She is a fantastic talent, with an amazing voice, and a very versatile style, from her early vocal jazz/singer-songwriter style albums Some Lessons, Worrisome Heart, and My One And Only Thrill,via the latin Swing of The Absence, to the much more soul-oriented Currency Of Man.
However, so far I haven’t yet seen her live (what a miss), so I was very excited when this latest live album was announced in late 2017.
Now it’s out, and I must admit it exceeded even my high expectations.
Live in Europe (Decca 2018)
So, what’s so great about this album?
First of all, the length, 1h45, so the band can really take the time to develop the songs, with the longest example, Morning Sun taking more than 12 minutes. Not one too many by the way, as this is one of the true highlights of the album.
The other great thing is that this in many places is a very minimalistic, “unplugged” style album, just Melody’s fantastic voice with very little instrumentation, which makes this even more special, and a very intimate experience. One example is the opening track, Our Love Is Easy, which over quite a while has her together with only a double bass. Outstanding!
This is a mix of several concerts in Europe, and you get the full bandwidth of styles. Lisboa (nicely enough taken from a concert in Lisbon)is an excellent example that the band can do a true latin samba-style swing, you get her “classics” like My One And Only Thrill, but even the more soul-type songs like Morning Sun get a very special, fresh treatment.
Melody Gardot is clearly surrounded by outstanding musicians here, as witnessed in the nearly 4 minutes instrumental intro of The Rain.
Another highlight of the album is March For Mingus, as it is really swinging and groving like crazy. The “original” of this song was a short 1:02 fragment on Currency of Man, which finally gets the 11:03 that it truly deserves.
Get this album as fast as you can! This is an instant classic.
My rating: 5 stars
You can find it here (Qobuz) and here (Prostudiomasters)
He recommended Omer Klein´s latest album Sleepwalkers. I must admit I had never heard the name before. Not sure if that’s a good or a bad sign, given how much I care about this kind of music, but probably it just speaks to the fact that we’re truly living in the Golden Age of the Piano Trio with so many fantastic artists out there.
Omer Klein is yet another pianist coming out of Israel, like so many other excellent Jazz musicians (how does such a small country do that?).
Anyhow when I noticed that Klein was scheduled for last Sunday and I happened to be in Switzerland that weekend, I knew what I had to do.
Omer Klein Trio Live At Moods – January 18, 2018
Moods remains my favorite Jazz club in Switzerland. Just the right size, good acoustics, nice drinks, and an excellent program.
So, what did we get?
Let me start by say that what I thought from my original listening to Sleepwalkers confirmed itself. As you know if you read my blog on a regular basis, I’m a sucker for melodies. Omer Klein´s trio is much more focused on rhythms and modal changes than on melodies.
So initially, for the first moments, I was a bit skeptical.
However, I was very quickly won over by the sheer musical power this trio had to offer. The technical abilities of all three musicians, including Haggai Cohen Milo on bass, were just outstanding. Nothing ever seemed complicated to them, they played with so much ease and fun the most complex passages, I was just blown away.
But let’s be clear, this was never technical ability for the sake of it, this was always just driven by the music. All three musicians are clearly passionate about what they are doing, and were visibly having fun during the concert.
In a way, the real driving force behind most songs was the spectacular Amir Bresler on drums. His drive and groove was just fantastics (hence the slightly cheesy title of this blog post borrowed from Austin Powers).
Very interestingly, this trio didn’t follow the typical format of Jazz concerts, where after the intro the musicians get to solo. They played constantly in a very intertwined way (only in the very last song, Bressler got to show off a bit). Songs typically lasted 8-10 minutes and more, and were never boring in any way. Also, there wasn’t´a single standard in the entire concert, only originals.
Overall, an excellent concert. The audience was amazed, and so was I.
If you get a chance to see them live, please do. They are exceptional musicians.
And if they don’t play near you, luckily this concert was recorded and will be put onto the Moods.digital streaming website. This is a subscription well worth having, as you can access all concerts since early 2017 at Moods, recorded in excellent audio and video. I´ll publish a link later when it becomes available.
As most of you, I have made a couple of New Years resolutions. Among them was, not suprisingly, exercise more and eat healthier. Well, 7 days in and, while improving, I’m far from where I want to be (although slightly better than last year).
Another resolution was to go to more concerts. There are so many fantastic concerts out there, and I have the privilege of often being in places that offer excellent musical performances on a regular basis. Berlin is a case in point, where I happened to be quite a bit recently.
So, I guess starting with my first concert on January 6 is a good starting point for the last resolution. Let’s see how I continue from here.
