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July 7th, 2008

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High notes

A Musical Shopping Guide for the holiday season

December 26th, 2007 issue

Music makes a great gift but it’s a daunting proposition to work through the CD racks these days. The glut of mainstream commercial fare is overwhelming and very little of it is fresh or original. How then to find something worth hearing?

Fortunately the Czech Republic has a surfeit of great music much of it recorded on disc. There’s plenty of mainstream pap too with the big Czech rock bands dominating the racks. But there’s a wealth of lesser-known players and bands who have made excellent recordings that tend to get overlooked.

So we’ve scouted the smaller labels and newest classical offerings and put together a shopping list that should cover most tastes. Treat yourself too. There’s a ton of local talent that’s worth hearing and supporting.

Compiled by Frank Kuznik Darrell Jónsson and James Scanlon

CLASSICAL

Smetana Trio Piano Trios (Supraphon) enlarge

Smetana Trio

Piano Trios

(Supraphon)

From the opening bars of this disc it’s clear why Prague’s finest classical piano trio has been racking up one prestigious award after another including BBC Music Magazine’s accolade for the best chamber music CD of 2006 the group’s recording of Dvořák piano trios Nos. 3 and 4. This disc opens with a rendering of Dvořák’s earlier Piano Trio in B flat major (penned in 1875) so lush and sweet that you could play it on Christmas and feel better. In additional trios by Fibich and Martinů the group shows an equally strong command of the material playing with authority and feeling. Throughout the caliber of musicianship is outstanding. Most groups play pieces; the Smetana Trio inhabits them working from inside out to give them an organic feel and a single unified voice. Impressive on every level and a worthy addition to a stellar and growing catalogue.

—Kuznik

Pavel Haas Quartet

Janáček & Haas String Quartets

(Supraphon)

The second disc by what may be the best young string quartet in a city full of them shows that the group’s award-winning first recording was no fluke. Their mastery of Janáček’s String Quartet No. 1 and Haas’s String Quartets Nos. 1 and 3 features the same technical brilliance and virtuoso playing of difficult works. What may be most remarkable about this group is their ability to nail a piece technically without sacrificing any emotion; the interpretations are at once precise and warm combining technique and feeling without sacrificing either. While it’s good to see this work being recognized internationally in a sense that’s a loss for local audiences as it means the Pavel Haas Quartet doesn’t perform very often in Prague. Their playing at a concert at St. Simon and Jude Church in early November was too energetic for some tastes but left most of the audience wishing for more local dates. Until that happens this disc will do nicely.

—Kuznik

Pavel Šporcl

Vivaldi/Four
Seasons

(Supraphon)

It’s nice to see the boy wonder breaking out of his usual Dvořák/Smetana repertoire but this disc has the feel of a gunslinger notching another kill. Šporcl breezes effortlessly through Vivaldi and Bach’s Concerto for Two Violins and Strings with the ego stroke of playing both violin leads on the Bach piece. It’s fine work though a bit too uptempo for this reviewer’s tastes. And there’s a palpable sense of going through the motions as Šporcl starts compiling recordings of all the virtuoso violin standards. Still the sound is rich and full with excellent chamber strings by the Prague Philharmonia. And the two video tracks are a nice bonus.

—Kuznik

Jamník Kahánek

Martinů Janáček
& Kabeláč

(Supraphon)

Supraphon is doing a commendable job supporting young Czech talent in this case two Prague Spring laureates just starting their recording careers cellist Tomáš Jamník and pianist Ivo Kahánek. The cover art shows them at HAMU the music school in Malá Strana and the disc has a student sound to it competent but uneven and raw in parts. Jamník and Kahánek sound best together on the two Martinů compositions from his early years overseas in the 1940s the Sonata No. 2 for cello and piano and Variations on a theme by Rossini. The Kabeláč concerto is a bit of a slog but their handling of Janáček’s Fairy Tale for piano and cello is surprisingly mature with Jamník showing some soul on the cello. Worth having for the Martinů pieces alone.

