Robin has recorded a new podcast in which he talks about Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.
This fantastic concerto is in seven highly contrasting movements and Robin discusses each of them in turn with musical examples from the Robin Hill Quartet.
This is a virtuoso work which places great demands on the two soloists, guitar and piano which are expertly complimented by the double bass and drums.
The musicians are: Robin Hill - Guitar
Stephen Wood - Piano
Dave Lynane - Double-bass
Maurice Cheetham - Drums
Robin gave this work its UK Premiere, so it has always been a very important piece for him.
You can hear it here.
Showing posts with label Jazz. Show all posts
Showing posts with label Jazz. Show all posts
Thursday, April 04, 2019
Friday, June 22, 2018
The Robin Hill Quartet play Claude Bolling - 'Concerto for Classic Guitar & Jazz Piano Trio'
I am delighted to announce the release of, The Robin Hill Quartet's recording of Claude Bolling's Concerto for Classic Guitar & Jazz Piano Trio. You can find it on iTunes, Amazon UK, Amazon USA, CD Baby, and wherever you normally buy your music!
Recent review: 5* "Simply amazing. Sheer musical quality from Robin Hill and his trio. I would urge all of you to purchase this and listen to one of the worlds greatest guitarists have fun!" Verified Purchase - Andrew Wright.
This is a unique piece allowing the classical guitar to be heard in unfamiliar company. The chief protagonists are the guitar and the piano who partake in a fascinating dialogue throughout the seven movements.
To hear the classical guitar in this company is refreshing and exciting. I should know, as I have performed the piece many times live, and audiences love it.
One of the most difficult challenges in performing this work is finding the right players. I've been lucky enough to manage this twice! Firstly with Eklectica and secondly, this current recording with the Robin Hill Quartet.
The guitar's role is primarily, but not exclusively, in classical style. For example, the opening movement requires technical precision allied with a classical approach but the 'Africaine' begs for a laid-back jazz groove.
The piano's role is both as an improvising jazz voice combined with the discipline of more classical writing. Thus it is very challenging to find a pianist who is comfortable in both camps. Stephen J. Wood fits the bill perfectly.
The percussion part is equally demanding and I have never heard it played better, or more effectively than by Maurice Cheetham. He combines energy, accuracy and groove with the needle-sharp articulation of a classical percussionist.
Dave Lynane supplies the essential jazz feel plus a significant contribution to the ensemble sound. The timbre of his double bass compliments the classical guitar beautifully.
I hope you enjoy the music, here is a review of a live performance we gave of this piece:
"This was the first performance by the quartet, consisting of Steve Wood, (Keyboards), Dave Lynane (Bass), Maurice Cheetham (drums) and Robin Hill (Classical Guitar). Of course, Robin Hill's reputation as a guitarist par excellence preceded him, but the quartet was an unknown quantity.
The second half was taken up entirely by Claude Bolling's seven-movement Concerto for Guitar and Jazz Trio. I am firmly convinced that it is only the unusual line up that has stopped this piece being played more often. It was melodic, firmly entrenched in jazz, and contained a heady mixture of classical, Latin American and other styles too. I was left with the impression of a piece one must simply hear again. The playing throughout was impeccable. It was very demanding on them all and, for a first performance by the band, we had all experienced something remarkable." Chris Dumigan - Classical Guitar.
Available from: iTunes, Amazon UK, Amazon USA, CD Baby and all digital outlets.
Wednesday, May 07, 2014
'Jazz Name Dropper' a poem by Robin Hill
Jazz has always featured strongly in our lives and its influence can be heard in much of Robin's music.
He also loves poetry and often writes a few verses when the mood takes him.
I was therefore not surprised when, 'Jazz Name Dropper', was passed on to me.
Apparently, for some unknown reason, at the time of writing the whole passage was conceived in a gentle Welsh lilt...
Jazz Name Dropper
I had a beer with Chick Corea
Played a shaker for Chet Baker
Had several binges with Charlie Mingus
Strolled in the park with Stanley Clarke
Bought pizzas and ate ‘em with old Art Tatum
Met the wife, Mavis, through Miles Davis
Sailed in a vessel with Barney Kessel
Received a personal cheque from Dave Brubeck
Was dubbed ‘glorious’ by Jaco Pastorius
Walked across Turin with Flora Purim
Played jazz-rock with Herb Hancock
Lived down the lane from John Coltrane
Appeared on telly with Stephane Grappelli
But I never met Django Reinhardt.....(I did however meet his son, Babik).
Robin Hill - 2013
He also loves poetry and often writes a few verses when the mood takes him.
I was therefore not surprised when, 'Jazz Name Dropper', was passed on to me.
Apparently, for some unknown reason, at the time of writing the whole passage was conceived in a gentle Welsh lilt...
Jazz Name Dropper
I had a beer with Chick Corea
Played a shaker for Chet Baker
Had several binges with Charlie Mingus
Strolled in the park with Stanley Clarke
Bought pizzas and ate ‘em with old Art Tatum
Met the wife, Mavis, through Miles Davis
Sailed in a vessel with Barney Kessel
Received a personal cheque from Dave Brubeck
Was dubbed ‘glorious’ by Jaco Pastorius
Walked across Turin with Flora Purim
Played jazz-rock with Herb Hancock
Lived down the lane from John Coltrane
Appeared on telly with Stephane Grappelli
But I never met Django Reinhardt.....(I did however meet his son, Babik).
Robin Hill - 2013
Friday, June 28, 2013
A Little Nostalgia & some Musical Inspiration - Robin Hill
Often we are asked about Robin's musical influences, and as a performer and a composer, are there particular pieces of music that helped shape the musician he is today?
Generally people seem interested in the music that has inspired a musician, especially one who unusually is equally at home on both classical & electric guitar...
So, I thought I'd address this here today.
A commonly quoted sentence in our house is, 'Nothing is composed in a vacuum,' and this became my starting point.
I have in fact touched on this before in the post, 'Miles Davis, Stravinsky, Herrmann and The Beatles - A Musical Connection' but felt it worthy of revisiting.
At the time of writing Robin had just left on a two week trip, so he obliged by sending me an email containing the names of his major musical influences from the 1930's to the 1960's.
Miles Davis featured once again, not only as Charlie Parker's sideman but also as bandleader and pioneer of 'cool jazz'.