A lot of firsts
This concert was a lot of “firsts” for me. First concert of the year, first time I’m listening to a concert performance of any of the three composers on the program (more about that later), first time I see Alina Igrabimova and Cedric Tiberghien in concert, first time the two are actually mentioned on this blog (beyond a small side note in passing), and first time a Berlin´s new Pierre Boulez Saal.
Pierre Boulez Saal
The Pierre Boulez Saal is the latest of the classical music venues in Berlin. It was built as part of the Barenboim-Said academy. It formally opened in March of 2017. It was planned by architecture legend Frank Gehry as a Salle Modulable, i.e. with a lot of flexibility.
Entering the building, I really like the architecture of the overall hallway, with a nice mix of traditional and modern elements over the several floors.
However, entering the Boulez Saal itself, I was a bit underwhelmed. Being a big Frank Gehry fan, I kind of expected more. It kind of reminds me of a smaller Roman amphitheater, just more wood, less stone.
And honestly, who designed the patterns covering the seats? This weird mix of blue and red reminds me of some of the public transport seats in Europe that use complex patterns to deter graffiti. I don’t expect the typically 50+ classical music audience to be big into graffiti, so no idea what went on here.
But well, I shouldn’t be too negative, the acoustics were quite nice, you have excellent visibility from pretty much all seats, and to really honor the concept of a roundish concert hall, the piano was turned during the break having the artists face the other way in the second half of the concert.
Anyhow, there is quite an intriguing concept behind the hall, and it is hard to take pictures in there (and unfortunately forbidden during the concert, so no pictures from the artists here…), therefore I suggest you check out this video:
Alina Ibragimova and Cedric Tiberghien
Two young, brilliant artists that I’ve never mentioned on my blog in 2+ years. How come? I actually like both.
The reason is more or less technical. Both mainly record for Hyperion, and Hyperion doesn’t allow streaming. As mosts of my initial reviews are typically based on streaming (I like to sample before I buy), I haven’t really formally reviewed any of their recordings yet. However, the samples I was able to listen to were, plus the raving reviews everywhere, really made me curious.
32 year old Ibragimova has some highly praised albums, including her Bach solo sonatas, Ysaye´s solo sonatas, the Beethoven and Mozart sonatas with Tiberghien, and a really enjoyable recording of the Bach violin concertos. Tiberghien is not only her regular duo partner, but has also done some very nice solo recordings that are worth checking out.
So I was very enthusiastic to be able to see both of them live.
Ibragimova and Tiberghien At Boulez Saal playing Ysaye, Vierne, and Franck – January 6, 2018
And actually, to be fair, the first one isn’t even French but Belgian, Eugene Ysaye. I had heard about him, but never the Poème élégiaque that started the performance. As rare as it is for me, it is actually very refreshing hearing a piece of classical music performed for the very first time. You have a much more open reception.
And I was blown away. This relatively short piece was inspired by Shakespeare´s Romeo and Juliet, and you could certainly hear all the passion of this inspiration in there. Ibragimova played with a wonderful intensity, and Tiberghien was the perfect partner, never overshadowing, which the powerful sound of a Steinway can easily do.
Next came a composer I literally had to google. Louis Vierne. You may say Louis who? Turns out he’s relatively well known in France, but his reputation beyond the French borders is still very low. So I had no idea what to expect.
A violin sonata from a composer mainly known as an organist? Again, I was very positively surprised. My personal highlight was the second movement, Andante. I was literally mesmerized by the beauty of it. Isn’t it enjoyable that there is still so much beautiful music to be discovered?
After the break, we got my personal highlight of the evening, César Frank´s A-Major sonata. This piece I was much more familiar with, both from historic recordings with Heifetz, and from Isabelle Faust´s recent album on Franck and Chausson.
Regular readers of this blog will know that I’m a Faust fanboy. But what Ibragimova and Tiberghien did last night was even significantly better than Faust´s excellent recorded performance. Given that this was a live event, the performers took quite some liberties on timing, but only to the benefit of this music. The audience, like me, was extremely enthusiastic.
As an encore, we got a beautiful work of one of Vierne´s pupils, Lili Boulanger, the less-well known sister of Nadia Boulanger, who unfortunately passed away at the young age of 24. The Nocturne was again of outstanding beauty.
Overall, an evening of extreme emotional intensity and passion
This was really pure coincidence. I happened to stroll by the Berlin Philharmonic hall purely by chance. Suddenly, a guy approaches me, and asks “Would you want a ticket for the concert? Brahms, right now?” Well, who can say no to that? So 5 min later I find myself sitting in the Berlin Philharmonic hall watching as the BPO and the Rundfunkchor Berlin reassemble (I only got there during the break).
