by Karl Nehring
First, please allow me to apologize for not including the appropriate diacritical marks in the names of the composer and conductor; frustratingly enough, my computer did not make those available for me, alas. However, I hope that sharp-eyed readers will be able discern the correct typography from the album cover image. Moving on to another consideration, I was surprised to discover that (a) at the time I write this, there are only three listings for Martinu reviews on the Classical Candor website [it will show four when this review is posted, of course] and (b) of those three, none was for any of his symphonies. But what we have here is a fine new release that includes first-rate performances in excellent recorded sound quality of not just some but rather of all six of his symphonies. For fans of these works, this set will be a welcome breath of fresh air, something for which they have been waiting for a long time indeed. For those unfamiliar with Martinu’s symphonies, they are certainly pleasant, if not particularly memorable. To be honest, I have listened over and over and over again to this set, trying and trying and trying to get a handle on it. But the best I can say is what I just said: it is pleasant, at times quite interesting, but to these ears at least, is never quite memorable. For me, Martinu never quite seems to know just where he is going with his symphonies. I can enjoy them, but never do I feel they are moving me emotionally or intellectually. But having listened to other Martinu symphony recordings, I can recognize this one as especially fine; as a result, I recommend it highly to longtime Martinu fans as well as those newcomers looking to explore his music. It’s a superb account.
The English composer Sir William Walton (1902-1983) wrote music in a variety of formats, including film scores, operas, concertos, and symphonies. Back in 2018, when my old friend and colleague from The $ensible Sound audio magazine days invited me to contribute to Classical Candor, my very first review (which you can read here) was of a recording of Walton’s Viola Concerto, which is a bit ironic, given that in the course of my otherwise quite positive review I did happen to mention that “although I have a fair number of recordings of Walton's music in my CD collection, I must confess that I seldom play any of them.” But one that I do play and enjoy from time to time is the Previn/LSO recording of the First Symphony. Compared to Previn, Yamada seems a bit less intense, missing some of the fire and drama inherent in the music, especially in the opening movement. The advantage of this new release from DG is having both symphonies on one disc, in excellent sound and smooth, professional performances. However, the vintage Previn recordings are still the gold standard.
American pianist Marilyn Crispell (b. 1976) was trained as a classical pianist, beginning her studies at age seven at Peabody Conservatory, then later graduating from the New England Conservatory of Music in 1968. It was not until 1975 that she developed an interest in jazz, her interest having been triggered by her exposure to John Coltrane’s legendary recording A Love Supreme, which she found spellbinding. She began to hang with jazz musicians playing in an intense style that left little space between the notes. But this began to change in the early 1990s when on a trip to Europe she encountered an ensemble that included bassist and composer Anders Jormin (b. 1957). Hearing this more lyrical style of music touched something deep inside her, and before long she wound up touring and recording with Jormin’s Bortom Quintet. Since then, both Crispell and Jormin have appeared on numerous ECM albums, both as leaders and supporting players; in fact, we have reviewed some albums featuring Jormin on double bass, and those reviews can be found (here) and (here). Throughout Memento, you can feel the joy and empathy these two musicians share as they unite to create music. From Crispell’s opening piano notes of For the Children, soon joined by Jormin’s bowed bass, the music simply flows. Never is there a hint of note-spinning for the sake of virtuoso display from either player; rather, the atmosphere is one of contemplative beauty throughout. Memento is an ideal fusion of jazz and chamber music, recommended highly to fans of both genres.
It was quite a pleasant surprise to find this CD by the veteran Czech bassist Miroslav Vitous (b. 1947), who had a long and distinguished career in jazz having played with a veritable who's who of jazz stars such as Miles Davis, Herbie Hancock, Chick Corea, Herbie Mann, Roy Ayers, Billy Cobham, Jan Garbarekand others. In 1970, he teamed with keyboardist Joe Zawinul and saxophonist Wayne Shorter to form the core of Weather Report, the jazz fusion super group. Recent back problems have forced Vitous to give up playing the double bass, although he is still active as a composer. Mountain Call consists of music that was recorded in by Vitous in Prague at various sessions from 2003 through 2010. Sadly enough, the two musicians given top cover billing along with Vitous are no longer with us, French clarinetist and composer Michel Portal (1935-2026) the revered American drum demigod Jack DeJohnette (1942-2025). Such a delight it is to hear the interplay between Portal and Vitous as the dance and weave their way through the first four tracks; DeJohnette proves that he too is an able dance partner. Some listeners may find themselves put off by Spalding’s vocals; those tracks are brief, and then the album end with an impassioned duet featuring Portal on bass clarinet and Vitous wringing sheer passion from his bass. For the many fans of Miroslav Vitous who have missed hearing him for quite some time now, ECM has given us quite the treasure.
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