts on ‘Naima'. Geoffrey Kee/ei' on 'Dear Lord'. Floiian Ross on ‘Giant Steps'. Ryan Ouigley on ‘lmpressions'. and Tommy's own arrangement of “The Father. The Son and The Holy Ghost. as well as arrangements by Christian Jacob. Raul Towndi‘ow. Rick Taylor. Manu Rekai' and Pine Iodice.
‘Trane is my hero. and I wanted to take his music from all periods to give the audience an overall picture. i knew these arrangei‘s love writing for the 8 Jo. Time and time again they astound me with their creatiwty. and I also enjoyed giving Paul and Ryan the opportunity to move forward.‘ (Kenny Mathiesoni
60 THE LIST I“. Jun :3 .Ji.. L’ttfli'
(-‘il.AS(‘iC\.'.’ .JA/zf l [‘8 l IVA: RANDY WESTON’S AFRICAN RHYTHMS TRIO Old Fruitmarket, Glasgow, Sun 1 Jul
What's in a name? Often not a lot. but in the case of this trio led by master pianist Randy Weston. the connection with African rhythms is fundamental to his music. His iiiicompromising attitude to the African roots of both his people and ran was fostered by his father. who also encouraged him to play piano.
‘When I was six years old. my father told me that l was an African born in America. and not to let anybody tell me that I was anything else but that. Theietore. you have to know your history as an African. and as a boy I was always reading about Atrica before colonialism. before the exploitation and during the time of great African ciixili/atioiis.'
Weston's musical trajectory into ja/x brought him into contact with great musicians like Coleman Hawkins and Thelonious Monk in the burgeoning New York scene of the 40s. but he always knew that he would eventually go to Africa and explore his roots at first hand. He did so in the (SOs. travelling widely throughout the continent fiom his base in Morocco.
‘All music began in Africa. The ancient Egyptians had schools of music. They were the first ones to write music. and they were master instrument makers. So the whole concept of music was created in Africa and then spread to Europe and spread to other parts of the world. Most people don't understand or realise that.’ (Kenny Mathieson)
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