By Neven Franges
HGM Jazz Orchestra today is an excellent big band, ready to meet any challenge, commissioning arrangements from world famous arrangers and performing with famous soloists. Their success is even more significant if we consider the fact that the orchestra was established at a time in history that did not favor such great enterprises, as was the formation of a big band. Special credit in that matter goes to the Jeunesses Musicales Croatia (HGM) which recognized the significance of the project and has always been dedicated to the orchestra's success.
It should also be noted that their success is not one of those that overflow the media today—high-speed, easy, but short lasting ascents. This success is the fruit of long labor, honesty to music and, of course, talent of those people whose names are noted here, as well as of those who were once members of the orchestra, but have turned to their own musical paths in the meanwhile... In short, this is a select group of excellent and dedicated young artists lead by an extraordinary conductor.
About the music on the CD
Jazz music is mostly rooted in blues, and has remained in constant consort with it, even in its most sophisticated and modern forms. Blues is still one of the challenges faced by every jazz musician. Jazz, however, has long stopped being purely American music, and logically, blues is not the only traditional and ethnic expression that jazz is now attached to. Is there a nation in this world that does not have its own blues, its own melancholy and sorrows? The members of the Orchestra are a great example of this diversity since each of them contributed a tune that represents their country and origin. To make things even better, the soloists playing them are usually not from the same country as the theme, rather they “exchange" tunes. HGM Jazz Orchestra's performance exhibits a wide range of atmospheres and emotions, as well as great musical skills required from them by their arrangers: Michael Philip Mossman and Don Menza (who, naturally, was in charge of arranging two Mediterranean melodies due to his origins). The very first track, “Vuprem oci," is an excellent example of the blues felt in the Medimurje region of Croatia. The piano instantly suggests the slow passing of time and presents motifs as well as the entire theme in a very lyrical atmosphere. Mossman truly captured the particular mood and the entire track passes in a beautiful dialogue between real modern jazz solos (by trumpeter Tomaz Gajst and guitarist Filip Sijanec).
During their exchange the orchestra grows and reaches almost alarmingly dramatic tuttis, although constantly carrying the theme from which only the soloists naturally depart into free improvisations. Mossman's excellent arrangements on the CD emphasize a different orchestra section in every composition, appropriate to the mood of the melody used as the template.
In the Macedonian composition “Jovano, Jovanke," for example, the introduction is marked by bass clarinet, a beautiful but rarely heard instrument, until the percussion section—extremely important in Macedonian traditional rhythm patterns—takes over. This melody, too, contains the characteristic dialog between excellent soloists and the orchestra which nevertheless constantly reminds us of and takes us back to the theme, through occasionally sharp big band tuttis.
In “Svilen konac" Mossman was funny and inventive in his Bartok-style departures from the folklore original to a very modern musical language, but the band, beautifully contrasted by Branko Sterpin on the trumpet, still brings the excellent Serbian wind orchestras back to mind.
The feel of the Hungarian tune “Madrka, Madrka" is very similar to that of Medimurje. The performance starts somewhat impressionistically, but soon “sharpens" in spite of the basic mood. There are two dialogues between excellent soloist Andreas Marinello and the orchestra with a quieter piano and rhythm section intermezzo, and then the solo flutes...
Croatia, because of its regional diversity, was featured twice and “Ca je more," with its peculiar scale and melody, was deservedly included on the album. The very bluesy mood that famous arranger Don Menza gave to it completely separated it from the “Vuprem oci" melody of Medimurje. The tune's characteristic motif, that the orchestra constantly brings forward, and the blues atmosphere make up an interesting blend of thoughts interchanged by excellent soloists (Davor Dedic, Patrick Dunst, Luka Zuzic). “Wo ih geh und steh"—a theme that was initially considered the most resistant to the provocations of jazz adaptations—became true fireworks of jazz in Mossman's arrangement. There is Brazilian samba and lots of Cuban rhythm, many humorous and unexpected turns that all together make a good basis for excellent solos by Mario Bocic and Davor Dedic.
