Including this disc in the classical review section of this
site may seem a bit odd, and this disc could have been categorised
with the jazz releases with as much ease and perhaps even more
appropriately. This is not the entire story with this recording
however, and since there’s plenty of jazz which has been
assimilated into the ‘classical’ genre and innumerable
composers who integrate elements of jazz into their ‘classical’
work, readers can make up their own minds as to whether this
recording should go next to their Scott Joplin or their George
Gershwin.
John Salmon is a highly versatile pianist, and he has been known
to perform both Beethoven and Dave Brubeck in the same concert
programme. His association with Dave Brubeck has borne musical
fruit in recordings as well (see reviews here
and here),
and he has been awarded a fellowship from the Beethoven Foundation/American
Pianists Association, won prizes such as the 1979 William Kapell
and 1984 Busoni competitions, and holds Masters and Doctorate
diplomas. The mixture of classical and jazz results in a fusion
of complex counterpoint and swinging rhythms in potent numbers
such as Imitation Rock in which he plays a duet with
his pre-recorded self, and the Fughetta on ‘Brother,
Can You Spare Dime’. Think of Alec Templeton’s
‘Bach Goes to Town’ with extra zip and you might
have some idea of what to expect - jazz with a high degree of
intelligence and an intensely witty use of antiquated but still
highly relevant compositional techniques. The miniature Very
Larry for instance is described as a ‘semi-bitonal
blues’: there are hardly any pieces here without some
intellectual tease going on.
There are further nods to composers of the past with Purcell’s
Lament moving over a descending bass similar to “Dido’s
Lament” but moving via some superb right-hand extemporisation
into an unexpected but entirely ‘right’ feeling
salsa section. Bossa Bachiana is a combination of a Bach-style
chorale and a bossa nova, drawing together associations with
Villa-Lobos, with Jacques Loussier and with MJQ. Another chorale-like
composition comes from John Salmon’s paternal grandfather
Hugh Cameron Campbell Salmon, whose Child’s Evening
Prayer is a simple but movingly beautiful little piece not
too far removed from something lyrical by Grieg. John Salmon
compares his style to Edward MacDowell. Another more ‘classical’
or serious piece is Des Abends, but the two could hardly
be more different, the latter starting out with a tonally ambiguous
nocturnal atmosphere, adding in wild Conlon Nancarrow runs,
moving through a ‘Rite of Spring’ ostinato, and
referring briefly to Schumann’s Op.12 Fantasiestücke,
whence the title derives.
Further highlights include Mari Pino, a delightfully
relaxed stride number honouring the performer/composer’s
wife, and Mambo Madness which flies through the air in
a 7/4 meter for which attempts to dance are advised against.
Scatitude also rolls with a compelling 5/4 meter, the
same beat as Brubeck’s ‘Take Five’ but entirely
different in terms of “scat, etude and attitude”.
This nicely balanced and varied programme ends with the title
track, Salmon Is A Jumpin’ which the composer states
“would have been grammatically incorrect if referring
to the fish. But, as an autobiographical comment, it is correct.”
Whatever the linguistics it’s a rollicking good number
with which to end the disc.
With good sonics, excellent music and superb playing this disc
is self-recommending. The only real question is; how much do
you think you like jazz? I’m looking for converts
so take a taster at Youtube
and climb aboard.
Dominy Clements
John Salmon (piano) 
