Frantisek Uhlir 60 the concert recorded on September 8th 2010 on the Prague Castle
All Stars Band with F.Uhlir-b, W.Haffner-dr, W-Lackerschmid-vib, M.Aanderud-p, E.Severn-trp, P.Baumgartner-ts, M.Wroblewski -as, P.Tomsicek- trb, A.Tvrdy- g.
www.multisonic.cz
In the recordings from his sixtieth birthday concert on September 8th, 2010, Uhlír offered fans at Nová Galerie further insight into his talents, this time as the leader of an international nine-piece band composed of highly respected veteran players and talented young musicians rising on the scene. Uhlír is not the leader of the All Stars merely for organizational reasons.
His compositions in the nine-piece ensemble reveal thorough mastery
of the art of arrangement and composition, hearkening back to the hard bop of groups like the
Jazz Messengers and the Horace Silver Quintet. With respect to contemporary music, Uhlír says: „Today’s
jazz music is not about styles, but more about personalities, about people who know the development and history of this music, and because of their background and roots can create music which is unique and original.
Some incorporate jazz more, some less, and often times the music is difficult to classify, but that’s what it’s all about in today’s age of synthesis.“
The power of Uhlír’s music naturally derives from the imposing manner in which it is played, and the double
bass retains a leading role in the recordings mentioned above. Uhlír’s pizzicato has a remarkably long and full
sound, and in keeping with the Czech bass school he also employs arco, which we may particularly appreciate
in the compositions Song for Mraz, Father´s Blues and Song for Jane. The unique sound of Uhlír’s double bass has also caught the attention of D’Addario Strings, which has chosen him to advertise its products.
Uhlír’s performance and recordings also confirm the quality of Czech instruments. Uhlír has dedicated certain compositions to people who have influenced his life and work. First and foremost of these is his fathera music school teacher and big band leader in Ústí nad Orlicí. The mood of Father´s Blues is also reminiscentof Horace Silver’s Song For My Father, and so this work pays homage to two early musical influences.
Another source of personal and musical inspiration was the career of George Mraz, who showed all Czech bassists that it was possible to reach the pinnacles of world renown.
All members of the group enjoyed plenty of opportunities for soloing during the performance. Eddie Severn (1963), a trumpeter known for his versatility and brilliant technique (he has excelled in the horn sections of international big bands and also teaches at several prestigious schools), played his own composition, Castles in the Air, in which he explored compelling variations of the melodic theme.
One of Europe’s best vibraphonists, Wolfgang Lackerschmid (1956), was captivating with his harmonic ingenuity and intriguingmeditative atmosphere, particularly in his composition Sarah´s Bande.
Swiss tenor sax player Pius Baumgartner (1967) demonstrated his improvisational skills in Adderley’s composition Wabash, while an optimistic future for Czech jazz surely awaits with such soloists as guitarist Adam Tvrdý, alto saxophonist Michal
Wroblewský and trombonist Premek Tomšícek (note his imaginative solo on Father´s Blues).
The discoveryof the concert was Mark Aanderud, a Mexican pianist now permanently residing in Prague. Joining František Uhlír to create an excellent rhythm section was German percussionist Wolfgang Haffner (1965), who appeared so in tune with Uhlír as to give the impression of telepathy.
In addition to being a tribute to a great musician, this recording of František Uhlír in concert demonstrates the power of jazz to join musicians of various generations and nationalities. At age sixty, Uhlír’s vision bodes well for the future development of the domestic jazz scene and its integration into the international context.