If the feel of Madarka, Madarka is similar to songs of Medimurje, ”Kje so tiste stezice” is reminiscent of the songs of Zagorje (geographic proximity does have some effects). The sophisticated arrangement with interesting lyrical harmonies surrounds the solo performed by bandleader Sigi Feigl who, fittingly, took up the clarinet and made a beautiful solo contribution to the program. It was not only in lyric parts that he excelled, but in the middle and faster section, too.
At the end of the album, master Don Menza took the Italian song “O mia bella madunina" across the ocean and the result feels like the tune was originally written for swing orchestras. The middle portion of the extraordinary arrangement is truly remarkable with saxophones convincingly reviving the sound of Four Brothers, the famous saxophone section of the legendary Woody Herman Orchestra. The solos by Norbert Farkas on the double bass, and by Kristina Nikolic, the lady on the tenor saxophone, inspired by the atmosphere, cannot go without mention. The invocation of tradition is a truly fitting end for the album in which both arrangers and the orchestra demonstrated enviably broad views and great skills.
Last, but not least: the sound and production captured all the qualities of the arrangements and performances, which is not surprising if we know that Sigi Feigl was in charge of it all and did not find it hard to come from America to make the sound so clear, but still natural. There are really many instruments and sounds covering a very broad range and he captured them all clearly, both individually and in communion.
Jazz has come a long way from the streets of New Orleans to a sophisticated musical style that it is today. Through interconnections with other musical styles, particularly classical music, jazz has absorbed many of their processes, but has also influenced music in general. Listening to HGM Jazz Orchestra perform the extraordinary arrangements, it feels like we can hear the entire course it travelled—moments of swing orchestras followed by memories of Bartok and Stravinsky that are suddenly replaced by Cuban colors, but all marked by themes of our region. Most importantly, the arrangements are never imitations or empty citations—despite the broadness, the band maintains its own particular sound and interpretation, and the arrangers Michael Philip Mossman and Don Menza always care for, understand, and safeguard the original themes regardless of what their skills and inventiveness do to them. The album confirms that today's jazz is truly the music of the world, belonging to everyone who understands it.
HGM Jazz Orchestra today is an excellent big band, ready to meet any challenge, commissioning arrangements from world famous arrangers and performing with famous soloists. Their success is even more significant if we consider the fact that the orchestra was established at a time in history that did not favor such great enterprises, as was the formation of a big band. Special credit in that matter goes to the Jeunesses Musicales Croatia (HGM) which recognized the significance of the project and has always been dedicated to the orchestra's success.
It should also be noted that their success is not one of those that overflow the media today—high-speed, easy, but short lasting ascents. This success is the fruit of long labor, honesty to music and, of course, talent of those people whose names are noted here, as well as of those who were once members of the orchestra, but have turned to their own musical paths in the meanwhile... In short, this is a select group of excellent and dedicated young artists lead by an extraordinary conductor.
About the music on the CD
Jazz music is mostly rooted in blues, and has remained in constant consort with it, even in its most sophisticated and modern forms. Blues is still one of the challenges faced by every jazz musician. Jazz, however, has long stopped being purely American music, and logically, blues is not the only traditional and ethnic expression that jazz is now attached to. Is there a nation in this world that does not have its own blues, its own melancholy and sorrows? The members of the Orchestra are a great example of this diversity since each of them contributed a tune that represents their country and origin. To make things even better, the soloists playing them are usually not from the same country as the theme, rather they “exchange" tunes. HGM Jazz Orchestra's performance exhibits a wide range of atmospheres and emotions, as well as great musical skills required from them by their arrangers: Michael Philip Mossman and Don Menza (who, naturally, was in charge of arranging two Mediterranean melodies due to his origins). The very first track, “Vuprem oci," is an excellent example of the blues felt in the Medimurje region of Croatia. The piano instantly suggests the slow passing of time and presents motifs as well as the entire theme in a very lyrical atmosphere. Mossman truly captured the particular mood and the entire track passes in a beautiful dialogue between real modern jazz solos (by trumpeter Tomaz Gajst and guitarist Filip Sijanec).