—Kuznik

Ivo Kahánek

Janáček & Klein

(Cube)

Left on his own Kahánek shows why conductor Jiří Bělohlávek tapped him to play Martinů’s Piano Concerto No. 4 at the BBC Proms this past summer which got good reviews in London. Kahánek is an intelligent and sensitive player who can move fluidly from delicate grace notes to stabbing exclamation points and make it all hold together. He shows a fine feel for Janáček’s Overgrown Path character studies in particular the tricky Frýdek Madonna originally written for harmonium. His work on Gideon Klein’s Sonata for Piano is less impressive but the piece is always worth a listen especially considering the circumstances of its composition — two years into Klein’s imprisonment at Terezín. Here’s hoping to see more solo work from this fine young pianist.

—Kuznik

Monika Knoblochová

Bach and Novák/ Inventions

(Cube)

Knoblochová pretty much owns the harpsichord player’s seat on the local Baroque circuit and is talented enough to have earned a solo slot in this past year’s Prague Spring at which she performed many of the pieces on this disc. It’s nice work but primarily for purists as the entire recording is her playing solo harpsichord. And the connections that she hears between Bach’s work and that of 20th-century Czech composer Jan Novák may not be immediately apparent to laymen’s ears. But the material is lively and interesting and she has a great feel for it.

—Kuznik

Bárta Kasík Talich

Fryderyk Chopin
Chamber works

(Supraphon)

An interesting interpretation of Chopin’s non-piano works of which there are not many. The Sonata for Cello and Piano in G minor gets the disc off to a slow start as if cellist Jiří Bártá and pianist Martin Kasík are finding it all a bit too ponderous. The duo picks up energy in the Introduction and Polonaise brillant and Grand Duo Concertante then really cooks on the Piano Trio in G minor when violinist Jan Talich Jr. joins in. Bárta probably has the most famous name of this group but Kasík’s piano work is the real standout consistently clear and fluid throughout. Casual classical listeners will probably better appreciate the talents of Bárta and Kasík on other discs; this one is mainly for Chopin completists.

—Kuznik

ROCK

Eggnoise

albumen

(100 Promotion)

Amazingly the Eggnoise sound has passed through punk grunge rock jazz and pop to get where it is today. Hitting top form this year with their third and most sophisticated effort to date Eggnoise offers their own inimitable take on hard swing jazz rock and funk. No longer reliant on having an accoustic base the sound is filled out with more modern elements and likeable studio trickery. In the past Eggnoise has performed with the likes of The Levellers Longitol and dEUS but it’s the latter band that appears to have the greatest influence here. It’s generally a soothing Sunday afternoon listen with sudden blasts of trumpet and quirky vocal interruptions adding an edge that keeps it all together.

—Scanlon

Traband

Přítel cloveka (Friend of Man)

(Indies Records)

Founded in the mid-’90s Traband started with a punk “no future” attitude with brass and banjos in the mix. As time went on founder Jarda Svoboda’s fascination with circuses 19th-century seafaring stowaways and other colorful characters led to the band appearing in the costumes of the people they were singing about. Coming out of a 12-month hiatus during which time Svoboda did social work with the homeless the band has returned with a new sound that includes foot-pumped harmoniums Eastern-leaning vocal harmonies and occasional splashes of strident post-punk drums. At first fans and critics alike flinched on hearing the banjos and brass stripped away. But nearly a year later the catchy single from this disc Tak to mám rád (That’s the way I like it) is still getting nearly daily airplay on local radio stations. The rest of the CD has no shortage of charm and the packaging includes a beautiful bi-lingual Czech/English book of lyrics and illustrations.

—Jónsson

Dope Aviators

Product

(11 Fingers)

Dope Aviators’ debut release is a psychedelic post-rock walk through Vinorady’s midnight velvet fog. Helping catch all the electrons in their lo-fi-meets-electronic-pop radar former Band of Susans producer Robert Poss lends this work its final master touches. Occasionally it sounds like the Aviators are about to get lost in the mist but eventually their soft-spoken lyrics emerge from the dark. There are influences drawn from Brian Eno’s Berlin vs Madchester’s pirate radio ’ardcore comedowns. Such drifts though are all part of the territory with this dreamy Prague nightscape music. With one foot in the tram and the other set to jog across the clouds Product will satisfy those who appreciate such excursions.

