Violins of jazz and rock

Press, Volume CXV, Issue 34022, 11 December 1975, Page 4

Violins of jazz and rock

(By

JOHN McNEJLL

The Christchurch concert by the young old man of jazz—the F rench violinist. Stephane Grappelli—was one of the finest that many of us have attended. There could have Ireen few that left the theatre that night in anything other than the highest spirits. For those who missed ’he man merchants have wisely stocked up on his tine records. Anything Grappelli has recorded is worth basing. but some of the records available are much better than that Grapelli is not the only practitioner of non-classical music on fiddle. Collectors

are still seeking recordings of Joe Venuti. before and after he worked with the Paul Whiteman Orchestra. Stuff Smith is another. He made his first record in 1936. He liked to use his violin amplified, made many recording with Jonah Jones, and won the “Esquire” Silver award in 194fi. My only record from Hezekiah Smith was made with another violinist — Grappelli — which brings us full circle. Two albums bv Grappelli which have not -been released here are worth a mention. One is with the South American guitarist Baden Powell — Grappelli performed with him in the week before his visit to New Zealand -— and the other is with his former pupil, Jean-Luc Ponty, who

played in Christchurch with the Mahavishnu Orchestra of John McLaughlin. To win that place, Ponty displaced Gerry Goodman, a very swinging young fidler who shot to prominence with a glorious Paganini caprice introduction to rock-band Flock’s busting “Fill Your Head With Rock.” Goodman teamed with Jan Hammer to produce the delightful Like Children, which w r as reviewed recently.

Another violinist I have heard w'ith pleasure is Mike White, a big black who plays mostly in San Francisco with John Hands and the New Zealand pianist. Mike Knock. There were recordings of Mike White’s work in some bins last time I looked.

Oldest though of ail these fidlers is Papa John Creach. Few details of his personal career are available on liner notes, but he’s about 73 years old. and has probablv been plaving the same “funkv blues” he uses to advantage on his records with Jefferson Airplane (now Starship) for longer than rock ’n’ Roll has been in vogue.

But back to the undisputed master. The finest recording 1 have heard is one that he made recently with Diz Disley. the guitarist, w'ho with Ike Issacs and bass player Ed Gaston, performed here. Called I Got Rhythm it is a double album of Grappelli with Diz. another guitarist. Denny' Wright, and the well-known Len Skeat on bass.

The trio, called the “hot Club de London.” gives the man great support on some of the loveliest standards.

I managed to obtain a copv of this album, and I’m told that others will be imported soon. Those that like Barney Kessel will derive great pleasure from their pairing on another Black Lion album (as are the others) I Remember Django. This is a trip down memory' lane, but these artists make it a memorable journey.

Grappelli also fronts up with another fine English pianist — Alan Clare — on At the Talk of the Town. It, too, is lovely, with more of the standards that Grappelli seems to make more lovely than they’ve ever been before.

A live performance. Just One of Those Things, was recorded at the Montreux Jazz Festival in July. 1973. A European trio back the master on this one, and he works the standards in his inimitable manner once again.

All o< the Papa Creach albums give a fair representation of his abilities. It depends on who you want to take with him — Airplane or other of his friends. 1 like Papa John Creach (Grunt 1003) which features hint with jazz-rock musicians providing backing and has standards like “St Louis Blues.” “Over the Rainbow” and “Danny Boy.” two originals, and some others that he is happy with.

Papa John Creach and Zulu (Grunt 0418) is a beauty too. Papa John does his share of vocals on this one and his distinctive blues singing is as readily identifiable as his fiddling. Zulu has the backing of five competent musicians that leave the old man out in front for the mostly nonstandards. It w’as released last year.

Papa also appeared with Jefferson Starship on Dragon Fly (Grunt 10717) which has been previously reviewed on this page, and is an exciting album in which Papa shares his talents with very capable younger musicians, not the least of them Grace Slick.

A more rocky horror is Jean-Luc Ponty. Mr Grappelli told me of his fears for his protege who was playing electric violins to the exclusion of the older Version. “That is $0 easy to play, he will lose his touch.” said his former teacher.

Jean-Luc continues on his wanton way. His electric violin soars in Upon Wings of Music (Atlantic 18138), distributed bv W.E.A. All the numbers are bv Ponty, hacked by a selection of guitarists, an electric pianist and an electric bass player. Put me in the camp of those w'ho favour (mostly) my music unenhanced. I do not like this album much, but will understand those who do, for Ponty is a talented and creative artist.

Most exciting of the new releases is the advent of a new' Flock. Now, in full bloom w'ith another fiddler, it has a different sound from the heavy rock 1 remember, but is exciting nevertheless. Inside Out (Mercury' 6338576) has been released by Phonogram, who are to be commended for their good judgment. Flock are writing all their own material, and this promises to be the first of many more albums by the group.