Concerto for Jazz Piano & Orchestra
Composed and performed by Brent Edstrom
Composer's notes:
Concerto For Jazz Piano and Orchestra” was written to honor the traditions of jazz and improvisation as well as the Western European orchestral tradition. The piece consists of six vignettes which combine jazz and classical elements in such a way that the piece is neither “jazz” nor “classical”--as one of the musicians in the orchestra phrased it, the composition “is its own unique style.”
Overture Americana
The first movement is a boisterous overture that pays homage to the American experience. The piece evokes the sights, sounds, and smells of a bustling American city. A metaphor for the crucible of modern-day American life, “Overture Americana” combines many diverse elements from the American musical landscape including hints of composers such as Bernstein and Copeland, and a splash of Thelonious Monk.
Transition to 2nd theme
Ending
Nocturne In Blue
An obvious reference to Gershwin’s seminal “Rhapsody In Blue,” “Nocturne In Blue” evokes a night scene and was inspired by the legacy of Duke Ellington and Billy Strayhorn. In the introduction, subtle orchestration combines many disparate elements and clashing “blue notes” to create a mournful wail reminiscent of early jazz singers such as Bessie Smith. The introduction gives way to a ballad consisting of lush extended and altered harmonies.
Lament
“Lament” is a reflection on the tragedy of racism in America and the marginalization of jazz musicians in the twentieth century. The movement was inspired by rare footage of Charlie Parker performing with Coleman Hawkins. Parker’s reverence for Hawkins is clearly evident, yet his obvious joy is juxtaposed with a sense of profound sadness. In a similar way, jazz often evokes the duality of joy and sorrow experienced by many jazz musicians and people of color.
Primary theme
Improvisation
Jazz Fantasy
“Jazz Fantasy” is a vivacious movement which is loosely based on a sonata allegro form. While the primary theme sounds vaguely like a theme from the classical Viennese period, the harmonies strike an interesting balance between simple tertian structures with extended harmonies and polychords. The development section utilizes blues elements as well as pulsating “train” rhythms.
primary theme
Cadenza (improvised) to ending
Impromptu
The “Impromptu” utilizes a simple ostinato figure to provide a framework for a flowing melody reminiscent of Romantic-era composers such as Frédéric Chopin. The movement was inspired by a composition by jazz pianist Bill Evans titled “Peace Piece,” a work that is based entirely on a simple ostinato figure.
Primary theme
Finale
Starting in the 1920s, stride pianists such as James P. Johnson and Willie “The Lion” Smith would attempt to outdo each other in informal “cutting contests.” The “Finale” represents a cutting contest of sorts between the piano and orchestra. The piano part was written to honor the the stride tradition of pianists such as Art Tatum, Earl Hines, Fats Waller, Teddy Wilson, and early Count Basie and is used as the basis for a piano improvisation. In the last section, orchestral choirs are added layer-by-layer to create a cacophony of sound which propels the composition to its conclusion.
Finale theme
Ending
Encore
Encore featuring a spontaneous performance of Oscar Peterson's "Hymn To Freedom."