—Jónsson

BBP

Tolik štěstí (That Much Happiness)

(11 Fingers)

The very idea of a Czech underground revival may seem odd until you have wandered through the Czech countryside to attend one of BBP’s communal concerts in a squatted castle. These days BBP along with their cohorts Avangardic People and New Kids Underground are taking the 60s/70s Czech underground aesthetic seriously. That includes loyalty to Czech poets like Egon Bondy a commitment to lyrical and musical irony and the pure youthful joy of creativity. What’s been updated is better studios better gear and the ability to probe their linguistic musical legacy without doing hard jail time. Liberty serves them well even if they are still operating on the fringe of Prague music circles. This disc their most accessible to date may change that. BBP’s musicianship is as dynamic as it is refined daring unique instrumentation while riding a progressive rock ’n’ roll edge.

—Jónsson

GNU

Album Epochal

(Silver Rocket)

If you are in need of something to clear out the holiday cobwebs GNU’s power trio post-rock excursion should do the job. The group is part of Prague’s Silver Rocket label and scene whose bands often pursue a strong noise-rock component while operating in a new European network. GNU rides closer to the metallic-punk spectrum than most of the label’s bands with a punk aspect close to the dark plodding sounds of bands such as John Lydon’s PIL or Joy Division. GNU has a dose of the more arty inclinations found on the edges of the international metal genre yet rather than throwing metal punk or grunge clichés against the wall and seeing if they stick GNU rides on persistent energy and skill.

—Jónsson

CONTEMPORARY

Various artists

Brno mésto
básníků (Brno
City of Poets)

(Indies Records)

Wynton Marsalis once said “To go from the George Gershwin level of composition to the John Lennon level of composition — that’s a very long drop.” But even the skeptics who agree with Marsalis should find something to pique their interest in this genre-hopping mix of chamber-pop rock jazz folk and classical. It will likely sound familiar to anyone who’s been listening to Czech alternative music as it draws on the combined talents of Brno-based musicians like Iva Bittová Vladimír Václavek and band members from Quakvarteto Kvety Muziga Hradištan Cymbelin and Už jsme doma. The result is more than a compilation or a scatter-shot tribute as the dynamics of the various pieces and artists are carefully blended into a 16-part suite. There’s some cool jazz and Czech-Celtic traces in the mélange. And if the likes of Marsalis are tuning in there’s a bit of Gershwin to fortify it all.

—Jónsson

JAZZ

Mraz Bittová Viklický Tropp

Moravian Gems

(Cube)

An impressive project by an all-star musical team with Moravian roots who pull off a skillful blend of traditional music and jazz. The project had its origins in an idea that bassist George Mraz proposed several years ago to pianist Emil Viklický who arranged most of the pieces that he and Mraz selected and added several original compositions. Percussion is provided by usual Viklický drummer Laco Tropp and songstress Iva Bittová caresses lyrics that are clearly close to her heart. The result is beautiful with Viklický’s arrangements showcasing the complex harmonies and rhythms that inspired Janáček (Janáček’s Sinfonietta gets a six-minute jazz treatment here and Viklický quotes from other Janáček work in his composition Austerlitz). Neither element suffers in the mix; the jazz passages are first-rate and the lilt and flow of Moravian folk music is if anything enhanced.

—Kuznik

Marcus Printup/Emil Viklický Trio

Jazz at the Castle

(Multisonic)

This is the best way to hear jazz at Prague Castle which is normally played in the Spanish Hall — not for its acoustics which are awful but because it affords the grandest entrance for King Claus who arrives (usually late) beaming to his subjects then takes the stage to introduce the band like they’re old pals. Tellingly the first cut on this disc is not music but Klaus’s introduction. But after that it’s a smokin’ set with all the acoustic problems of the venue magically melting away on disc with the music filtered through a sound board. Printup’s trumpet sounds clean and bright skating across the crisp backing of Viklický and his trio with the pianist providing fine solo passages and fills. To American ears their rendition of Herbie Hancock’s Dolphin Dance is a smooth and unadulterated treat. Czech listeners will enjoy the jazz singalong version of the Moravian folk song Lásko bože lásko. And everyone can groove to standards like Body and Soul. Breezy yet smart and polished this is the best thing to come out of the Castle in a long time.

