Jazz Philharmonic

A tribute to Miles Davis. The music of an icon, re-imagined, with elements from modern jazz and orchestral arrangements by Magnus Lindgren and Hans Ek. Featuring US-American trumpeter Theo Croker and his quartet and members of the Berliner Philharmoniker.

Royal Stockholm Philharmonic Orchestra - E.S.T. Symphony (2016) {ACT 9034-2}
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© 2016 ACT Music | ACT 9034-2
Jazz / Classical / Orchestral Jazz / Modern Composition / Contemporary Jazz / Creative Orchestra

Esbjörn Svensson, the Swedish original who consistently turned crossovers between jazz, pop and classical music into lasting art with EST, would have got around to this orchestral venture himself but for his accidental death in 2008. With its shapely themes, subtle pacing and big climaxes, his popular trio’s music was ideal material, eloquently confirmed here by arranger Hans Ek, the Royal Stockholm Philharmonic and four star jazz soloists, including brilliant Finnish pianist Iiro Rantala and Norwegian saxophonist Marius Neset.

A tribute to Miles Davis. The music of an icon, re-imagined, with elements from modern jazz and orchestral arrangements by Magnus Lindgren and Hans Ek. Featuring US-American trumpeter Theo Croker and his quartet and members of the Berliner Philharmoniker.

Krzysztof Komeda has legendary status in Polish jazz, and was also one of the pioneers of European jazz. His wider fame resides largely in his work as a film composer – he wrote the soundtracks for all of Roman Polanski’s early films, notably "Dance of the Vampires" and "Rosemary's Baby". Komeda died in 1969, tragically early, at the age of just 37, but left a hugely influential body of work. Joachim Kühn, now a jazz piano icon in his own right, is a great admirer of Komeda, whom he met in person in Warsaw in 1965. As part of the Jazz at Berlin Philharmonic concert series, curated by Siggi Loch, he performed a major tribute concert to him on 14 October 2022, at which he played in three formats: solo piano, with his New Trio, and alongside Poland’s Atom String Quartet.

Captured during a pivotal, trailblazing period of his five decade career, pianist Hal Galper had come off the road with the Cannonball Adderley Quintet looking to establish his new working band. Pulling in Michael & Randy Brecker, whom he had recorded & worked with in the early '70s, along with bassist Wayne Dockery and drummer Bob Moses, Galper set up Sunday matinees at NY's Sweet Basil jazz club for a year to woodshed the group concept and new compositions. In the studio, 1977's "Reach Out" displayed an astonishingly original collective, all matching Galper's chance-taking, high-spirited, free-wheeling approach to music making. 1979's "Speak with a Single Voice" captured the energy of the quintet live, but on this 1977 Berlin Jazz Festival performance, the band shifts into an other-wordly overdrive. From the opening salvos of Galper's "Now Hear This," the mission is defined - jazz giants, in the prime of their youth, set free to blow, pushed to the limits by Galper's facility, full-bodied sound, and fertile imaginatio.

Miles Davis - In Concert: Live at Philharmonic Hall (1972) {2CD Set Columbia COL 476910 2}
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© 1972 Columbia / Sony Music | COL 476910 2
Jazz / Fusion / Jazz Funk / Jazz Rock / Trumpet

Of the myriad double-live sets Miles Davis recorded in the early '70s, In Concert: Live at Philharmonic Hall is the only one documenting his On the Corner street-funk period, which is immediately obvious from the cover art. Actually, in terms of repertoire, the material from Get Up With It, Big Fun, and A Tribute to Jack Johnson each takes up a greater percentage of space, but the hard-driving rhythms and plentiful effects make it clear which of Davis' fusion aesthetics applied. In Concert begins to move Davis' live work even farther away from jazz tradition, as he largely forgoes concepts of soloing or space.

The centenary of the birth of Charles Mingus, in April 2022, has served to reinforce his importance in twentieth-century music. His “achievements surpass in historic and stylistic breadth those of any other major figure in jazz.” (New Grove Dictionary). Mingus could be angry, even violent, but also loving and tender, and all of these aspects of his complex character are reflected in his music. As he once said, “I'm trying to play the truth of what I am. The reason it's difficult is because I am changing all the time.”