Given that Robin is a guitarist, it won't come as a surprise that the album, 'Sketches of Spain', was high on his list with its highly original arrangement by Gil Evans of the Adagio from Rodrigo's Concierto de Aranjuez.
Davis thought the melody was so strong that, 'The softer you play it, the stronger it gets,' and although there were critics, I feel it is an excellent example of different genres of music creating a most sublime synergy.
Then there's Benny Goodman.
A jazz clarinetist and band leader with the facility to play anything from swing jazz to Mozart concertos. In fact, Bela Bartok, one of the most important composers of the 20th century, actually composed a piece for Goodman, 'Contrastes'. Again showing the interaction and inter relation of many musical styles.
Two albums by the American bandleader, double bassist and composer, Charlie Mingus, also got a mention. 'Blues & Roots', recorded in 1959 and released in 1960, Mingus revisits his early musical experiences, mainly the blues, gospel and New Orleans Jazz.
It's reported that the recording sessions were rather disorganised but the result is that each track has a loose and relaxed feel.
The second album, 'Mingus Ah Um', also recorded in 1959 has had such an impact on the world that it was one of only fifty recordings added to the Recording Registry in 2003. An amazing album which can't help but draw the listener into the mood. Particularly the track, 'Better Git it in Your Soul', which, especially if listened to with eyes closed, paints a vivid and exciting portrait of New York City in the late 1950s..
Before we leave the jazz scene, which was so seminal in this era, one has to mention Django Reinhardt, particularly if examining the musical influences and inspirations of a guitarist.
Reinhardt was one of the first major European jazz musicians. The fact that he could only use the first and middle fingers of his left hand (due to injury in a fire at the age of 18) didn't hinder him. He simply invented a new technique of playing which has become a tradition in French gypsy culture.
One of his most memorable and enduring musical collaborations was with Stephane Grappelli, an association which produced not only great music but also some amusing episodes, one of which I wrote about here, 'Django Reinhardt, Stephane Grappelli & the Revolving Stage'.
It's telling that many years after these musicians were performing, Robin was, and still is, influenced by their music.
Whilst he may have started out in the field of classical music, one influences the other, and it's no coincidence that some time later he was recording his own jazz quartet, Eklectica', you can read about them here in, 'Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.
But jazz wasn't his only influence, no classical guitarist forms a career without being hugely influenced by the presence of Andres Segovia, whose own career spanned all the decades we are looking at and more besides.
In fact the blog post, 'Hill/Wiltschinsky Guitar Duo Pay Homage to Andres Segovia', describes how the duo had the tremendous honour of being asked to perform a special concert in memory of Segovia in the Sistine Theatre, Rome.
Another highly influential and original artist and composer is George Gershwin, an American composer of both popular and classical music with a huge back catalogue including, 'An American in Paris', 'Rhapsody in Blue' and 'Porgy and Bess'.
His ability to cross genres is truly special and recognised by musicians in all camps. One of his sincerest admirers being Maurice Ravel. His two piano concertos are influenced by Gershwin and, in turn, much of Gershwin's orchestral work contains distant echoes of Ravel. Both of these composers had imaginatively captured the zeitgeist of their epoch in different ways which were mutually inspirational.
Again, from Robin's perspective all the above can be heard in some of his concerti. Particularly, 'Concerto Primavera - Robin Hill', and 'Arrival on iTunes and Eternal Dance-Robin Hill'.
However, there is a whole other side to Robin's musicianship and one that is quite unusual for classically trained musicians.
He is also known for his electric guitar playing and has been in various bands over the years, starting at the tender age of 12, and later performing with established bands such as Jethro Tull and Deep Purple, as a session guitarist with too many artists to mention here and his own bands, Hooper, Spring and Force 10.
He had no hesitation in listing the bands that had influenced him in his youth and completed his early training in musical styles.
The Beatles had to be there, right from, 'With The Beatles' to 'Sergeant Pepper', Frank Zappa with, 'Hot Rats, Jimi Hendrix with practically every note he played, The Beach Boys, particularly the track, 'Good Vibrations' and The Kinks, 'Waterloo Sunset' and ‘You Really Got Me’…which, interestingly features Deep Purple’s Jon Lord on piano.
The interesting part of this musical jigsaw is that all the different styles I have been looking at are still prevalent in Robin's life today. He regularly listens to them all, and many, many more and their endurance shows the quality of their musical history.
He continues to look out for, and listen to, new music and old and still creates his own.
Currently he has returned to his band roots and is working on an electric rock/blues style album.
Two of the tracks can already be heard, 'Illegal Download Blues & 38459', and having read the history, you may well see some of the above influences shining through.
As I said at the beginning, nothing is composed in a vacuum. Every musician listens, learns and incorporates this knowledge into their own music, whether original compositions or interpretations.
This is why it is so important not to be bound by one style alone. Take a chance and investigate the unknown.
We have always felt it essential to expose our children to as many different types of music as possible. Actually, they didn't have an option, music has been available to them since before they were actually born.
But it is an essential part of learning and one we take seriously. Children are the next generations of musicians and it's our role to ensure they are inspired. In fact, 'Inspire Young Minds with Music'.
Generally people seem interested in the music that has inspired a musician, especially one who unusually is equally at home on both classical & electric guitar...
So, I thought I'd address this here today.
A commonly quoted sentence in our house is, 'Nothing is composed in a vacuum,' and this became my starting point.
I have in fact touched on this before in the post, 'Miles Davis, Stravinsky, Herrmann and The Beatles - A Musical Connection' but felt it worthy of revisiting.
At the time of writing Robin had just left on a two week trip, so he obliged by sending me an email containing the names of his major musical influences from the 1930's to the 1960's.
Miles Davis featured once again, not only as Charlie Parker's sideman but also as bandleader and pioneer of 'cool jazz'.
Given that Robin is a guitarist, it won't come as a surprise that the album, 'Sketches of Spain', was high on his list with its highly original arrangement by Gil Evans of the Adagio from Rodrigo's Concierto de Aranjuez.
Davis thought the melody was so strong that, 'The softer you play it, the stronger it gets,' and although there were critics, I feel it is an excellent example of different genres of music creating a most sublime synergy.
Then there's Benny Goodman.