—Kuznik

Brabenec Karafiát Komárek

Kanadské vytí (Canadian Howl)

(Guerilla Records)

Unfettered from the rock ’n’ roll footings of the Plastic People of the Universe three Czech musicians gathered in PPU saxophonist Vráta Brabenec’s Ontario cellar in 1989 to ply an angular and skillful musical twist. Taking their musical freedoms several steps further than the Czech underground proved fruitful with Brabenec and crew flying into avant-garde jazz territory distinctly their own. Second-generation PPU member Joe Karafiát’s expanded guitar vocabulary also finds room to soar while the percussion of Honza Komárek provides meditative pause. In a jazz context the music falls somewhere between Rashan Roland Kirk and Tony Williams’ work with John McLaughlin and Larry Young in Lifetime. This 2007 release should satisfy listeners who have dismissed Czech jazz as more of the MOR than envelope-pushing variety. Unleashing this CD on your stereo will blast an alternative point of view of how far Czech jazz outings can go.

—Jónsson

FOLK

Radůza

Vše je jedním (Everything is one) (CD)
Půjdu kam chci (I go where I want) (DVD)

(Indies Records)

Discovered by the late Zuzana Navarová performing the blues as a street busker Radůza has since enjoyed a meteoric rise to fame. Three days after meeting Navarová (a singer with the popular ’80s outfit Nerez) she found herself on stage at Lucerna. Things really took off following support slots for the likes of Suzanne Vega and Mike Oldfield. Since then Radůza has managed to go her own way as both her latest CD and DVD testify. On live tracks from performances at Divadlo Archa she draws on an eclectic at times idiosyncratic mix of power funk and French Chanson. Firmly entrenched in her seat which acts like a reinforced support mechanism to brace the enormity of power she puts into her accordion she obviously couldn’t give a damn about the awkward facial contortions that arise from getting lost in the songs. It’s easy to see how she manages to captivate audiences both in the Czech Republic and abroad. The DVD includes both a live concert and a film detailing her rise to stardom.

—Scanlon

Zuzana Homolová

Tvojej duši zahynúť nedám (I Won’t Let Your Soul Pass Away)
(Sínko Records)

Although released in 2005 Zuzana Homolová’s CD of updated Slovak folk songs remains crisp and enjoyable as it likely will for many decades. No small part of this timelessness is the deep research she has devoted to Slovak folklore. In the past this critically acclaimed balladeer has joined forces with respected regional musicians such as Vladimír Merta Jan Hrubý and Jiří Stivín. Here she collaborates with Samo Smetana on violin Daniel Salontay on guitars Marián Varga on keyboards and others to bring out the best in her original and artful interpretations — and interpretation is the key word here as Homolová’s approach to folk music is far from dry archeological speculation. This is modern Slovak folk music performed with fluid contemporary musical skill and taste bathed in violins mandolins and slide guitars. With Homolová passing the musical torch ancient Slovak folk music has plenty of life left in it.

—Jónsson

Jana Vébrová

Kykyrý (Cock-a-doodle-do)

(Indies Records)

Jana Vébrová’s latest CD is in many ways the opposite of Björk’s pop CD output. For a start most of her songs are solid accordion and voice numbers sung in Czech. Not that she shirks from post-modern expressionism. Sometimes Vébrová floats an echo of late Weimar Republic-era cabaret on her accordion while her voice exhales a touch of Edvard Munch-like darkness. Musically Vébrová sits squarely on a Central European longitude with few if any nods to London or New York. There are no hit singles straining to wiggle up the charts here. Instead like Björk Vébrová expresses an urgent and contemporary originality yet is more primal and meditative.

—Jónsson

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