“You can’t play jazz without also playing Bach”. With this striking opening quote from saxophonist Joshua Redman, the album notes then explain Dieter Ilg’s long involvement with and fondness for the composer. Could it be that works written in the early 18th century, composed for the harpsichord (the piano was still in its birthing throes) and orchestral instruments could have an intimate link with a genre that wouldn’t even be named for over a hundred years? I was intrigued.
For B-A-C-H, Deiter Ilg (double-bass) has teamed up with regular collaborators Rainer Böhm (piano) and Patrice Héral (drums). The twelve pieces are “inspired” (aha!) by Johann Sebastian’s original works.
I must confess to not being overly familiar with the works of JS Bach and only recognized one track, Air, from a jazzy reworking that advertised a certain brand of cigars (such an iconic piece that everyone of my generation will know it). If you ever saw those adverts, you will have a fair understanding of the tranquility and tonality that defines much of this album. In Ilg’s variation, he develops the bass solo further – a lovely piece.
Like Air, most of the pieces have a slow and stately feel to them. There is close interplay between Ilg and Böhm; when piano takes centre-stage, the bass is firm and underlying; during the beautiful bass solos, the piano is reserved and supportive. All the while Héral’s drumming is sympathetic, typically light but effectively keeping the trio together and bridging the changes perfectly. Goldberg C and 1052 are more up-tempo pieces while in 924, frenetic drumming provides a counter-point to the measured pace of piano and bass.
Occasionally we hear reminders of the clipped precision of the underlying baroque works, as in the opening of 931 and Goldberg H; at other times, such as the bass arpeggio opening to Präludium VII, the feel is so contemporary as to be unrecognizable.
Siciliano comes across as a slightly disturbed nursery rhyme, occasionally discordant but ultimately resolving – my favourite piece.
B-A-C-H is this trio’s fourth essay into interpretation of classical masters, following on from Verdi’s Otello, Wagner’s Parsifal and Mein Beethoven.
As I mentioned earlier, I had limited preceding knowledge of Bach and, to be honest, if the name had not been so overtly mentioned I would probably have assumed that these were new jazz tunes written for the trio, so perfectly do they fit the genre.
I do like my jazz well constructed and this album certainly has that feel with the trio playing together sympathetically and a beautiful finished timbre.
This album is perfect for those moments when you just wish to chill out and relax. I might even have that cigar!