A jazz clarinetist and band leader with the facility to play anything from swing jazz to Mozart concertos. In fact, Bela Bartok, one of the most important composers of the 20th century, actually composed a piece for Goodman, 'Contrastes'. Again showing the interaction and inter relation of many musical styles.
Two albums by the American bandleader, double bassist and composer, Charlie Mingus, also got a mention. 'Blues & Roots', recorded in 1959 and released in 1960, Mingus revisits his early musical experiences, mainly the blues, gospel and New Orleans Jazz.
It's reported that the recording sessions were rather disorganised but the result is that each track has a loose and relaxed feel.
The second album, 'Mingus Ah Um', also recorded in 1959 has had such an impact on the world that it was one of only fifty recordings added to the Recording Registry in 2003. An amazing album which can't help but draw the listener into the mood. Particularly the track, 'Better Git it in Your Soul', which, especially if listened to with eyes closed, paints a vivid and exciting portrait of New York City in the late 1950s..
Before we leave the jazz scene, which was so seminal in this era, one has to mention Django Reinhardt, particularly if examining the musical influences and inspirations of a guitarist.
Reinhardt was one of the first major European jazz musicians. The fact that he could only use the first and middle fingers of his left hand (due to injury in a fire at the age of 18) didn't hinder him. He simply invented a new technique of playing which has become a tradition in French gypsy culture.
One of his most memorable and enduring musical collaborations was with Stephane Grappelli, an association which produced not only great music but also some amusing episodes, one of which I wrote about here, 'Django Reinhardt, Stephane Grappelli & the Revolving Stage'.
It's telling that many years after these musicians were performing, Robin was, and still is, influenced by their music.
Whilst he may have started out in the field of classical music, one influences the other, and it's no coincidence that some time later he was recording his own jazz quartet, Eklectica', you can read about them here in, 'Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'.
But jazz wasn't his only influence, no classical guitarist forms a career without being hugely influenced by the presence of Andres Segovia, whose own career spanned all the decades we are looking at and more besides.
In fact the blog post, 'Hill/Wiltschinsky Guitar Duo Pay Homage to Andres Segovia', describes how the duo had the tremendous honour of being asked to perform a special concert in memory of Segovia in the Sistine Theatre, Rome.
Another highly influential and original artist and composer is George Gershwin, an American composer of both popular and classical music with a huge back catalogue including, 'An American in Paris', 'Rhapsody in Blue' and 'Porgy and Bess'.
His ability to cross genres is truly special and recognised by musicians in all camps. One of his sincerest admirers being Maurice Ravel. His two piano concertos are influenced by Gershwin and, in turn, much of Gershwin's orchestral work contains distant echoes of Ravel. Both of these composers had imaginatively captured the zeitgeist of their epoch in different ways which were mutually inspirational.
Again, from Robin's perspective all the above can be heard in some of his concerti. Particularly, 'Concerto Primavera - Robin Hill', and 'Arrival on iTunes and Eternal Dance-Robin Hill'.
However, there is a whole other side to Robin's musicianship and one that is quite unusual for classically trained musicians.
He is also known for his electric guitar playing and has been in various bands over the years, starting at the tender age of 12, and later performing with established bands such as Jethro Tull and Deep Purple, as a session guitarist with too many artists to mention here and his own bands, Hooper, Spring and Force 10.
He had no hesitation in listing the bands that had influenced him in his youth and completed his early training in musical styles.
The Beatles had to be there, right from, 'With The Beatles' to 'Sergeant Pepper', Frank Zappa with, 'Hot Rats, Jimi Hendrix with practically every note he played, The Beach Boys, particularly the track, 'Good Vibrations' and The Kinks, 'Waterloo Sunset' and ‘You Really Got Me’…which, interestingly features Deep Purple’s Jon Lord on piano.
The interesting part of this musical jigsaw is that all the different styles I have been looking at are still prevalent in Robin's life today. He regularly listens to them all, and many, many more and their endurance shows the quality of their musical history.
He continues to look out for, and listen to, new music and old and still creates his own.
Currently he has returned to his band roots and is working on an electric rock/blues style album.
Two of the tracks can already be heard, 'Illegal Download Blues & 38459', and having read the history, you may well see some of the above influences shining through.
As I said at the beginning, nothing is composed in a vacuum. Every musician listens, learns and incorporates this knowledge into their own music, whether original compositions or interpretations.
This is why it is so important not to be bound by one style alone. Take a chance and investigate the unknown.
We have always felt it essential to expose our children to as many different types of music as possible. Actually, they didn't have an option, music has been available to them since before they were actually born.
But it is an essential part of learning and one we take seriously. Children are the next generations of musicians and it's our role to ensure they are inspired. In fact, 'Inspire Young Minds with Music'.
Friday, January 20, 2012
'Standing on Air' - Robin Hill arrives on iTunes, Amazon etc...
'Standing on Air' is now available digitally on iTunes, Amazon, CD Baby and many more digital outlets, plus of course, also in CD form.
To listen to extracts from all 14 tracks, read about and purchase, click here for iTunes, here for Amazon, and for CD Baby, here.
For a little extra insight into the making of the album, interviews with Robin and a look behind the scenes at the recording process you can watch this video.
Enjoy!
To listen to extracts from all 14 tracks, read about and purchase, click here for iTunes, here for Amazon, and for CD Baby, here.
For a little extra insight into the making of the album, interviews with Robin and a look behind the scenes at the recording process you can watch this video.
Enjoy!
Tuesday, November 22, 2011
'Chill 22' - Robin Hill from the new album 'Standing on Air'
Today we released a video of 'Chill 22', the first track from the new album 'Standing on Air'
The album itself, featuring all original compositions by Robin and on which he plays all the instruments, will be available in January 2012, but we thought it would be nice for you all to have a sneak preview.
This composition was inspired by Robin's newly acquired Manuel Reyes guitar which was made by the master luthier in 1963. This instrument is capable of producing not only the aggressive rasp of the Andalusian flamenco, but also a beautiful sweetness of tone when played with sensitively and expression.
As he was in a hotel at the time, the title of the track was taken from his room key and initials, 'Chill 22', his first name being Charles.
As time went on the piece evolved.
Chill 22 has a laid back jazz groove yet the incisive triplets and use of rasgueados reflect Robin's love of flamenco music. The cuica drum, rainstick and shakers are Brazilian inspired.
