Another night in Praha

Prague is full of jazz, and I’m enjoying it, amongst other aspects of this town. The daytime touristing to the massive castle that overlooks Prague was interrupted by preparations for the visit of the Pope the next day. It’s presumably an attempt to convert this least Christian of European nations, and perhaps to assist the current legal action is seeking to transfer ownership of St Vitus cathedral from the Czech Republic to the Church. All interesting, but it didn’t seem to upset the jazz scene. The Bridge Jazz Band was there again, but with different membership. I’ve seen it three times with different lineups each time. And I caught a pic of a trad jazz band in a local hotel (there’s plenty of trad here, too). I was sorely tempted by a German electonica-jazz trio but opted to avoid the long walk and to hear another modern piano trio at the local USP Jazz Club.

The Metej Benko Trio commenced with Solar with an obvious head-solos-head arrangement. The second tune was an original called Enrico’s story telling. This was more romantic and mellifluous and Euro-sounding although with a latin bass line. Matej started each tune with a solo passage and the game of guessing the tune early. Next had hints of Coltrane changes amongst a mix of stride and other piano styles. And so it was, Giant steps. With grimaces and concentration and final smiles on the musos’ faces. Next up was Body and soul done straight as a lovely ballad. I’m enjoying the variations in tempo and style, and the fluency and elegant substitutions of the pianist, although just a bit uncomfortable with the B&S bass solo which seemed out of place in the ballad. But, the second set saw the band get into stride (excuse the pun) and I’m thinking Bill Evans fluency and improvisational approach with a responsive and free-flowing bass and drum accompaniment. By this time, the bass solos are more apt, more suited to the tunes, ranging widely with tenuous links to the structure, links that decay through extended patterns and sequences then easily resolve. The drums seem in touch, alive although not overly subtle in style. This is not the cool and disciplined outfit I’d caught a few days earlier at Agartha. There were older, more rough and ready, but still committed and educated. This is a late night jazz at a reasonable hour. I also felt that about the venue. There was chatter and smoke, which is uncomfortable for our non-smoking Australian habits, and some seduction. But the drinks menu was interesting, and there’s someone to serve you at your table. That part I liked. And the music.

The show continued in this way, and I was enjoying the playing more and more. Mostly standards but with an occasional original tune. Kenny Wheeler’s Everybody’s songs but my own, an original in 7/4 called Universality, Softly as a morning sunrise, a latin. I popped out in the break to visit the show at Agartha (just in the next street). There was a fusion outfit playing, but these were young and less experienced, so I returned for Whisper not and My one and only love. Then it ended and out into streets. People milling around to get home, but I’m staying in the centre and I know there will be drunken shouts throughout the night. This is a lively city, and no less for jazz. I enjoyed my Bill Evans experience immensely and will miss this great little jazz town. Matej Benko (piano) led a trio with Rastŏ Uhrīk (bass) and Pavel “Bady” (=Buddy as in Rich) Zborĭl (drums) at the USP Jazz Club in Prague.

Return to the source

It’s lovely to get back to some original acoustic modern jazz. In this case, the Martin Brunner Trio playing in the Agartha basement in Prague. This trio is a young group, but very capable and well trained. Martin, the pianist, at least, has classical training, and it shows in his bodily posture and how his hands respond to the instrument. My guess is other Martin, the bassist, is also classically trained. It showed in the compositions which I guessed were by martin piano, with richly formed heads with changing time signatures and pulsing chordal statements and feature unison tags appearing throughout the piece. Petr, the drummer, also composed some tunes but these were different in style and structure: more simple harmonically, but with some urgent, jumpy melody lines which were an obvious challenge.

The playing was in that style that I hear from Europe: flowing, gentle, thoughtful, romantic and pulsing rather than swinging. All three took solos, pretty equally for piano and bass, and perhaps less, but longer for drums. I heard the piano solos as heavy on chords and octaves and repeating sequences and classical flourishes, well informed and not simply running lines. The bass solos were especially melodic, finding paths through chord structures in the way that mainstream sax solos often do. I felt that Martin bass got restive with his effects towards the end of the night, but earlier on they were serving a solid and healthy tone that sat well in context. In fact, the whole band was ringing clear and at a lovely volume in the Agartha basement, with its rough walls and rounded space and small PA, which I think was only for announcements. Petr on drums was delightfully controlled and unobtrusive, providing the lightest of contrasting rhythmic accompaniment. But he also took solos which were precise and disciplined. But he could let go and I particularly enjoyed one longer solo against an ostinato backing. That’s often a feature for drummers. There was one tune where the style changed with the bass. Martin took up electric bass, and suddenly the band was flashier and bluesier but flatter and less dynamic, despite fast unison melodies and outspoken soloing. It was a bit of a surprise, I thought. Otherwise, I heard this band as distilled, with nothing out of place and nothing without a purpose.

But very much enjoyed, and the end to a busy night of jazz at three venues just a few steps apart. Martin Brunner (piano) led a trio with Martin Kapusnik (bass) and Petr Mikes (drums) at Agartha Jazz Club in Prague.

Jazz entrée

I’m in Prague now, the town of various wonderful musicians: Miroslav Bukovsky and Miroslav Vitous and George Mraz amongst them. It seems there’s a strong jazz history here, and definitely there’s a busy jazz scene along with tons of tourism. There are numerous clubs with varying programs and some look quite challenging. The prices are a pleasure too, after cover charges approaching $A50 in Paris and Venice. Here there were some virtually free performances and the going rate for concerts seems more like $A15-$A20.

I caught the Bridge Swing Band in the afternoon on the famed Karluv most (Charles Bridge) which is a busy walkway for tourists and locals alike. They were relaxed and swinging and capable enough, but this was just a casual performance for busking and pleasure.

Later in the evening I planned to hear a duo in a bar before going to Agartha. On the way, I overheard mainstream sounds emanating from one of the hotels, but they took a break before I could get a pic. A few paces on was my bar/pizzeria, and I enjoyed a few standards played on bass and guitar. This duo sat well together, with melodies played variously by bass and guitar. The playing was capable and the solos were quite extended and inventive for such a background-style gig. I particularly enjoyed the bass with good tone from a century-old German bass, expressive melodies and good soloing with quite a turn of speed at times. Josef Sanitrak (guitar) and Ondrej Stajnochr (bass) played at the U Bodovce bar-pizzeria just beside the nave of the Tyn Church.

Just walking around the Tyn Church, I found the Jazz Club Ungelt. Ungelt seems to present a mix of blues and jazz (including the Alice Springs Blues Band) but my impression was of a more rocky venue. I dropped in for a listen and was impressed by a very energetic guitar trio playing Solar. This was hot and sweaty and choppy and rough and edgy, and too loud for me, but it was also impressive and alive. The guitar soloing was heavy on chords, or fast and furious runs. Bass was six string with chops to match: mainly finger style but also some slap and chordal work with fast, accurate and satisfying playing. Drums soloed too, sometimes swapping passages with guitar and bass and other times playing straight solos. I found it all fast and furious and somewhat lacking in dynamics as this style tends to be. But I much enjoyed it and would have stayed longer, but I had plans for Agartha. The band was called Nunu and comprised Siri Stivin (drums), Adam Turdy (guitar) and Jan Jakubec (bass).