Moscow-born Arkady Shilkloper is one of the leading horn players in jazz. In the 1970s and 80s, he played French horn in the Bolshoi Theater Orchestra and the Moscow Philharmonic Symphony. Since then, he’s collaborated with folk, fusion and progressive rock ensembles, and is perhaps best known in improvised jazz circles for his work with the Moscow Art Trio, Elvin Jones, Lew Soloff, Pierre Favre and the Vienna Art Orchestra. While I’d known Shilkloper’s recordings, I finally got to see him perform in the summer of 2012 at the Alfa Jazz Festival in Lviv, Ukraine. Two days later we met for this session. [Photo by Larry Appelbaum]
Listening Session: Patricia Barber
By Larry Appelbaum
I was scheduled to do a Before & After piece for JazzTimes with the Chicago pianist, vocalist and songwriter Patricia Barber at the Portland Jazz Festival in Feb. of 2009. At the last minute, she told me that she wanted to save her voice for her performance and asked if she could give her responses to the recordings on her laptop instead of speaking. We tried but it didn’t quite work for the magazine, so this piece never ran. As with her music, Barber’s responses are clever, unguarded and insightful. She had recently released her Cole Porter record, which is one reason I sprinkled some Porter songs throughout.
1. Shirley Horn
“You Won’t Forget Me” (from You Won’t Forget Me, Verve). Horn, vocal; Miles Davis, trumpet; Charles Ables, bass; Steve Williams, drums. Recorded in 1990.
Before: It sounds like Miles,…it IS Miles but with Shirley Horn. I think they did a session together. It’s beautiful . The drum stick on the snare sounds like maybe a producer’s decision. Who’s the drummer? Who produced this CD?
After: Shirley Horn is one of my biggest influences so I know her voice well. I’ve also traded sets with her at the North Seat Jazz Festival many, many times and I would go out into the audience to listen. I love her economy of phrasing, her confidence. Its a piano player’s confidence…..the singer-pianists don’t sing too much.
In the fall of 2009, I arranged a listening session with trumpeter Valery Ponomarev when he came to D.C. to play Twins Jazz. We did the piece in English and it was translated by my friend Cyril Moshkow for his Russian language magazine Jazz.ru. This is the first time this piece has appeared anywhere in English.
1. Freddie Hubbard & Woody Shaw
“Boperation” (from The Freddie Hubbard-Woody Shaw Sessions, Blue Note). Hubbard, Shaw, trumpets; Mulgrew Miller, trumpet; Cecil McBee, bass; Carl Allen, drums. Recorded in 1985.
The original recording of this was with Fats Navarro and Howard McGee, but this sounds like a recreation. I can hear it in the execution of notes. Of course this is the beautiful Freddie Hubbard. What can you say, man? The other one is Woody Shaw. You can hear it in the articulation. It’s incredible. These are the best trumpet players that ever played trumpet, at least in jazz music. To hear Freddie play? Wooo! These two guys make me feel glad I’m a trumpet player. I’m happy I belong to the same clan and I enjoy hearing them play and the way they express themselves.
How would you describe their personalities?
In a way, they’re the same, in a way, different. Freddie was incredible. He was very well educated and he could speak with confidence about a lot of things, when he was not affected by substances. As soon as that kicks in, Jesus, it’s a monster. It was too much. I would speak with him for a minute and he’s a great guy, and you can learn from him and enjoy his company, and all of sudden he turns into a monster and you just have to walk away. I met him sometime in 1974 in a club. I told him I had transcribed nearly every thing by Clifford Brown and he said, “me too.” Next time we hung out I was already with the Messengers. Freddie came to the gig and his presence was felt. I bumped into him many times and we talked on the phone many times. He left me a phone message one time where he said: Hi Valery, this is Freddie. I just heard you play Theme For Ernie. You sounded beautiful. Thank you.” I saved it! Woody Shaw is similar in a way o Freddie; A great friend, always very respectful. And then all of a sudden–boom–turns into a monster. Not the same way as Freddie. Woody was a smart person but more streetwise than Freddie. When Woody was free of tension, free of responsibilities he was an incredible player. I heard him playing in Boomers and the spirit there was really free. Boomer’s was a place on Bleeker St in the Village. It was the hang for everybody: Freddie Hubbard was there, Slide Hampton, Junior Cook. That’s where Blakey told me I was in the band. And at Boomer’s, Woody was flying. Then you hear him on records and the responsibility affected him. But I was there when nothing would come between him and his soul and expressing his personality. He was amazing. He has a live recording that really captured his articulation, execution, sound technique, emotion. Jeez, it’s all the highest possible level. On that tape I hear the same Woody Shaw I used to hear at Boomers.
[eats his ginger scone] Continue reading