Alongside these latin and flamenco elements you may also discover a quote from Igor Stravinsky's, 'Rite of Spring'.
This is one of Robin's favourite classical pieces and the tongue in cheek reference opening the guitar solo pays tribute to this.
Generally the album as a whole not only reflects Robin's diverse musical tastes but also his constant extensive travelling.
The influences of many countries can be heard in each and every track and he often returns home with an indigenous instrument from some far flung land.
Chill 22 also features a Neapolitan mandolin.
Back in 2008 Robin was in Sorrento when he came across the most beautiful mandolin.
The story about how we came about purchasing it is quite amusing, and restores ones faith in humanity.
Here's 'The Mystery of the Mandolin'.
The use of the mandolin was also an opportunity for Robin to use his enviable plectrum technique acquired after many years of playing electric guitar....
You will have to wait a little longer to hear all 14 original compositions from, 'Standing on Air', but for now, sit back and enjoy 'Chill 22'.
The album itself, featuring all original compositions by Robin and on which he plays all the instruments, will be available in January 2012, but we thought it would be nice for you all to have a sneak preview.
This composition was inspired by Robin's newly acquired Manuel Reyes guitar which was made by the master luthier in 1963. This instrument is capable of producing not only the aggressive rasp of the Andalusian flamenco, but also a beautiful sweetness of tone when played with sensitively and expression.
As he was in a hotel at the time, the title of the track was taken from his room key and initials, 'Chill 22', his first name being Charles.
As time went on the piece evolved.
Chill 22 has a laid back jazz groove yet the incisive triplets and use of rasgueados reflect Robin's love of flamenco music. The cuica drum, rainstick and shakers are Brazilian inspired.
Alongside these latin and flamenco elements you may also discover a quote from Igor Stravinsky's, 'Rite of Spring'.
This is one of Robin's favourite classical pieces and the tongue in cheek reference opening the guitar solo pays tribute to this.
Generally the album as a whole not only reflects Robin's diverse musical tastes but also his constant extensive travelling.
The influences of many countries can be heard in each and every track and he often returns home with an indigenous instrument from some far flung land.
Chill 22 also features a Neapolitan mandolin.
Back in 2008 Robin was in Sorrento when he came across the most beautiful mandolin.
The story about how we came about purchasing it is quite amusing, and restores ones faith in humanity.
Here's 'The Mystery of the Mandolin'.
The use of the mandolin was also an opportunity for Robin to use his enviable plectrum technique acquired after many years of playing electric guitar....
You will have to wait a little longer to hear all 14 original compositions from, 'Standing on Air', but for now, sit back and enjoy 'Chill 22'.
Friday, September 04, 2009
Samba, Bossa Nova and the Joy of Latin Homework
It has been very nice to have Robin home for a few weeks but he has not been idle.
He has been working hard on an alternative show which he has been asked to organise, featuring himself, plus an extensive band.
The pieces are varied, ranging from original compositions to arrangements of standards, which have all been given the 'Hill' treatment. There's everything from latin/jazz to swing and even some rock.
One piece, an original composition, is called Brasilia.
This is in a bossa nova style featuring guitar, bass, flute, clarinet, alto & tenor sax, trumpet, trombone, Latin American percussion and even a cuica. All resulting in a rather fabulous latin/jazz feel.
'Dolor de Muelas', which has recently been nominated for an award, is a piece in a samba style which has also been given the 'Big Band' treatment.
Arrangements have also been done for a number of well known pieces such as 'Can't Buy Me Love', 'Bach Prelude', 'Fragile', 'Here Comes the Sun', 'This Masquerade' 'Classical Gas' and many more, all naturally heavily featuring the guitar.
Amongst this musical extravaganza will also be a few pieces from Robin's solo guitar repertoire.
The whole show will be taken for a test drive before too long, and we will be searching for various musicians at some point.
But be warned, Robin is known for writing rather tricky trumpet parts, you only have to listen to 'Celebration' in the sidebar to see what I mean...
You can read more about Force Ten here.
Paul Griffin is responsible for hitting the very high notes on the trumpet. Based in New York, Paul was the product of a very musical background. His father Chris was one third of Benny Goodman's 'Biting Brass' trumpet section, and Paul himself played at John F. Kennedy's funeral.
I wonder if we can coax Paul back out on the road. That would be some show....
He has been working hard on an alternative show which he has been asked to organise, featuring himself, plus an extensive band.
The pieces are varied, ranging from original compositions to arrangements of standards, which have all been given the 'Hill' treatment. There's everything from latin/jazz to swing and even some rock.
One piece, an original composition, is called Brasilia.
This is in a bossa nova style featuring guitar, bass, flute, clarinet, alto & tenor sax, trumpet, trombone, Latin American percussion and even a cuica. All resulting in a rather fabulous latin/jazz feel.
'Dolor de Muelas', which has recently been nominated for an award, is a piece in a samba style which has also been given the 'Big Band' treatment.
Arrangements have also been done for a number of well known pieces such as 'Can't Buy Me Love', 'Bach Prelude', 'Fragile', 'Here Comes the Sun', 'This Masquerade' 'Classical Gas' and many more, all naturally heavily featuring the guitar.
Amongst this musical extravaganza will also be a few pieces from Robin's solo guitar repertoire.
The whole show will be taken for a test drive before too long, and we will be searching for various musicians at some point.
But be warned, Robin is known for writing rather tricky trumpet parts, you only have to listen to 'Celebration' in the sidebar to see what I mean...
You can read more about Force Ten here.
Paul Griffin is responsible for hitting the very high notes on the trumpet. Based in New York, Paul was the product of a very musical background. His father Chris was one third of Benny Goodman's 'Biting Brass' trumpet section, and Paul himself played at John F. Kennedy's funeral.
I wonder if we can coax Paul back out on the road. That would be some show....
Monday, June 29, 2009
JPF Music Awards 2009 - Nominee... Robin Hill!
We were delighted to discover on Friday, (many thanks to Nik Payton in Brazil for telling me!) that Robin has been nominated for the JPF Music Awards 2009.
The song is, Dolor de Muelas, and it has been shortlisted under the Latin Jazz Song section, amongst 20 other nominees.
To see the full list you can visit here.
This is a substantial achievement.
