Image: Boston Globe

As with many 20th century American composers, Wyner is open to the influence of “popular” forms on his work – particularly gospel and jazz. But as Stravinksy and Ives did with ragtime and marching band tunes, Wyner’s compositions refract these sources through his own personal tonal lens.

Wyner has been writing music since since his childhood in the 1920s, so he’s learned a thing or two about how creativity happens. I particularly liked his description of the compositional act – and the responsibility that comes with inspiration:

“When you stumble on these thickets of interesting material, you’re confronted with the most terrifying task of all, which is somehow living up  to it, continuing it, recognising not only that nugget is of value, but that nugget is of no meaning unless it’s in a proper context, unless it’s really enveloped in understanding and development.”

Wyner’s insight could apply to all creative acts – writing, painting, creating a business, raising a child. Most of us only experience very short and occasional moments of true inspiration. The real work of creativity is how we put context and create flow around these small original ideas.

I commend this conversation to you – the music is wonderful, the conversations surrounding it are enlightening, and Wyner’s critique of contemporary popular music is penetrating without being bigoted.

She also found some really nice video clips to illustrate her article. I particularly liked this one – the Bill Evans Trio playing Round Midnight in Sweden in 1970. It’s rare to see acoustic jazz of this era filmed in colour, and still in such good condition. Eddie Gomez is the bass player, Marty Morell is on drums.

For an insight into Monk’s life, music and idiosyncrancies, Leslie Gourse’s biography Straight No Chaser is highly recommended.

It happens almost every birthday – my aunt gives me a CD of music I’ve never heard of and I really really like it. This year it was a new album by Canadian pianist Marc-André Hamelin, playing solo piano music written by “classical” composers who were inspired by jazz.

The music on this album is remarkable because although it is all through-composed, it sounds very spontaneous and highly idiomatic. In Russian composer Nikolai Kapustin‘s Sonata No.2 there are passages that would fit easily into a Keith Jarrett solo performance or a 78rpm by Earl Hines.

This disc also contains six arrangements of Charles Trenet songs by the pianist Alexis Weissenberg, originally released as anonymous 45′s in 1950, and transcribed half a century later by Hamelin for this album. The arrangements catch the humour and bawdy double entendres of songs such as Vous oubliez votre cheval and Boum!… all delivered with a lightness of touch that few jazz players could achieve.

Finally, George Antheil‘s Jazz Sonata, clocking in at just 90 seconds sounds like Spike Jones and Stravinsky holding an orgy inside a Steinway – not only hilarious but a challenge for any virtuoso. Pure Joy.

Swedish pianist Esbjörn Svensson died on Saturday in a diving accident, aged 44. Up until his death he led one of the greatest European jazz bands of the Internet Age, E.S.T., the Esbjörn Svensson Trio.

E.S.T. combined an ECM-style nordic aesthetic with electronics and a knack for grooving, deeply musical performances that helped make albums like Seven Years of Falling among of the most beautiful and popular jazz records of the last ten years.

Ethan Ivanson from The Bad Plus (in many ways stateside fellow-travellers of E.S.T.) offers a personal tribute. Siggidóri took a few photos at the band’s Reykjavik gig in 2007, and there are a few free mp3 tracks available at last.fm.