The Jazz Room in Barnes, SW London, affectionately known as “the suburban Ronnie’s Scotts” (and almost as longstanding as the eponymous Soho jazz club), resonated to a different vibe on Sunday evening when internationally-renowned pianist Anthony Hewitt – an artist more used to playing in hallowed gilded spaces such as the Wigmore or Carnegie Halls – gave a concert of classical music by Bach, Brahms, Debussy, Ravel and Gershwin – all performed on the Yamaha upright piano which resides in the Jazz Room. It’s a very good piano, but it ain’t a Steinway model D!
Yet such is Anthony’s skill and sensitively that he wrought myriad sounds and colours from the modest instrument – and somehow listening to Bach (Partita No. 1) in a venue normally reserved for jazz, one suddenly becomes hyper-aware of all the jazzy syncopations and offbeat rhythms inherent in Bach’s writing.
The piano music of Brahms, more usually heard on a modern concert grand, had a lightness which lent a greater poignancy and tenderness to his Op 119 piano pieces; while in Debussy’s Estampes multi-layered lines and textures were revealed.
The second half of the concert swung to the sounds of Ravel’s decadent and sensuous La Valse and Gershwin’s Rhapsody in blue, his vibrant and exhilarating evocation of the melting pot of America and the sounds of the big city. Anthony did a remarkable job in drawing so much colourful sound out of the Yamaha upright to achieve brilliant results.
For the audience, the small size of the Jazz Room means one gets up and close and personal with music and performer in a way which is never possible in a larger or more formal venue. Such closeness creates a very special sense of communication and shared experience between audience and performer, and throughout the concert there was a very palpable sense of people listening really intently – a great compliment to the music and the pianist. In addition, Anthony introduced the music engagingly and audience members were able to meet and chat to him after the performance. As one audience member remarked “the Jazz room is a real gem and now to start a classical series there is an added bonus”.
The concert was billed as “Iconoclassics”, paying homage to the Jazz Room’s iconic status as one of London’s leading jazz venues. More like this please!
7 Star Arts says: audiences can enjoy more classical music, fused with jazz, world and original compositions on 10 April when pianist and composer Helen Anahita Wilson makes her Jazz Room debut. Book tickets here
(Reviewed by The Cross-Eyed Pianist)
7 Star Arts announces the launch of a new series of concerts in the iconic Jazz Room at the Bull’s Head
Iconoclassics features leading, critically-acclaimed classical musicians, more at home in the world’s great concert halls than in a jazz club but all happy to break free from the conventional classical music scene. The small size of the Jazz Room creates a special connection between musicians and audience, and allows the musicians to present music in a more accessible and relaxed way.
In keeping with the main focus of The Jazz Room, programmes in the Iconoclassics series will explore links between classical music and jazz, and will include works by Ravel and Gershwin, two composers whose music crossed genres and pushed the boundaries of what we define as “classical music”.
Iconoclassics launches on 14 February 2018 with Classic Valentine – a special concert for Valentine’s Day featuring David Le Page (violin) and Viv McLean (piano). This will be followed on 11 March by a solo concert by internationally-acclaimed pianist Anthony Hewitt, who has been praised for his “fine, poetic and communicative musicianship” (BBC Music Magazine).
This promises to be an exciting and intriguing new series in an intimate and friendly venue.
Purists may balk at hearing classical music in a venue normally reserved for jazz, but the small size of the jazz room lends itself to the right kind of concentrated listening and intimacy of expression which this music demands and offers. And David Le Page and Viv McLean create a very special intimacy of their own – these musicians work together regularly and their empathy and mutual understanding is palpable in every note they play.
- Frances Wilson/The Cross-Eyed Pianist
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