After 14 months of screening with 5 long rounds and 3 groups of judges made up of the music industry, artists/writer peers and music fans, the nominees were finally selected.
Apparently, 42 000 albums were submitted and a total of 560 000 songs across all genres!
According to the information I have this means that less than 1/3 of 1% were nominated.
Dolor de Muelas, (which can be found on 'Virtuoso' CD Baby, iTunes) may appear an unusual title and that's because when translated it means 'toothache'. At the time of composition Robin was suffering with the aforementioned and decided it would be rather amusing.
However we didn't realise the piece would be under so much scrutiny!
Dolor de Muelas has a freewheeling, samba groove and you can read more about it in the original post, 'Track 2: Dolor de Muelas and Manic Management...'.
So I would just like to say thank you to the judges who selected Robin's piece of music for this stage and wish everyone luck for the final round.
Maybe we'll see some of you in Nashville TN in August...
The song is, Dolor de Muelas, and it has been shortlisted under the Latin Jazz Song section, amongst 20 other nominees.
To see the full list you can visit here.
This is a substantial achievement.
After 14 months of screening with 5 long rounds and 3 groups of judges made up of the music industry, artists/writer peers and music fans, the nominees were finally selected.
Apparently, 42 000 albums were submitted and a total of 560 000 songs across all genres!
According to the information I have this means that less than 1/3 of 1% were nominated.
Dolor de Muelas, (which can be found on 'Virtuoso' CD Baby, iTunes) may appear an unusual title and that's because when translated it means 'toothache'. At the time of composition Robin was suffering with the aforementioned and decided it would be rather amusing.
However we didn't realise the piece would be under so much scrutiny!
Dolor de Muelas has a freewheeling, samba groove and you can read more about it in the original post, 'Track 2: Dolor de Muelas and Manic Management...'.
So I would just like to say thank you to the judges who selected Robin's piece of music for this stage and wish everyone luck for the final round.
Maybe we'll see some of you in Nashville TN in August...
Friday, January 02, 2009
Freddie Hubbard 1938-2008
We start the New Year with the sad loss of one of the greatest jazz trumpeters of all time, Freddie Hubbard.
You can read a report here.
Born in Indianapolis in 1938 he first recorded with the Montgomery brothers before moving to New York and quickly establishing himself within the jazz scene.
By 1966 Hubbard worked mainly with his own quintets and quartets, although finding time to tour the US with Herbie Hancock's group V.S.O.P.
Hubbard recorded many albums and participated in experimental sessions such as with Ornette Coleman's, 'Free Jazz', and John Coltrane's, 'Ascension'.
The 'New Grove Dictionary of Jazz', describes him as, "foremost hard-bop trumpeter, his improvisations combining imaginative melody with a glossy tone, rapid and clean technique, a brilliant high register, a subtle vibrato," and employing "bluesy, squeezed half-valve notes."
It's good to know that audiences were able to enjoy his music live until very recently.
Only last year I had a 'phone call from Robin as he walked the streets of New York, to say he had seen a poster advertising a performance by Freddie Hubbard, later that day.
Unfortunately Robin couldn't attend as he was leaving at the time.
What more can you say?... except that the music of Freddie Hubbard will inspire and entertain for many years to come.
You can read a report here.
Born in Indianapolis in 1938 he first recorded with the Montgomery brothers before moving to New York and quickly establishing himself within the jazz scene.
By 1966 Hubbard worked mainly with his own quintets and quartets, although finding time to tour the US with Herbie Hancock's group V.S.O.P.
Hubbard recorded many albums and participated in experimental sessions such as with Ornette Coleman's, 'Free Jazz', and John Coltrane's, 'Ascension'.
The 'New Grove Dictionary of Jazz', describes him as, "foremost hard-bop trumpeter, his improvisations combining imaginative melody with a glossy tone, rapid and clean technique, a brilliant high register, a subtle vibrato," and employing "bluesy, squeezed half-valve notes."
It's good to know that audiences were able to enjoy his music live until very recently.
Only last year I had a 'phone call from Robin as he walked the streets of New York, to say he had seen a poster advertising a performance by Freddie Hubbard, later that day.
Unfortunately Robin couldn't attend as he was leaving at the time.
What more can you say?... except that the music of Freddie Hubbard will inspire and entertain for many years to come.
Sunday, July 27, 2008
Nigel Kennedy Proms 2008 - Monocle Poppin' Innit?
Thank you to the BBC.
Last night we were treated to the recording of Nigel Kennedy's performance at the BBC Proms 2008.
It proved to be an oasis in the cultural void that is television today.
What a pleasure to see Kennedy perform Elgar's Violin Concerto with the passion, mastery and skill of the true virtuoso that he is.
His ability to engage not only the audience, but also the BBC Concert Orchestra, shows the mutual respect that was justly deserved.
As if one concerto wasn't enough, Kennedy then went on to play with his Polish Jazz Quintet, proving once again that he is a true maestro.
I have said many times on this blog that it is rare for a classical musician to play convincingly in other genres, but Kennedy is one of those rare musicians.
The fact that he had just played Elgar brilliantly, emphasised the quality of his musicianship, and only added to the quintet's kudos and gravitas.
It is always such a delight to observe any musician when so engrossed in his music, whether Elgar or his own compositions, and on this occasion Nigel Kennedy did the world a huge favour with these inspired performances.
Jeff Beck's playing was truly fantastic, and, with the addition of Kennedy's version of 'Third Stone from the Sun' also being performed, (I don't recall ever previously hearing Jimi Hendrix's music at the Proms), it was a hugely refreshing change.
People like Nigel Kennedy are extremely rare.
We should cherish those with such ability and allow them to grow and develop.
Last night we were treated to the recording of Nigel Kennedy's performance at the BBC Proms 2008.
It proved to be an oasis in the cultural void that is television today.
What a pleasure to see Kennedy perform Elgar's Violin Concerto with the passion, mastery and skill of the true virtuoso that he is.
His ability to engage not only the audience, but also the BBC Concert Orchestra, shows the mutual respect that was justly deserved.
As if one concerto wasn't enough, Kennedy then went on to play with his Polish Jazz Quintet, proving once again that he is a true maestro.
I have said many times on this blog that it is rare for a classical musician to play convincingly in other genres, but Kennedy is one of those rare musicians.
