George Mraz: na Hradĕ

An early September posting on Rifftides discussed Czech President Václav Klaus’s involvement with and support of jazz. In it, I quoted a communique from the fine Czech pianist Emil Viklický:

There is a new CD coming out from Prague Castle – George Mraz’s 60th birthday. Multisonic asked me to help with mixing and arranging things since George himself is not here in Prague. I will push Multisonic owner, Mr. Karel Vagner, to have better distribution for abroad.

That CD of a concert honoring and featuring Mraz has just been issued. The great bassist performs with four colleagues with whom he grew up in music in Czechoslovakia, decades before that nation split, peacefully, into the Czech Republic and Slovakia. Viklický and Karel Ružička share piano duties. Rudolf Dašek plays guitar. Ivan Smažík, Mraz’s grade school companion from Tábor in southern Bohemia, is the drummer. These men are in the top tier of Czech jazz players who weathered communist domination of their country and culture and lived to see their nation independent after the wall came down. By then, Jiří Mraz had become George, moved to the United States and established himself as one of the best bassists in the world. Whenever he goes home, it is an occasion. He has had no grander homecoming than this concert at the Czech equivalent of the White House. Mraz is introduced and praised by the president of his native land and given a birthday party. As Jan Beránek points out in his literate, informed liner notes, it happened once before, when Richard Nixon threw a birthday celebration for Duke Ellington.
So much for the honor. How is the music? It is full of spirit, warmth and virtuosity. Except for one number, Mraz is omnipresent, playing with impeccable technique, perfect time, and feeling that radiates from his Moravian heart and blues soul. He was born in southern Bohemia, but as a boy spent his summers in Moravia and soaked up its music. Moravian music, with its predominance of minor keys, has stylistic similarites to blues. Major and minor thirds often coexist in the same Moravian songs. It is no surprise that musicians like Mraz and Viklický gravitated toward jazz. Their work together in Mraz’s CD Moravá concentrates on Moravian material melded with jazz
Mraz’s playing on the unaccompanied first number of this new album, the traditional “White Falcon, Fly,” is enough to make grown men weep, if they happen to be bassists. The rest of the program consists of standards (“For All We Know,” “My Foolish Heart,” “Rhythm-a-ning”) and compositions by Mraz, Ružička and guitarist Dašek, who was once Mraz’s bandleader. Mraz’s “Picturesque” has bass-guitar unison passages intimating that he may have had his bass predecessor Oscar Pettiford in mind when he wrote it. Mraz sits out for Thelonious Monk’s “Rhythm-a-ning,” a two-piano performance by Viklický and Ružička so marinated in jazz piano vocabulary and grammar and—well—rhythm, not to mention humor, that it suggests an album of their collaborations is not just a good idea but mandatory. Mraz mastered arco playing in his studies at the Prague Conservatory, then refined his mastery, as his bowing on his “Blues for Sarka” testifies. Ružička’s “Streamin’” melds jazz sensibility with that Moravian minor-thirds feeling, and Mraz has a stunning solo.
If you know people who feel that Europeans don’t quite have the hang of jazz, this CD would be a splendid means of convincing them otherwise. About the matter of the Multisonic label distributing abroad; I hope that it comes about. In the meantime, it is possible to order from this Czech website, which also offers MP3 samples of the music. My experience is that the Jazzport site is reliable.