[kj] Jaz in today's paper

[antoni at clara.net]

Cheers Nick ... the web link is here :

http://www.telegraph.co.uk/arts/main.jhtml?xml=%2Farts%2F2004%2F04%2F27%2Fbmcross27.xml

So how long before The Black Jester gets a slot on the South Bank Show ?

----- Original Message ----- 
From: "nicholas fitzpatrick" <gasw30 at hotmail.com>
To: <gathering at misera.net>
Sent: Tuesday, April 27, 2004 2:28 PM
Subject: [kj] Jaz in today's paper


> Hello all
>
>
> A photo of Jaz appears in today's Daily Telegraph alongside an article
about
> crossover musicians.
>
> N
>
>
>
>
> >>>Kings of crossover
>
> Elvis Costello
>
> Going through a classical phase in the early '90s, Elvis Costello fell in
> love with the Brodsky Quartet, self-proclaimed mavericks who favour Issey
> Miyake outfits over the stiffer black-tie garb with which we normally
> associate classical musicians.
>
> Determined to work with the Brodskys, Costello, a self-taught musician,
> learnt how to read and write music. The result was The Juliet Letters, a
set
> of "chamber pop" songs inspired by the letters written by an eccentric
> academic who had taken it upon himself to reply to those addressed to
Juliet
> - of Romeo and Juliet - and sent to Verona. The cycle met with
considerable
> success, it became Costello's highest-selling commercial record at the
time.
>
> Paul McCartney
>
> In the most prestigious of pop/ classical crossovers, Paul McCartney was
> invited in 1991 by the Royal Liverpool Philharmonic Orchestra to compose
an
> oratorio celebrating its 150th anniversary. Carl Davis conducted, soloists
> included Kiri Te Kanawa, and it premiered at Liverpool's Anglican
Cathedral
> to a five-minute standing ovation. Another self-taught musician, Macca had
> to get Davis to help with the orchestration, and the result, Liverpool
> Oratorio, a 90-minute meditation on the life of a Liverpudlian named
Shanty,
> was not to everyone's taste. Classical music pundits greeted it with
> derision.
>
> Steve Hackett
>
> Ex-Genesis guitarist
>
> Steve Hackett turned to Evelyn Glennie, the world's only superstar
> percussionist, to give him classical credibility for a composition they
> performed together at 2002's percussion and drumming festival at the Royal
> Festival Hall. The
>
> City in the Sea was described by one reviewer as "improvised belligerence
> and mournful doodling", and involved wailing sounds and an organ
impression
> coming from Hackett's guitar, while Glennie played various homemade
> instruments, a drum kit and an air raid siren. His other classical
offering
> is the more melodic A Midsummer Night's Dream, a 1997 recording of
> instrumental music in the English pastoral tradition. A coherent if
> un-ambitious piece of writing, it yet suggests the gulf between pop and
> classical is bridgeable.
>
> Tony Banks
>
> Solo success has persistently eluded Tony Banks, sometime Genesis
> keyboardist, and Seven looks unlikely to rock that boat. It was released
in
> February on Naxos, a label usually considered a model of good, classical
> taste, and consists of seven suites, performed by the London Philharmonic.
> Banks, like McCartney, discovered he did not actually know how to write
for
> an orchestra, so he had to get someone else to orchestrate, which lays his
> work open to instant criticism from the purists and accounts for something
> of its bland arrangement. Seven is at best serviceable film music.
>
> Jaz Coleman
>
> Killing Joke lead singer Jaz Coleman is a workaholic polymath responsible
> for a positive ecstasy of classical/pop hybrid called Riders on the Storm:
> The Doors Concerto, an arrangement of Doors music for symphony orchestra
> recorded in 2000 with violinist Nigel Kennedy performing (on his violin)
as
> the voice of Jim Morrison. Reasonably effective, it came as Coleman's solo
> follow-up to a similar treatment he'd given songs by the Who and the
Stones.
> Despite one reviewer's describing Coleman as "our new Mahler", it is
likely
> that history will reflect on his frequent collaborations with Sarah
> Brightman before recording such an effusive judgement on his classical
> prowess in general, although there's hope yet for a man who bought his
first
> record, Russian Orchestral Masterpieces, at the age of six.
>
> LOAD-DATE: April 27, 2004
>
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