The fact that he had just played Elgar brilliantly, emphasised the quality of his musicianship, and only added to the quintet's kudos and gravitas.
It is always such a delight to observe any musician when so engrossed in his music, whether Elgar or his own compositions, and on this occasion Nigel Kennedy did the world a huge favour with these inspired performances.
Jeff Beck's playing was truly fantastic, and, with the addition of Kennedy's version of 'Third Stone from the Sun' also being performed, (I don't recall ever previously hearing Jimi Hendrix's music at the Proms), it was a hugely refreshing change.
People like Nigel Kennedy are extremely rare.
We should cherish those with such ability and allow them to grow and develop.
Thursday, March 13, 2008
Costa Rica not Really Calling, and Jazz, Brains, and Dreams.
Since I last blogged Robin has been to Limon, Costa Rica, and is now on his way to Honduras.
It's a shame communication is so difficult at the moment, as he assures me he has some great photographs, some of which I would have shared with you.
Today though, he is hard at work, practising his guitar, in preparation for tonight's concert.
However, this did leave me free to look at other things, and I came across this article in 'The Philadelphia Inquirer', by Lauran Neergaard, 'Researchers hope that Jazz can reveal the brains secrets'.
This is an area that has always interested me.
In fact, many years ago I wanted to carry out some research on the Hill/Wiltschinsky Guitar Duo.
I was going to wire them up, and monitor their brain activity, whilst playing their guitars, and again whilst resting.
I also toyed with the idea of carrying out the same experiment as they performed in concert.
They weren't as keen on this idea, mainly because the pressures of performing are quite enough, without trying to do so with many electrodes stuck to your head. There's also no getting away from the fact that it looks pretty ridiculous.
As it turned out the logistics of getting the duo into the laboratory proved too difficult.
They were touring extensively around the world, so I had to change my plans, and looked at stress instead. (Which has proved very helpful in its own right!)
Anyway, back to the article, which I recommend you read, as I'll only give you the general principles here.
Scientists in Washington have chosen jazz musicians to learn more about where creativity comes from, by looking inside their brains.
It's done using an MRI scanner, showing the brains activity, and providing a chance to observe cognitive functioning.
Charles Limb decided to compare activity between musicians playing from memory, to when they improvise, and he carried out his research with Allen Braun of the National Institute of health.
They found that being creative, when improvising, uses the same part of the brain as when dreaming, inhibition is switched off, and expression switched on. The musicians also showed heightened sensory awareness, ie, touch, hearing and sight.
They did recognise that highly trained musicians brains may work differently to amateurs, which is the area Limb and Braun want to look at next.
I find all this fascinating.
Whilst I haven't carried out any scientific research on this area myself, in a home made, 'not so random sample' of one, that is, of course the musician Robin Hill, I certainly do see a difference in the way he thinks when in a composing mode, compared to when he's in a practise or performing mode.
Also, if creativity uses the same area of the brain as when dreaming, then I can tell you, Robin has some pretty weird dreams.
Maybe I shall have to start comparing his dreams when he's been composing, to when he hasn't been composing.....There's a thought.
As the British novelist, William Golding once said:
"Sleep is when all the unsorted stuff comes flying out as from a dustbin upset in a high wind."
Robin better beware when he gets home.
I might just start waking him up, notebook in hand.
It's a shame communication is so difficult at the moment, as he assures me he has some great photographs, some of which I would have shared with you.
Today though, he is hard at work, practising his guitar, in preparation for tonight's concert.
However, this did leave me free to look at other things, and I came across this article in 'The Philadelphia Inquirer', by Lauran Neergaard, 'Researchers hope that Jazz can reveal the brains secrets'.
This is an area that has always interested me.
In fact, many years ago I wanted to carry out some research on the Hill/Wiltschinsky Guitar Duo.
I was going to wire them up, and monitor their brain activity, whilst playing their guitars, and again whilst resting.
I also toyed with the idea of carrying out the same experiment as they performed in concert.
They weren't as keen on this idea, mainly because the pressures of performing are quite enough, without trying to do so with many electrodes stuck to your head. There's also no getting away from the fact that it looks pretty ridiculous.
As it turned out the logistics of getting the duo into the laboratory proved too difficult.
They were touring extensively around the world, so I had to change my plans, and looked at stress instead. (Which has proved very helpful in its own right!)
Anyway, back to the article, which I recommend you read, as I'll only give you the general principles here.
Scientists in Washington have chosen jazz musicians to learn more about where creativity comes from, by looking inside their brains.
It's done using an MRI scanner, showing the brains activity, and providing a chance to observe cognitive functioning.
Charles Limb decided to compare activity between musicians playing from memory, to when they improvise, and he carried out his research with Allen Braun of the National Institute of health.
They found that being creative, when improvising, uses the same part of the brain as when dreaming, inhibition is switched off, and expression switched on. The musicians also showed heightened sensory awareness, ie, touch, hearing and sight.
They did recognise that highly trained musicians brains may work differently to amateurs, which is the area Limb and Braun want to look at next.
I find all this fascinating.
Whilst I haven't carried out any scientific research on this area myself, in a home made, 'not so random sample' of one, that is, of course the musician Robin Hill, I certainly do see a difference in the way he thinks when in a composing mode, compared to when he's in a practise or performing mode.
Also, if creativity uses the same area of the brain as when dreaming, then I can tell you, Robin has some pretty weird dreams.
Maybe I shall have to start comparing his dreams when he's been composing, to when he hasn't been composing.....There's a thought.
As the British novelist, William Golding once said:
"Sleep is when all the unsorted stuff comes flying out as from a dustbin upset in a high wind."
Robin better beware when he gets home.
I might just start waking him up, notebook in hand.
Tuesday, March 04, 2008
Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio', Now on iTunes
An update for all classical and jazz fans.
Recently Robin Hill's 'Eklectica' released Claude Bolling's, 'Concerto for Classic Guitar and Jazz Piano Trio', on CD Baby.
To read more about the concerto go here.
Due to the wonders of modern technology, it is now on iTunes and will shortly be available on many other digital download sites.
As well as the concerto, you can also hear, 'The Incredible Lightness of Being' by Robin Hill, 'Largo' - J.S.Bach, 'Eternal Dance' - Robin Hill, Danza del Altiplano - Leo Brouwer and 'Waltz' by Daniel Bath with electric sitar and electric guitar.
