NAIRN INTERNATIONAL JAZZ FESTIVAL’S PIANO SUMMIT, COMMUNITY CENTRE, NAIRN (published in The Scotsman, August 8th)
It may have been a musician down (pianist John Bunch called off due to illness) and have a tenor sax star lost in transition (Scott Hamilton, whose first flight of the day from northern Norway to Oslo was cancelled), but the Nairn Jazz Festival still managed to pull a magic evening out of its hat on Thursday night. Everything went according to plan; in fact, it went better than could have been planned, because an extra piano materialised towards the end of the hitherto two-piano concert.
This summit meeting involved veteran American wizard Dick Hyman plus younger, German pianists Chris Hopkins and Bernd Lhotzky – in other words, the three pianists who had wowed Edinburgh audiences earlier in the week with their games of musical pianos. For their Nairn reunion, they were joined by the similarly nimble-fingered Rossano Sportiello – and the results were sensational.
Of course, the numbers which involved all four pianists were the most exciting – and the most fun to watch, as a certain amount of contorting and Marx Brothers-like horseplay took place as the musicians arranged sheet music so that two pianists could read it at a time, and arranged arms and torsos so that complex duets were feasible.
Among the highlights of the many different line-ups within this quartet was a beautifully delicate duet by Lhotzky and Sportiello on George Shearing’s Children’s Waltz, Hyman and Hopkins’s hard-swinging Opus 1/2, and Sportiello’s sublime solo version of Wonder Why, which was so romantic that the old couple next to me were moved to hold hands..
NAIRN INTERNATIONAL JAZZ FESTIVAL, COMMUNITY CENTRE, NAIRN (published August 10th)
There’s no doubt about it: this year’s somewhat reduced Nairn International Jazz Festival would have been an altogether lesser affair had it not been for the contribution of American jazz star Dick Hyman. The veteran pianist is so versatile that he played an important part in preventing this year’s event from feeling like a diet version of the usual programme.
On Friday afternoon, Nairn audiences were treated to a history lesson from Hyman, whose acclaimed and epic CD Rom A Century of Jazz Piano is about to be released as a CD box set. His two-hour guided tour of the jazz hall of fame was an exercise in musical time travel: among the many greats he managed to squeeze into concert (which really demands a sequel) were Erroll Garner, George Shearing and Bill Evans.
Just as an impersonator can drop different voices into a conversation so Hyman elegantly conjures up the spirits of his piano heroes, most thrillingly such early pioneers as the ragtime composer Scott Joplin, with whose eternally exciting Maple Leaf Rag he kicked off the afternoon, and stride giant James P Johnson whose Keep Off the Grass Hyman played at such speed that his hands were a cartoon-like blur.
On Saturday night, he was back for a staggeringly energetic festival finale with fellow octogenarian Bob Wilber (clarinet, saxes) – the highlights of which were the oldest numbers, Running Wild, Royal Garden Blues and CC Rider.
Wilber had arrived on Friday to play what turned out to be a superb concert with tenor saxophonist Scott Hamilton – who had finally arrived from northern Norway, more than 24 hours after he had set out. Red Bull energy drinks perhaps deserve some credit for his performance (what Wilber’s secret is remains to be seen – he’d been playing till 4am in France earlier that day), but the wildly enthusiastic response of the audience to the Nairn debut of this particular line-up (with the wonderful Rossano Sportiello on piano duties, joining resident bassist Andy Cleyndert and drummer Joe Ascione) no doubt helped power both stars.
DICK HYMAN PIANO LEGENDS, THE HUB, EDINBURGH (published in The Herald, August 4th)
If Sunday night’s concert at The Hub is anything to go by, the secret to being a spry octogenarian is to play regular games of musical piano stools. American pianist extraordinaire Dick Hyman may be 82 but that didn’t stop him from joining fellow ivory-ticklers Bernd Lhotzky and Chris Hopkins in a couple of rounds of stool-hopping as the three men worked their way round two grand pianos, while serving up rafters-raising versions of The Sheik of Araby and I Found A New Baby.
Those two thrilling numbers – played with great style as well as humour (the younger players’ mock territorialism over the keys, a bit of business involving who had the longest sheet music etc) were highlights of an exhilarating evening. But they weren’t the only highlights. On faster, stride numbers, a solo Hyman can sound like he’s playing with multiple hands, and his dynamic take on James P Johnson’s classic Carolina Shout was a terrific example of this.
Less flamboyant but equally impressive was his original piece, Thinking About Bix, which captured the beguiling peculiarities of the compositional style of the legendary Bix Beiderbecke as well as evoking his unique cornet playing.
Although Hyman was very much in charge of proceedings, his young cohorts – both first-timers at the Edinburgh Jazz Festival – had plenty of opportunities to shine, notably their electrifying duet on Somebody Stole My Gal, and Lhotzky’s duet with Hyman on Harlem Strut.
DICK HYMAN EUROPEAN ALL-STARS/KEN MATHIESON CLASSIC JAZZ ORCHESTRA, THE HUB, EDINBURGH (published in The Herald, August 6th)
Following his piano extravaganza of Sunday night, Dick Hyman returned to The Hub on Tuesday evening for a concert which showcased his equally prodigious talents as an arranger and a bandleader who can whip even the most ragtag bunch of star soloists into a tight, working unit. Some of the musicians on Tuesday night’s bill had quite possibly never met before, let alone played together before, which undoubtedly added to the excitement of the music – as well as underlining bandleading Hyman’s skills.
Mind you, with the likes of Alan Barnes (saxes and clarinet), Dave Green (bass) and John Allred (trombone) in his septet, Hyman had at his disposal some superb players, several of whom looked as if they were getting a real kick out of playing such rarely performed numbers as a thrilling Dooji Wooji (Hyman revealed that he’d once asked the bass player Milt Hinton was this meant, only to be told “Better you not know..”).
Alan Barnes must sometimes rue the fact that he’s so versatile because it often means that he does back-to-back shifts on the bandstand. Tuesday night was no exception, as his turn as a European All-Star followed fast on the heels of his first guest appearance with the Classic Jazz Orchestra. Their programme of Benny Carter music might have benefitted from an interval but it was a treat nevertheless to hear this top-class band dish up such cracking Carter numbers as Symphony in Riffs from the 1930s and Katy-Do from his Kansas City Suite. Barnes’s superb work on alto (on the latter tune especially) was the icing on the cake.