Chez Hanny: Another Familiar Season Launch

Jazz pianist and composer Alon Nechushtan (courtesy of Jazz Chez Hanny)

In reviewing my archives, it seems that frequently (but not always) the season at Jazz Chez Hanny begins with a visit from pianist and composer Alon Nechushtan. To be fair and “for the record,” as they say, last year’s season was launched by another pianist, Marina Albero, leading a trio. This year, however, Nechushtan will return, leading a quintet.

That said, instrumentation will depart from “business as usual.” Two reed players will share the front line. One of them will be saxophonist Jesse Levit. The other is decidedly more versatile. The instruments he will bring to the performance will be tenor saxophone, oboe, and English horn; and it is likely that he will also contribute his own compositions. Rhythm will be provided by Sam Bevan on bass and drummer Greg Wyser-Pratte.

While that aforementioned change is a significant one, the venue will still be Frank Hanny’s house at 1300 Silver Avenue, with the performance taking place in the downstairs rumpus room. Admission will be $30 (taking into account the size of the ensemble), payable in cash, as a check to Jazz Chez Hanny, or a Zelle transfer to jazz@chezhanny.com. There will be two sets separated by a potluck break. As a result, all who plan to attend are encouraged to bring food and/or drink to share. Seating is first come, first served; and the doors will open at 3:30 p.m. on Sunday, September 13. Reservations are preferred by sending electronic mail to jazz@chezhanny.com. Masks are optional, but attendees should be vaccinated. Vaccination will be based on the honor system. Finally, volunteer efforts for cleaning up after the show are always appreciated.

Sweelinck Collection?

Jan Pieterszoon Sweelinck (portrait painted in 1606 by Gerrit Pietersz Sweelink, from a Wikimedia Commons Web page, public domain)

This morning I listened to the last of the ten CDs in the Brilliant Classics release, Sweelinck Collection - Complete Keyboard Music & Psalms. The title of the final album is Music from the Golden Age of Rembrandt. There are thirteen tracks, only four of which are devoted to Jan Pieterszoon Sweelinck. To be honest from the very beginning, none of the names of the other composers on the CD are familiar to me: Cornelis Schuyt, Nicolas Vallet, Cornelis Thymanszoon Padbrué, Herman Hollanders, and Pieter Cornet.

Pieter-Jan Belder alternates between harpsichord and organ, leading the Musica Amphion ensemble and four vocalists, one in each register: Caroline Stam, soprano, Dorien Lievers, alto, Nico van der Meel, tenor, and Bas Ramselaar, bass. I suppose that this final CD was created to provide the context in which Sweelinck composed his own works. However, after having listened to 9 CDs of Sweelinck’s music, both instrumental, and vocal, I have to confess that this attempt to capture that “Golden Age” was not very successful.

Nevertheless, I was still able to enjoy Belder’s account of the “Lachrimae pavane,” the instrumental version John Dowland’s lute song “Flow, my tears.” The solo harpsichord account on the album is an arrangement by Sweelinck, but it definitely does justice to Dowland’s source. I just wish the arrangers behind this album had done better justice to that “Golden Age!”