Meanwhile here at Hillhouse preparations continue for Robin's next trip.
There seems to be such a lot to do.
It's not as if I'm packing him off to Peru or anything.
Oh, hang on, I am.
That's just where he's going.
More on that over the next few weeks.
Recently Robin Hill's 'Eklectica' released Claude Bolling's, 'Concerto for Classic Guitar and Jazz Piano Trio', on CD Baby.
To read more about the concerto go here.
Due to the wonders of modern technology, it is now on iTunes and will shortly be available on many other digital download sites.
As well as the concerto, you can also hear, 'The Incredible Lightness of Being' by Robin Hill, 'Largo' - J.S.Bach, 'Eternal Dance' - Robin Hill, Danza del Altiplano - Leo Brouwer and 'Waltz' by Daniel Bath with electric sitar and electric guitar.
Meanwhile here at Hillhouse preparations continue for Robin's next trip.
There seems to be such a lot to do.
It's not as if I'm packing him off to Peru or anything.
Oh, hang on, I am.
That's just where he's going.
More on that over the next few weeks.
Monday, February 04, 2008
Robin Hill Plays Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio'
To hear extracts from all the movements from Claude Bolling's 'Concerto for Classic Guitar and Jazz Piano Trio', go to iTunes or follow 'Eklectica' link.
Claude Bolling is a French pianist/composer, born in Cannes in 1930.
Bolling was a child prodigy and as a 14 year old boy won an amateur jazz contest in Paris.
By the following year he had formed his own group which was influenced by the music of Duke Ellington, who had become a friend and mentor.
Bolling has also been hugely influenced by New Orleans jazz.
By 1948 Bolling was playing with American musicians such as Lionel Hampton, Roy Eldridge and Kenny Clark.
In 1955 he formed his own orchestra, known as the, 'Show Bizz Band', which continued performing into the 1980's.
He has written numerous film scores and is particularly well known for his semi-classical compositions.
The idea of associating jazz and classical music has often inspired a diverse range of musical personalities. George Gershwin, Dave Brubeck and Jacques Loussier, to name a few.
Bolling's first fusion was in the 1970's when he composed, 'Suite for Flute and Jazz Piano', which quickly became a favourite for both jazz and classical listeners.
The following, 'Suite for Violin and Jazz Piano', commissioned and recorded by Pinchas Zukerman in 1977, was also hugely successful.
But it was Bolling's third work of this kind, 'Concerto for Classic Guitar and Jazz Piano Trio', which interests us today.
Of the concerto Bolling said, "The writing needed very special attention so that the piano would not predominate over the guitar."
This is a known problem when composing for guitar and piano as they do not naturally work well together.
Jazz pianists frequently have to reduce their left hand activities to allow the guitar a sonic space in which to be heard.
Bolling certainly achieved his objective in the composition of this concerto.
The 'Concerto for Classic Guitar and Piano Jazz Trio', is a rarely recorded, and substantial work in seven movements.
Robin has collaborated with a group of musicians from diverse musical backgrounds to bring you 'Eklectica'.
They are:
Robin Hill - Guitar/elctric guitar/electric sitar/percussion
Daniel Bath - Piano/Vocals
Maurice Cheetham - Percussion
Dave Lynane - Bass
I have heard 'Eklectica' perform all the music on this CD live, and it really is a fabulous, and highly varied concert.
Today we shall look at the seven movements of the, 'Concerto for Classic Guitar and Jazz Piano Trio', of which Robin gave the UK premiere.
1) Hispanic Dance.
This movement has a South American theme in 5/4 time, which later alternates with the more seductive jazz feel of 4/4 time. This allows for much improvisation on the piano, and as the movement progresses, both the guitar and the piano alternating and sharing the statements of the opening theme.
The guitar part is demanding and we are reminded of Dave Brubeck's 'Blue Rondo a la Turk'.
2) Mexicaine.
The second movement, Mexicaine, also contrasts two themes. It is said that Mexican street musicians inspired the 5/8 rhythm that dominates much of this movement.
Initially the guitar focuses on a nostalgic lament, before the piano, bass and drums develop into a more jazz influenced melody.
3) Invention.
Invention begins with a baroque dialogue between guitar and piano whilst the bass and drums play an insistent ostinato.
The piano and bass then improvise in turn against the main theme, until the guitar reappears to resume their interplay which culminates in the conclusion of the movement.
4) Serenade.
The guitar opens the fourth movement with slow arpeggios developed harmonically. This continues as the piano enters with the theme and the bass and drums enter softly, one by one, to give the movement a bossa nova feel.
5) Rhapsodic.
This movement commences with the guitar playing a long series of perfect major and minor triads until a new pattern develops, commencing with the double bass, then piano, then drums, which is suggestive of a ballad.
6) Africaine.
Here there are two principle themes, fast paced and strongly accented. The first incantatory, the second more melodic, but, rhythmically complex. Robin improvised his own cadenza which heralds the return of the main theme.
An excellent sense of timing is required to draw on both the classic and the the jazz elements in this movement.
7) Finale.
As the title suggests, this is the finale to the whole piece, a reprise of the six preceding movements, and a mixing of the two main themes from 'Hispanic Dance' and 'Mexicaine', to give a fitting and brilliant finale.
To hear extracts from all the movements follow the 'Eklectica' link.
Claude Bolling is a French pianist/composer, born in Cannes in 1930.
Bolling was a child prodigy and as a 14 year old boy won an amateur jazz contest in Paris.
By the following year he had formed his own group which was influenced by the music of Duke Ellington, who had become a friend and mentor.
Bolling has also been hugely influenced by New Orleans jazz.
By 1948 Bolling was playing with American musicians such as Lionel Hampton, Roy Eldridge and Kenny Clark.
In 1955 he formed his own orchestra, known as the, 'Show Bizz Band', which continued performing into the 1980's.
He has written numerous film scores and is particularly well known for his semi-classical compositions.
The idea of associating jazz and classical music has often inspired a diverse range of musical personalities. George Gershwin, Dave Brubeck and Jacques Loussier, to name a few.
Bolling's first fusion was in the 1970's when he composed, 'Suite for Flute and Jazz Piano', which quickly became a favourite for both jazz and classical listeners.