Ein Deutsches Requiem
I haven’t written that much about requiems yet on my blog. I have a certain respect for this category of music, as I always remember it is written for a very serious occasion, the death of a loved one. Maybe because of this I don’t listen to requiems enough.
I’ve previously mentioned Mozart´s requiem on my blog as part of My Must-have Mozart Albums. The other requiems I really love are Fauré’s (this really would need its own blog post), and obviously Brahms’.
Brahms German Requiem is a particular in many ways. First of all, it was written under very personal circumstances, around the death of Brahms own mother. Second, given Brahms´protestant background (he’s from Hamburg), he doesn’t use the traditional latin text of the catholic requiem, but instead parts of the Bible that are of personal importance to him. These are sung in German, hence the name.
Yannick Nézet Séguin – Berlin Philharmonic Orchestra – Rundfunkchor Berlin – Hanna-Elisabeth Müller – Markus Werba
I was indeed very lucky last night. Not only I get to see again the BPO, one of the best orchestras in the world, but also finally get to see Yannick Nézet-Séguin live.
I’ve written a lot about his recordings, from his Cosi Fan Tutte to his Figaro. Most recently I did a more ambivalent review of his Mendelssohn symphony box. But taken together, he is one of the most relevant conductors of the 21st century.
Given his previous recordings, I expected this concert to be a relatively fast and lean performance. Well, from the first measure I was proven wrong. This was BPO beauty in full blast, with relatively slow tempo throughout.
Actually, I’m glad he did. Given the nature of this work, the grandiose and emotionally charged way Nézet-Séguin conducted this just worked out perfectly.
A word about the soloists: they don’t really have such an important role in this work (maybe with the exception of the central soprano solo Ihr habt nun Traurigkeit), and overall the soloists did an good job, but were not the most memorable parts of the evening. The audience seems to think the same: they got decent applause, but nothing out of the the ordinary.
The true star of the evening was the Rundfunkchor Berlin, under Gijs Leenaars. Their performance was just amazing. Not surprisingly, they received standing ovations at the end. Well deserved
The highlight of the evening for me was the second movement, Und alles Fleisch, es ist wie Gras. The combined power of the BPO, the powerful BPO hall organ, and the 80+ voices power (but also nuances) of the choir made this a performance I will never forget.
My rating: 5 star
P.S. If you want to see it yourself, and are not in Berlin (note that there are some tickets left for tonight Oct 20 and tomorrow Oct 21), you can also see the Saturday performance streamed live in the Digital Concert Hall.
I’ve written previously about Guy´s great recording of the Brahms piano sonatas. As I was in Paris last weekend, I noticed him giving a piano recital at the Maison de la Radio. Liszt, Beethoven, and Brahms sonata no. 3. I was lucky enough to still get tickets.
Guy is one of those underrated pianists that outside of his home country typically are not well known. But I heard good things about his Beethoven cycle as well, and had very high expectations.
François-Frédéric Guy: Clair de Lune – Liszt, Beethoven, and Brahms – Live at Maison de la Radio, Paris
Maison de la Radio, hidden in the quite 16th arrondissement of Paris, is a 1960s building that has housed French public radio for decades now.
They have several rooms for public concerts, but the biggest one is the beautiful Auditorium, very recently renovated.
Therefore I already had a visual treat, before the music even started
The concert itself started with Liszt, Bénédiction de Dieu dans la Solitude from his Harmonies poétiques et religieuses. Liszt these days often tends to be underestimated compared to the big names of Brahms and Beethoven. And maybe his orchestral work is not always top notch, and even his very large piano work sometimes tends to go a bit overboard.
But when Liszt gets it right, and is well played (not obvious, given the technical hurdles), it is really just outstandingly beautiful. This was the case here, I was mesmerized by the beauty of this piece.
After this fantastic start came the title piece of the concert, Beethoven’s Moonlight sonata no. 14, (Clair de lune in French). I wasn’t as taken by this part of the concert as I was by the Liszt. One part of the problem was potentially that a young teenager noisily dropped his cell phone and it fell several steps down in the middle of the quiet intense beginning. This kind of stuff really can ruin my mood for a bit.
It may also have been simply the fact that we all have heard the Mondscheinsonate so many times, that we form a certain idea in our head. Don’t get me wrong, it was beautifully played (even with the occasional false note in the Presto), with a lot of rubato in the slow movement, a very personal version. So let’s just blame it on the noisy kid that I couldn’t enjoy this part as much.
