Emil Viklicky: Patriarch of Czech Jazz Piano
AAJ: I see a kind of a parallel there with the cherry orchard: the waste of resources under communismon one hand natural resources, on the other intellectual resources. So, you won some prizes and competitions in Czechoslovakia and Monaco, and then you went to Berklee [School of Music] to study composition and arrangement with trumpeter Herb Pomeroy.
EV: Herb was a big influence, I have to thank Herb, because when I went back to the Czech Republic in the mid-'80s there were still a couple of big bands, radio bands going. They mostly play pop music, but on the side they did a little jazz on or two days a week. They needed someone to write for them, and they asked me to do itthat's how I made a nice living in mid-'80s. Thanks to Herb I could compose and write full band arrangements for horn sections and everything.
AAJ: OK, then you continued composition studies with Jarmo Simila?
EV: Yes, Jarmo is a Finnish composer who was quite an influential figure in my life from the point of view of contemporary music. He's a very good jazz trumpeter. He's about ten years older then me, about 68. Jarmo went to Prague to study contemporary classical music in the '70s, so he could speak a little Czech. Everybody of any importance went through his band, George Mraz, everybody; it was the band to be in. He was the Godfather of Czech jazz. He was like the Miles Davis of the old country. He came to see me play and we became friends. Eventually, he undermined my intention to play jazz exclusively by introducing me to the things he was doing as a former jazz musician turning into a contemporary classical musician. None of the Czechs really took me there; they'd go a little way in that direction and then it would get too complicated and they'd want to back off. In fact, Jarmo recommended I go study at the Prague Academy of Music. I said, "Nahthey're all communists, and I hate them and their music!" He said that there here was one professor who was worthwhile, a friend of his. So I went to see him and asked if I could be, how you say, an external student?
AAJ: What we call a non-matriculating student?
EV: Yes, and I sat in on his classes; it was usually five regular students or so and me. He might have been a member of the party; I don't know. The professor was quite knowledgeable, and Jarmo used to show up. They showed me a lot of things; they were the ones who opened the window for me into contemporary classical music.
AAJ: Who are your favorite composers in that genre?
EV: Oh, that's kind of hard to sayI guess Leos Janacek is my favorite!
AAJ: And non-contemporary figures?
EV: Dvorak, for sure.
AAJ: Of course, you know he lived here in Iowa for a while, right, up in Spillville?
EV: Yes, I do. And jazz musicians always like Bach, you know, because of the mathematics.
AAJ: There's a quote you're probably familiar with I've heardI can't remember who said itthat goes: "Mathematics is music for the mind, and music is mathematics for the soul."
EV: I think I know who said thatI believe that was Liebnitz.
AAJ: Yes, yesthat's it; you're right! I thought you might be familiar with that quote. I think that for many people operating from stereotypical images of mathematicians and jazz musicians, however, they might have a hard time reconciling what seems to be, you know, a real right-brain/left-brain kind of contrast between those two.
EV: I've had to answer that question many times, "What do you see as the relationship between music and mathematics, etc," You know, jazz musicians often have other intellectual interests. The British expert on Bill Evans, Brian Hennessey, he's the one who invited me to teach that jazz workshop in Wales. Evans was a houseguest of his many times, and Brian told me that [Evans] never wanted to talk abut music; when he wanted to converse about something, it was always poetry and linguistics he wanted to discuss.
AAJ: I understand he was into Blake.
EV: Yes, William Blake and English literature. I saw Evans once at the Village Vanguard in '78. He was very nice to me. I was living in New York and I played a little bit with Joe Newman and I happened to run into Chuck Israels. I played with him and rehearsed with him a few times at his house; he used to have that Ellington Big Band. He never actually gave me a gig, but he gave me references. So, when I went to see Bill, I told him that I'd been playing with Israels. Bill asked me how Chuck was doing and he talked to me for a while. I could see that he really was ... not healthy.
AAJ: I hear his fingers were all swollen up; they looked like sausages. He had hepatitis.
EV: Yes. I was clever enough to not ask him for his autograph or anything like that. There were a bunch of Japanese tourists who were asking him for autographs and he really hated doing that. I just told him I was a pianist and I admired his playing, and had been playing with Chuck, so he was nice to me.