In the world of music it is often required that
the musician defines himself by genre and role, intentionally
placing himself in a box. So called “hyphenated musicians” are
normally limited to the singer-songwriter or pianist-bandleader
variety. It is rare to find musicians that are truly successful
when leaving their expected comfort zone, even when switching
to another role in the same genre. Rarer still is the musician
that can successfully assimilate himself into multiple genres
in multiple roles. Stan Kenton and George Gershwin synthesized
jazz and symphonic music in different ways, expanding their
respective genres with the infusion of other influences. Even
so Kenton never composed a symphony. Gershwin would not have
been at home as a pianist in a four piece combo. Thus Dave Brubeck
becomes a true marvel. Aside from Igor Stravinsky it is nearly
impossible to find someone who is capable of being a true musical
chameleon in the way that Brubeck was in the 1960s.
By 1969 Brubeck had already conquered the world
of jazz, practically inventing his own sub-genre of the “cool
school”. He had synthesized Middle Eastern metrical markings
and rhythms into jazz. He had also already applied traditional
European musical forms, such as the rondo, to his small group
pieces. In 1963 he started to move the other direction, writing
Elementals for orchestra. In 1969 Brubeck decided to
make an attempt to use music to reattach the societies of the
American blacks and Jews. At the beginning of the civil rights
struggles, the two had been natural allies. After the assassination
of Martin Luther King, Jr. the two groups found themselves separating
societally. This was composed as an attempt to mend fences,
so to speak.
It is a large vocal work accompanied by a symphony
orchestra at times, by a jazz trio at others. The harmonic vocabulary
is sometimes that of jazz or the blues, and other times that
of the traditional Jewish folk music. On occasion it moves into
the realm of traditional European cantata. There are times when
one feels as if one is listening to an excerpt from Bernstein’s
Chichester Psalms; at others the derivation seems to
be from Gershwin’s Porgy and Bess. On occasion it sounds
as if it is Oscar Peterson’s trio. Then there are places where
this could have been written by Brahms. The sheer complexity
and diversity is astounding. This is even reflected in the requested
vocalist background. Brubeck explicitly wants a Jewish cantor
tenor and a black baritone familiar with jazz and blues traditions.
The text is quoted from Martin Luther King, Jr., the Old Testament,
the writings of the Jewish sage Hillel, and occasional words
from Brubeck’s wife, Iola.
Perhaps the most impressive thing is that, even
with the myriad of influences and diverse musician backgrounds
required, this work is able to hold together as a single unit.
It is a cantata in the compositional sense. As it moves from
one movement to another, with the instrumentations and vocal
compositions varying wildly, it will quote melodic material
from earlier movements, often from a different style, to continue
to tie the piece together. Largely it is seamless, with the
juxtapositions happening at times when the previous thought
has exhausted its possibilities. What seems evident though is
that even though that particular thought is exhausted, Brubeck
has barely begun. He is equally adept at writing a duet for
tuba and male baritone as he is for the entire symphony orchestra
and vocal ensemble. Some of the most fun places in the cantata
are when the jazz rhythm section is accompanying the full orchestra.
However the work is filled with poignant moments delivered expertly
by baritone Kevin Deas, with his quoting of Martin Luther King,
Jr. His voice expertly carries the emotional urgency of the
text throughout. Slightly less strong is the Jewish cantor,
Alberto Mizrahi, assuming that he is not intentionally using
quarter-tonal scales. It seems as if he simply falls below pitch
at times.
The cantor’s sense of pitch truly is the only criticism
that can be brought to bear on this recording. The vocalists
and instrumentalists are able to switch from style to style
fluidly. In orchestral terms, they are well conducted and interpret
the works well as a unit. In jazz terms, the “group is tight”.
Even the packaging is noteworthy, with the full text provided
with references to the source material where appropriate and
photographs taken in rehearsal. There is an extensive discussion
of Brubeck’s career and of his role in this specific program.
Each of the performers is also given sufficient attention, with
both performing credentials and cultural appropriateness highlighted.
If you are not familiar with this work, it is a
triumph. This particular recording’s positives far outweigh
the flaws. It can be recommended to jazz and classical fans
alike without apologies. If not for Alberto Mizrahi seemingly
having an off-night the recording would have to be proclaimed
perfect. As it is, it stands merely as a very good performance
of a truly great piece of music literature.
Patrick Gary
see also Review
by Patrick Waller