The following, 'Suite for Violin and Jazz Piano', commissioned and recorded by Pinchas Zukerman in 1977, was also hugely successful.
But it was Bolling's third work of this kind, 'Concerto for Classic Guitar and Jazz Piano Trio', which interests us today.
Of the concerto Bolling said, "The writing needed very special attention so that the piano would not predominate over the guitar."
This is a known problem when composing for guitar and piano as they do not naturally work well together.
Jazz pianists frequently have to reduce their left hand activities to allow the guitar a sonic space in which to be heard.
Bolling certainly achieved his objective in the composition of this concerto.
The 'Concerto for Classic Guitar and Piano Jazz Trio', is a rarely recorded, and substantial work in seven movements.
Robin has collaborated with a group of musicians from diverse musical backgrounds to bring you 'Eklectica'.
They are:
Robin Hill - Guitar/elctric guitar/electric sitar/percussion
Daniel Bath - Piano/Vocals
Maurice Cheetham - Percussion
Dave Lynane - Bass
I have heard 'Eklectica' perform all the music on this CD live, and it really is a fabulous, and highly varied concert.
Today we shall look at the seven movements of the, 'Concerto for Classic Guitar and Jazz Piano Trio', of which Robin gave the UK premiere.
1) Hispanic Dance.
This movement has a South American theme in 5/4 time, which later alternates with the more seductive jazz feel of 4/4 time. This allows for much improvisation on the piano, and as the movement progresses, both the guitar and the piano alternating and sharing the statements of the opening theme.
The guitar part is demanding and we are reminded of Dave Brubeck's 'Blue Rondo a la Turk'.
2) Mexicaine.
The second movement, Mexicaine, also contrasts two themes. It is said that Mexican street musicians inspired the 5/8 rhythm that dominates much of this movement.
Initially the guitar focuses on a nostalgic lament, before the piano, bass and drums develop into a more jazz influenced melody.
3) Invention.
Invention begins with a baroque dialogue between guitar and piano whilst the bass and drums play an insistent ostinato.
The piano and bass then improvise in turn against the main theme, until the guitar reappears to resume their interplay which culminates in the conclusion of the movement.
4) Serenade.
The guitar opens the fourth movement with slow arpeggios developed harmonically. This continues as the piano enters with the theme and the bass and drums enter softly, one by one, to give the movement a bossa nova feel.
5) Rhapsodic.
This movement commences with the guitar playing a long series of perfect major and minor triads until a new pattern develops, commencing with the double bass, then piano, then drums, which is suggestive of a ballad.
6) Africaine.
Here there are two principle themes, fast paced and strongly accented. The first incantatory, the second more melodic, but, rhythmically complex. Robin improvised his own cadenza which heralds the return of the main theme.
An excellent sense of timing is required to draw on both the classic and the the jazz elements in this movement.
7) Finale.
As the title suggests, this is the finale to the whole piece, a reprise of the six preceding movements, and a mixing of the two main themes from 'Hispanic Dance' and 'Mexicaine', to give a fitting and brilliant finale.
To hear extracts from all the movements follow the 'Eklectica' link.
Monday, December 17, 2007
The Digital World
I came across this article, 'Diving into the digital', by George Varga of 'The San Diego Union Tribune'.
It's an interesting read for us, particularly today, as I have been preparing a new CD, of Robin with his jazz quartet, to be released on CD Baby very soon. More details will follow shortly.
The article discusses the changing face of music distribution, for both the industry itself, and for musicians.
There has been such a change over the last few years that at times it's hard to keep up with it all.
Sites such as CD Baby, iTunes, YouTube, MySpace, and many others, have resulted in a lifestyle change for listeners, and for the artists.
Musicians can no longer rely on record companies to distribute their music, and have to nurture their fan base in a very different way.
The article has many interesting points and it's worth having a look, plus, there are a few thoughts from Sir Paul McCartney.
In some ways digital downloads make life easier for the musician, but, caution is required.
Radiohead's recent experience is rather frightening.
1 million fans ordered their new album in the 10 days prior to release, but paid nothing. Whilst 500 000 fans downloaded it for free from illegal sites, even though they could get it free from Radiohead's own site.
This is a disturbing situation.
Maybe this is a reflection of society.
Everyone wants something for nothing, but we should beware.
Musicians need to make a living.
If their music continues to be 'stolen' in this way, then how are they supposed to survive?
We have had this conversation with many people over the years. It's surprising how frequently people really don't think they are doing anything wrong.
When we have tried to explain, they often reply, "Well, I'm a student, I don't have much money", to which our response is, "Is that what you would say in a shop as you helped yourself to their wares?"
Whatever their reasoning, the general public need to realise that the music they listen to, is created by someone, who needs to pay the bills in just the same way that they do...
It's an interesting read for us, particularly today, as I have been preparing a new CD, of Robin with his jazz quartet, to be released on CD Baby very soon. More details will follow shortly.
The article discusses the changing face of music distribution, for both the industry itself, and for musicians.
There has been such a change over the last few years that at times it's hard to keep up with it all.
Sites such as CD Baby, iTunes, YouTube, MySpace, and many others, have resulted in a lifestyle change for listeners, and for the artists.
Musicians can no longer rely on record companies to distribute their music, and have to nurture their fan base in a very different way.
The article has many interesting points and it's worth having a look, plus, there are a few thoughts from Sir Paul McCartney.
In some ways digital downloads make life easier for the musician, but, caution is required.
Radiohead's recent experience is rather frightening.
1 million fans ordered their new album in the 10 days prior to release, but paid nothing. Whilst 500 000 fans downloaded it for free from illegal sites, even though they could get it free from Radiohead's own site.
This is a disturbing situation.
Maybe this is a reflection of society.
Everyone wants something for nothing, but we should beware.
Musicians need to make a living.
If their music continues to be 'stolen' in this way, then how are they supposed to survive?
We have had this conversation with many people over the years. It's surprising how frequently people really don't think they are doing anything wrong.
When we have tried to explain, they often reply, "Well, I'm a student, I don't have much money", to which our response is, "Is that what you would say in a shop as you helped yourself to their wares?"
Whatever their reasoning, the general public need to realise that the music they listen to, is created by someone, who needs to pay the bills in just the same way that they do...
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