During their exchange the orchestra grows and reaches almost alarmingly dramatic tuttis, although constantly carrying the theme from which only the soloists naturally depart into free improvisations. Mossman's excellent arrangements on the CD emphasize a different orchestra section in every composition, appropriate to the mood of the melody used as the template.
In the Macedonian composition “Jovano, Jovanke," for example, the introduction is marked by bass clarinet, a beautiful but rarely heard instrument, until the percussion section—extremely important in Macedonian traditional rhythm patterns—takes over. This melody, too, contains the characteristic dialog between excellent soloists and the orchestra which nevertheless constantly reminds us of and takes us back to the theme, through occasionally sharp big band tuttis.
In “Svilen konac" Mossman was funny and inventive in his Bartok-style departures from the folklore original to a very modern musical language, but the band, beautifully contrasted by Branko Sterpin on the trumpet, still brings the excellent Serbian wind orchestras back to mind.
The feel of the Hungarian tune “Madrka, Madrka" is very similar to that of Medimurje. The performance starts somewhat impressionistically, but soon “sharpens" in spite of the basic mood. There are two dialogues between excellent soloist Andreas Marinello and the orchestra with a quieter piano and rhythm section intermezzo, and then the solo flutes...
Croatia, because of its regional diversity, was featured twice and “Ca je more," with its peculiar scale and melody, was deservedly included on the album. The very bluesy mood that famous arranger Don Menza gave to it completely separated it from the “Vuprem oci" melody of Medimurje. The tune's characteristic motif, that the orchestra constantly brings forward, and the blues atmosphere make up an interesting blend of thoughts interchanged by excellent soloists (Davor Dedic, Patrick Dunst, Luka Zuzic). “Wo ih geh und steh"—a theme that was initially considered the most resistant to the provocations of jazz adaptations—became true fireworks of jazz in Mossman's arrangement. There is Brazilian samba and lots of Cuban rhythm, many humorous and unexpected turns that all together make a good basis for excellent solos by Mario Bocic and Davor Dedic.
If the feel of Madarka, Madarka is similar to songs of Medimurje, ”Kje so tiste stezice” is reminiscent of the songs of Zagorje (geographic proximity does have some effects). The sophisticated arrangement with interesting lyrical harmonies surrounds the solo performed by bandleader Sigi Feigl who, fittingly, took up the clarinet and made a beautiful solo contribution to the program. It was not only in lyric parts that he excelled, but in the middle and faster section, too.
At the end of the album, master Don Menza took the Italian song “O mia bella madunina" across the ocean and the result feels like the tune was originally written for swing orchestras. The middle portion of the extraordinary arrangement is truly remarkable with saxophones convincingly reviving the sound of Four Brothers, the famous saxophone section of the legendary Woody Herman Orchestra. The solos by Norbert Farkas on the double bass, and by Kristina Nikolic, the lady on the tenor saxophone, inspired by the atmosphere, cannot go without mention. The invocation of tradition is a truly fitting end for the album in which both arrangers and the orchestra demonstrated enviably broad views and great skills.
Last, but not least: the sound and production captured all the qualities of the arrangements and performances, which is not surprising if we know that Sigi Feigl was in charge of it all and did not find it hard to come from America to make the sound so clear, but still natural. There are really many instruments and sounds covering a very broad range and he captured them all clearly, both individually and in communion.
Jazz has come a long way from the streets of New Orleans to a sophisticated musical style that it is today. Through interconnections with other musical styles, particularly classical music, jazz has absorbed many of their processes, but has also influenced music in general. Listening to HGM Jazz Orchestra perform the extraordinary arrangements, it feels like we can hear the entire course it travelled—moments of swing orchestras followed by memories of Bartok and Stravinsky that are suddenly replaced by Cuban colors, but all marked by themes of our region. Most importantly, the arrangements are never imitations or empty citations—despite the broadness, the band maintains its own particular sound and interpretation, and the arrangers Michael Philip Mossman and Don Menza always care for, understand, and safeguard the original themes regardless of what their skills and inventiveness do to them. The album confirms that today's jazz is truly the music of the world, belonging to everyone who understands it.
