If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
More ambitious than anything he's done before while, at the same time, more interactive, intimate and live sounding, Comicopera represents another milestone for singer/songwriter Robert Wyatt. It's not just that he's using a larger group of musicians for the record, making for the broadest musical canvas yet; but this three act opera (of sorts) consolidates many of the personal, social and political issues that have occupied his work since Rock Bottom (Virgin, 1974).
Wyatt began his career as a drummer and vocalist for Soft Machine, but an accident in the early 1970s, after he'd left the British group, left him paralyzed from the waist down. Rather than the devastating blow such a tragedy would mean for most, Wyatt has remolded his career by learning a variety of musical instruments (and playing a percussion set-up that requires only his arms), and by evolving as a songwriter for whom there's little comparison. It isn't folk music, it isn't pop or rock music, it isn't jazz: it's simply Robert Wyatt music. Dealing with adversity as he has, one almost wonders if he'd have developed as such a distinctive artist had he not suffered the loss of his legs.
The first two acts consist largely of original music by Wyatt and longtime lyrical/life partner Alfie Benge, although the disc opens with Norwegian pop singer Anja Garbarek's "Stay Tuned, which acts as a dark overturerich in texture, melancholy in tone. From there the music incorporates relationship realism and pop simplicity ("Just as You Are ); the compositionally complex "You You, a subtle nod to his classic "The Moon in June featuring a brief but selfless solo by clarinetist Gilad Atzmon; the beginnings of distrust in "A.W.O.L, with Wyatt's trumpet meshing with trombonist Annie Whitehead; and a touch of swing on the instrumental "Anachronist While Wyatt's distinctive falsetto is heard throughout, it's balanced by more low-register singing than usual, and the fragility in his voice has never been more evocative.
The second act features the near-folk of "A Beautiful Peace, a cynical take on religion with the bluesy swing of "Be Serious, and a curious mix of steel pans, saxophone and garage guitar in "On the Town Square. Things turn darker still on the spare "Mob Rule, the paradoxically buoyant "A Beautiful War and more chaotic "Out of the Blue.
Wyatt shifts to singing in Italian and Spanish on material largely by Italian, Spanish and Cuban writers, as he searches for meaning in the world, closing with a brief reprisal of "Just as You Are ("Fragment ) and "Hasta Seimpre Comandante, a hymn to Che Guevara. Whether or not you agree with Wyatt's politics, it's impossible to ignore the understated power and rich concept of Comicopera. It's a near-cinematic song cycle that, at the end of the day, may be the closest thing to a pop album Wyatt's made. Still, its stylistic diversity and combination of well-conceived arrangements and unequivocal team playing make it one of the best records of his career.
Track Listing: ACT ONE (Lost in Noise): Stay Tuned, Just as You Are, You You, A.W.O.L., Anachronist; ACT TWO (The Here and Now): A Beautiful Peace, Be Serious, On the Town Square, Mob Rule, A Beautiful War, Out of the Blue; ACT THREE (Away With the Fairies): Del Mondo, Cancion de Julieta, Pastafari, Fragment, Hasta Siempre Comandante.
Personnel: Robert Wyatt: voice (1-7, 9-13, 16), piano (1, 2, 10), percussion (1, 5, 7, 8, 10, 13, 15), trumpet (1, 4), cornet (2, 3, 5, 8), keyboard (3, 5, 8, 9, 11, 12, 13, 15), old metronome (4), guitar (6), karenotron (i.e. voice of Karen Mantler) (10, 16), enotron (i.e. the voice of Brian Eno) (11), pocket trumpet (13), electrical interference (14), monicatron (i.e. the voice of Monica Vasconcelos (16); Brian Eno: keyboard (1), keyboard bass (11), effects (1); Seaming To: voice (1), clarinet (1); Annie Whitehead: trombone (1, 3, 5, 11), baritone horn (4); Yaron Stavi: bass violin (1, 2, 4-7, 11, 12); Monica Vasconcelos: voice (2, 15); Paul Weller: guitar (2, 7); Gilad Atzmon: saxophones (3, 5, 8), clarinet (3); Jamie Johnson: bass guitar (3), electrical interference (14); David Sinclair: piano (4); Phil Manzanera: guitar (6); Del Bartle: guitar (8); Orphy Robinson: steel pan (8), vibraphone (14); Alfie Benge: voice (11); Beverley Chadwick: baritone saxophone (11); Chucho Merchan: bass violin (13); Maurizio Camardi: saxophones (16); Alfonso Santimone: piano (16), keyboards (16); Alessandro Fedrigo: bass guitar (16); Paolo Vidaich: percussion (16); Gianni Bertoncini: drums (16).
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!