This is Salmon’s
second Brubeck disc for Naxos. Here he presents what are termed
twenty-six Nocturnes though that’s something of a misnomer.
They’re short character studies, mainly played straight with
three notable exceptions where Salmon allows himself the luxury
of some explicit improvisation – Recuerdo, Bluette and
Koto Song. A number of the songs are also from recent
albums and many have personal associations for Brubeck – family,
travel, touring, special people and an air of nostalgia.
Whatever they may
or may not be these are all engaging and often wistful examples
of Brubeck’s art. Since he recently announced that he won’t
make any more European tours due to the fatigue of the travelling
it’s a moment for those of us here to reflect on his more intimate
and reflective moments. They’re captured with real understanding
and affection by Salmon who’s made something of a study in things
Brubeckian.
So we can admire
the compression but affirmative lyricism of the charming ballad
Strange Meadowlark. Similarly – and how craftily programmed
it is – we can enjoy the Bachian Mexicana, or should that be
Mexican Bachiana of Recuerdo, which as already noted
is one of the few places where Salmon has some improvisatory
leeway. He brings out its suspensions nicely as indeed
he does in adducing a little Erroll Garner to its veritable
charms. I enjoyed the antique air of Softly, William, Softly,
which derives from a never completed opera. As its title
suggests Bluette is a laid back mini blues opus. And
as with so many songs of his we can hear how Quiet As The
Moon aspires to the condition of song. Brubeck is a wonderfully
“vocal” composer.
Home Without
Iola (his wife) is imbued with tristesse but another tribute
to her - (I Still Am In Love With) A Girl Named Oli –
has more than its share of earthy, funky Garneresque moments.
There’s a touching tribute to Audrey Hepburn as well, and a
trademark waltz, Viennese style, to add variety both rhythmic
and thematic to the programming. Rather odd though that his
Fats Waller tribute – Mr. Fats – should be in the form
of a boogie; perhaps Harlem Stride was too much Fats’s thing
for Brubeck to insist upon it. The range of his classical enthusiasms
and interests can be gauged by his Satie homage, the roguishly
titled I See, Satie.
This is another well-judged tribute to a
still vital talent. There’s warmth here and wit and the kind
of miniaturised impressionism that keeps Brubeck so interesting
and rewarding a figure.
Jonathan Woolf
see also Review
by Göran Forsling
Naxos
American Classics page
John Salmon
(piano) 
