The New & Avant-garde Music Store

Review

Ken Waxman, Coda Magazine, no. 338, March 15, 2008

Nearly 90 years after its Petrograd premiere, Visions Fugitives the “savage and sensational” 22-minute piano piece by Russian composer Sergei Prokofiev (1891-1953), has been admirably recast into nearly an hour’s worth of quartet jazz, by expanding the improvisational qualities of its 18 themes. Credit for this re-imaging goes to bassist Pierre-Yves Martel, a Vanier, Ont.-native, who produced, arranged and music directed the CD. But the transmutation of the piece depends on the contributions of all members of the Montréal-based quartet: trumpeter Gordon Allen, Phillippe Lauzier, on alto and soprano saxophones and bass clarinet and drummer Isaiah Ceccerelli. Martel, who also plays early music on viola da gamba and with the Ottawa Symphony Orchestra, instinctively knows how to recast classical pieces so the improvisations aren’t segregated from the themes. Instead the composer’s atypical pitch and tempo direction are given added fillip with improv-jazz techniques. Maintaining a reverence for the original composition, Martel still allows his team to, for instance, transform Con vivacità with inferences from Classic Jazz, including slap bass lines, pressured growls from Lauzier’s horn and Allan’s wah-wah trumpet. Similarly, Inquieto see-saws between droll buffo interludes featuring rubato trumpet braying and sweeping sul tasto string work and a brisk parade ground pulse, strengthened by pedal-point, bass-clarinet snorts.

A notable landmark, the CD not only suggested unexpected material available for jazz exploration, but proves that rethinking and remaking a score can create a musical invention that’s as profound as — or even an improvement on — the original.

… rethinking and remaking a score can create a musical invention that’s as profound as — or even an improvement on — the original.

By continuing browsing our site, you agree to the use of cookies, which allow audience analytics.