Music transcends national borders and shows free interaction. The melancholy of Eastern European jazz players is at the forefront of such a fusion of traditions and cultures. In addition, I have selected a contemporary jazz album by a musician from Azerbaijan.
Tomasz Stanko was a charismatic trumpeter who led the Polish jazz scene until he died in 2018. After 20 years, the stage performance at a hall in Munich in September 2004, part of his extensive U.S.-European tour, was finally revealed to the public in June this year. Tomasz Stanko was influenced by free jazz in the 1960s and was at the forefront of the movement, exploring unrestrained playing styles. His interpretations were intense yet melancholic, probably due to his Slavic blood. The freely performed melodies are sharp, have a rich spatial expanse, and have light phrases that seem to melt into the air far away.
The unique world of Stanko had reached one major peak during this period. Marcin Wasilewski’s piano trio had long been active under the name of “Simple Acoustic Trio,” and the three members were in perfect harmony. As Tomasz Stanko himself said, “There has never been a trio like them in the history of Polish jazz, and they are getting better and better,” the trio’s meticulous interplay added even more tension to the performance. <Hermento’s Mood> and <Kaetano> are filled with free and adventurous feelings. All of the performances, including the large-scale ballad <Elegant Piece,> all pieces are beautifully played and remind us of Stanko’s unique world of creativity.
The first track, <Simona,> is attractive enough with its plaintive sound of muted trumpet. Dusko Goykovich was born in Bosnia-Herzegovina (former Yugoslavia). Dusko began his career studying at the Belgrade Conservatory and then, on a scholarship, attended Berklee College of Music in Boston. His music has an orthodox style, primarily based on hard bop, but there is still Slavic blood in his playing, which makes his presence stand out with an indescribable sentiment. “Balkan Blue,” recorded in the 1990s, is a two-disc set that packages Dusko’s quintet performances and his collaboration with an orchestra. The first disc, which featured the quintet, is titled “Nights Of Skopje” and, as the name suggests, was recorded in a studio in Skopje, the capital of the Republic of North Macedonia. Bop performances such as <Yardbird Suite> written by Charlie Parker are all right, but the highlight is the title track <Nights Of Skopje> written by Dusko, performed in five-four time.
The second disc, entitled “Balkan Blues” and performed with the NDR Philharmonic , is a suite-like work of over 50 minutes written by Dusko himself. The piece, which features Dusko’s trumpet and flugelhorn throughout, was initially conceived in the 1970s and arranged by Vienna-born Hans Hammerschmid. This disc contains a live performance of the complete version, which has been further modified and scaled up. For Dusko, this stage is the realization of a longtime dream. The entire piece consists of nine parts, all of which are colored with visionary sounds, including the impressive <Balkan Dance> with its plaintive theme and the exotic <Macedonia.> This is a well-worth listening piece that exudes the unique Eastern European sadness throughout.
Azerbaijan is not an Eastern European country. It is geographically a part of West Asia where European and Eastern music meet. The music of pianist Shahin Novrasli, born in Baku, the capital of Azerbaijan, has a distinct exoticism that sets it apart from the music of the United States and Western Europe. Azerbaijani traditional music, known as “Mugam,” features many unique modes passed down orally for centuries.
Shahin’s jazz performance contains vital elements of Mugam. Three pieces on the album, including Shahin’s original, are unique improvisations of traditional Azerbaijani melodies that are not only exotic but also rich in rhythmic energy. Chopin’s famous “Prelude in No.4 in E Minor” also shows beautiful improvisational playing that maintains dignity in its pathos. It is wonderful to see that bassist Nathan Peck, who has played with Shahin for a long time, and one of New York’s top drummers, Ari Hoenig, appreciate Shahin’s music and play in perfect harmony with it.
Surrounded by various kinds of music from his childhood, Masamichi Okazaki joined Waseda University Modern Jazz Club. He started contributing articles to music magazines when he was a student. He covers wide range of music not only trad, modern and contemporary jazz, but also from pops to classics. He writes liner notes for CDs and LPs, and is a regular contributor to “JAZZ JAPAN,” “STEREO,” and others. He joined a big band, “Shiny Stockings,” as a saxophone player. He is a director of The Music Pen Club Japan (MPCJ).
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