{"id":191,"date":"2005-10-19T01:05:00","date_gmt":"2005-10-19T08:05:00","guid":{"rendered":"http:\/\/www.artsjournal.com\/rifftides\/wp\/?p=191"},"modified":"2005-10-19T01:05:00","modified_gmt":"2005-10-19T08:05:00","slug":"george_mraz_na_hrade","status":"publish","type":"post","link":"https:\/\/www.artsjournal.com\/rifftides\/2005\/10\/george_mraz_na_hrade\/","title":{"rendered":"George Mraz: na Hrad\u00c4\u2022"},"content":{"rendered":"

An early September posting <\/a>on Rifftides <\/em>discussed Czech President V\u00c3\u00a1clav Klaus\u00e2\u20ac\u2122s involvement with and support of jazz. In it, I quoted a communique from the fine Czech pianist Emil Viklick\u00c3\u00bd:<\/p>\n

There is a new CD coming out from Prague Castle – George Mraz\u00e2\u20ac\u2122s 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.<\/p><\/blockquote>\n

That CD of a concert honoring and featuring Mraz<\/a> 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. Viklick\u00c3\u00bd and Karel Ru\u00c5\u00bei\u00c4\u008dka share piano duties. Rudolf Da\u00c5\u00a1ek plays guitar. Ivan Sma\u00c5\u00be\u00c3\u00adk, Mraz\u00e2\u20ac\u2122s grade school companion from T\u00c3\u00a1bor 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, Ji”\u00c3\u00ad 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 Ber\u00c3\u00a1nek points out in his literate, informed liner notes, it happened once before, when Richard Nixon threw a birthday celebration for Duke Ellington<\/a>.
\nSo 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 Viklick\u00c3\u00bd gravitated toward jazz. Their work together in Mraz\u00e2\u20ac\u2122s CD Morav\u00c3\u00a1 <\/em><\/a>concentrates on Moravian material melded with jazz
\nMraz\u00e2\u20ac\u2122s playing on the unaccompanied first number of this new album, the traditional \u00e2\u20ac\u0153White Falcon, Fly,\u00e2\u20ac\u009d is enough to make grown men weep, if they happen to be bassists. The rest of the program consists of standards (\u00e2\u20ac\u0153For All We Know,\u00e2\u20ac\u009d \u00e2\u20ac\u0153My Foolish Heart,\u00e2\u20ac\u009d \u00e2\u20ac\u0153Rhythm-a-ning\u00e2\u20ac\u009d) and compositions by Mraz, Ru\u00c5\u00bei\u00c4\u008dka and guitarist Da\u00c5\u00a1ek, who was once Mraz\u00e2\u20ac\u2122s bandleader. Mraz\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Picturesque\u00e2\u20ac\u009d 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\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Rhythm-a-ning,\u00e2\u20ac\u009d a two-piano performance by Viklick\u00c3\u00bd and Ru\u00c5\u00bei\u00c4\u008dka so marinated in jazz piano vocabulary and grammar and\u00e2\u20ac\u201dwell\u00e2\u20ac\u201drhythm, 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 \u00e2\u20ac\u0153Blues for Sarka\u00e2\u20ac\u009d testifies. Ru\u00c5\u00bei\u00c4\u008dka\u00e2\u20ac\u2122s \u00e2\u20ac\u0153Streamin\u00e2\u20ac\u2122\u00e2\u20ac\u009d melds jazz sensibility with that Moravian minor-thirds feeling, and Mraz has a stunning solo.
\nIf you know people who feel that Europeans don\u00e2\u20ac\u2122t 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<\/a>, which also offers MP3 samples of the music. My experience is that the Jazzport<\/em> site is reliable.<\/p>\n","protected":false},"excerpt":{"rendered":"

An early September posting on Rifftides discussed Czech President V\u00c3\u00a1clav Klaus\u00e2\u20ac\u2122s involvement with and support of jazz. In it, I quoted a communique from the fine Czech pianist Emil Viklick\u00c3\u00bd: There is a new CD coming out from Prague Castle – George Mraz\u00e2\u20ac\u2122s 60th birthday. Multisonic asked me to help with mixing and arranging things […]<\/p>\n","protected":false},"author":2,"featured_media":0,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"_genesis_hide_title":false,"_genesis_hide_breadcrumbs":false,"_genesis_hide_singular_image":false,"_genesis_hide_footer_widgets":false,"_genesis_custom_body_class":"","_genesis_custom_post_class":"","_genesis_layout":"","footnotes":""},"categories":[4],"tags":[],"class_list":{"0":"post-191","1":"post","2":"type-post","3":"status-publish","4":"format-standard","6":"category-main","7":"entry"},"_links":{"self":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/191","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/users\/2"}],"replies":[{"embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/comments?post=191"}],"version-history":[{"count":0,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/posts\/191\/revisions"}],"wp:attachment":[{"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/media?parent=191"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/categories?post=191"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/www.artsjournal.com\/rifftides\/wp-json\/wp\/v2\/tags?post=191"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}