After the break, Guy started his Brahms sonata. And wow, he really played is as intensely as I’ve ever heard anybody play Brahms. You could literally see how physically exhausted he was after this long piece of music with its 5 movements. An outstanding experience.
Guy got the applause he deserved, and thanked us with not only one, but two encores.
After another Brahms, we were all ready to get up and leave, but he sat down again, and guess what he played: Für Elise. Yes, that one. the one that every piano student plays, the one that even people who don’t know anything about classical music recognize immediately. And guess what, it showed that there is so much more in this music than typically meets the eye.
A beautiful closure to an evening full of emotions.
Moods has recently been closed for a while. Partially this was to renovate the club, but another major reason was to make the club “digital”.
What is Moods.digital? To quote their website, “the facility features 10 full HD mobile cameras plus state-of-the-art broadcast studio“. In a nutshell, since March 2017 concerts are being recorded in high definition, and are now available for streaming, be it live during the event, or offline for later consumption. The site offers a number of different subscription options.
The video quality is truly impressive, comparable to professional televised concerts. Audio is also pretty good, and the overall experience really works. Audio quality actually gets quite a bit better with the recent introduction of the Sennheiser AMBEO 3D technology for the most recent concerts, which is optimised for headphone listening.
Shai Maestro Live at Moods – March 17 – 2017
I´ve written about this concert experience here. To quote myself: “I’ve been to many concerts in my life, this was one of the most memorable experiences I had.”
Well, now you have the opportunity of seeing and hearing what I saw, by simply following this link. What do you think? Did I exaggerate? Having seen the concert again now, I still love it, but look very much forward to your opinions.
I haven’t heard any of the other albums, with some Telemann and Vivaldi, but will check in and maybe report back later.
Hyperion doesn’t stream, so I cannot comment about Cohens/Arcangelos cantata album.
Bach: Matthew Passion – Gardiner
As reviewed here, I fully agree that this is a five star album very much worth having.
I haven’t heard any of the other recommended albums, from Blow (never heard that name before), Couperin, Monteverdi and Scarlatti, but will check them out, as they are by Les Arts Florissants and Christophe Rousset among other, that I really admire.
I haven’t heard any of the first three recommended albums, as they are all 20th century stuff which really isn’t my cup of tea, from Ades, via Bacewicz, Berg, Schönberg, and Webern. I’ll leave this to others.
I´d be interested in trying the Bruch String Quartets as I have very little chamber music from this composer, but Hyperion doesn´t stream so I have no way of risk free trying.
Then there are two Schubert albums. Quatuors 12 and 15 by the Doric Quartet. I have only heard it once on the radio (again, also Chandos doesn´t stream), and liked it, but wasn´t blown away. Not interesting enough for me to spend money blindly on it.
Finally, there is the Death and the Maiden and a quartet by Sibelius by the Ehnes Quartet. Unfortunately, Onyx is another label that doesn´t stream.
So basically, there´s unfortunately not a lot I can contribute to this category, which I usually love.
Several albums in here that are just not my cup of tea, eg. Berkeley or Elgar. Even Haydn´s Season, here with Paul McCreesh, is not a piece of music I´m particularly passionate about. Better to shut up then.
I´m more curious about the Cherubini album by Hervé Niquet, I´ll check that one out later today.
There have been a number of recent recordings of Rachmaninov´s All-Night Vigil, and I´m also very interested by this latest recording of John Scott. I will report back on this one as well.
I´m not a very huge fan of Lisa Batiashvili´s Sibelius and Tchaikovsky album, but this is more due to Barenboim, not Batiashvili´s fault. Augustin Hadelich Tchaikovsky is straightforward, but also not that much my cup of tea.
I will certainly check out Alexandre Tharaud´s Rachmaninov album and report back.
I can´t comment on the albums by Adams and Beach.
I´ll skip the contemporary and early categories, as I don´t feel qualified enough here.
I´ve now played this album many times, and still haven´t fully made up my mind. I kind of like it, but it´s really not my personal reference.
I´d like to comment about Cedric Tiberghien´s Bartok album and Pavel Koselnikov´s Chopin Mazurkas, but due to Hyperion´s no streaming policy I can´t. Side note: I really understand why labels don´t want to support streaming, as the business model is not very attractive, but on the other hand it really limits discovery. Maybe labels should invent a streaming model where you can listen to an album only 2-3 times and then need to purchase it. I find that album´s I can´t test I often don´t buy.