It’s been Monk’s year, his centenary duly celebrated far and wide, up to and including a full five day, five hour Composer of the Week slot on BBC Radio 4. Welcome to the establishment! I listen to Monk’s recordings more than those of any other artist and in this year of all years, the re-discovered recordings he made in 1960 as potential soundtrack material for Roger Vadim’s film version of Les Liaisons Dangereuses have seldom been far from the stereo. Monk is someone whose music I’ve written about on a number of occasion, both in poetry and fiction, and I was delighted (under statement!) when the American critic and commentator Bill Ott chose to highlight my attempts to convey the individuality of both Monk and his music in an article which originally appeared in Booklist and has since been republished on the excellent German web site CulturMag.
Live tributes I’ve been fortunate enough to see and hear include an evening at the Vortex in East London involving students from the Trinity Laban Conservertoire of Music and Dance; John Beasley’s MONK’estra at Ronnie Scott’s; and, best of all, the triple concert celebration at Cadogan Hall, largely organised by Tony Kofi and culminating in a brilliant recreation of the famous Town Hall Concert for Big Band. I’ve written about that in some detail here …
The other outstanding jazz event for me, also at the Vortex, was a performance by the big band assembled by Hans Koller for the composer and arranger Mike Gibbs to front in his 80th Birthday Tour. Fabulous!
I’ve followed with great interest the burgeoning career of Nottingham-based cellist Sheku Kanneh-Mason, ever since watching him win the BBC’s contest for Young Musician of the Year, and both the emotional force and warmth of personality that inform his technical ability were very much on show in a recital at Kings Place in which he was accompanied by his equally talented if more restrained sister, Isata, in Shostakovich and Beethoven. Also at Kings Place, the Sacconi Quartet played a selection of Graham Fitkin’s compositions for string quartet, interspersed with several solo pieces by Fitkin himself, Philip Glass’ String Quartet No. 2 and Arvo Part’s ‘Summa’. There was more Glass earlier in the year, when the James McVinnie Ensemble played an exciting and absorbing version on his “Music in 12 Parts’, and brilliantly executed minimalism from the Colin Currie Group playing Steve Reich’s ‘Tehillim’ & ‘Drumming’ at the Royal Festival Hall.
Finally, momentously, two more concerts at the Royal Festival Hall – one at the beginning of the year, one towards the end – that, in their different ways, made the skin tingle and and heart sing: the London Philharmonic Orchestra and Choir under Nathalie Stutzmann performing Mozart’s Requiem and the LPO again, this time with Orozco-Estrada conducting, pulling out all the stops and then some playing Shostakovich’s Leningrad Symphony.