As jazz and classical struggle, Wynton has again taken the lead in exploring the hybridization and complementary performance of these forms. My focus is on the Brandenburg Concerto (and Bach), which has inspired a range of jazz versions by the Classical Jazz Orchestra, Sones de Mexico, Tiempo Libre, Oscar Peterson, Dave Brubeck, Keith Jarret, Uri Caine, Dizzy Gillespie and many others.
It seems to me that there is an evolving hybrid repertoire - the most prominent probably the recent Swing Symphony by Wynton.
Wynton has obviously played a huge role in defining the jazz repertoire. I had feet firmly in camps included and excluded by Wynton (Stan Getz and Cecil Taylor), and understand the importance of what happened. The evolving repertoire in jazz/classical hybrid needs similar refereeing, as well as recognition of work done by the jazz greats in this context.
My group, the Brandenburg 300 Project just completed 16 songs from re-written versions of the first four Concertos. None of us are classical musicians - we are jazz-oriented studio musicians. I know it’s along shot, but I would like what we have done to be part of this hybrid repertoire.
The website is http://www.Brandenburg300.com
Here’s the info:
(June 2013) We have just released the next batch of Brandenburg re-writes. Each is also named in honor of someone. The Brandenburg 300 Website has webpages up for each of the honorees. The Medley of 16 Songs can be viewd on the website or directly on YouTube.
The songs were written in 12 tone to make the duets and trios, and (more or less) can be played by any two or three instruments playing in any octave. In other words, a piano player might be able to play both lines so it sounds like a piano solo, but a flute and french horn can play exactly the same lines. The hybrids represents hundreds of hours of improvisation over the duets of the 2nd Concerto and 3rd movement of the 4th Concerto.
There are 6 Duets, 3 Trios and 7 Hybrids distributed as a Medley, a single, and 4 EP’s. My hope is to license the music for film, games or television.
If you would like any or all of these songs I can send you a link, get you a CD (in about two weeks), or you can obtain downloads at iTunes or CDBaby (full bandwidth).
The releases are:
Brandenburg Concerto: Medley of 16 Songs (8,000 hours of work in 6 minutes)
Brandenburg 12-3 Perricone (single - combined 1st and 2nd movements)
Concerto #2 Trio and Duets (EP)
Brandenburg 21 Guadalupe
Brandenburg 22 Manning
Brandenburg 23 Pythagoras (a trio)
Concerto#2 Hybrids (EP)
Brandenburg 23 DaVinci
Brandenburg 21 King
Brandenburg 22 Rembrandt
Brandenburg 23 Vermeer
Brandenburg 21 Voyager
Concerto #3 Trios (EP)
Brandenburg 31 Schoenoff
Brandenburg 32-3 Woodland (combined 2nd and 3rd movements)
Concerto #4 Hybrids and Duets (EP)
Brandenburg 43 Einstein
Brandenburg 41 Iwanaga 1
Brandenburg 43 Pauling
Brandenburg 42 Pementil 1
Brandenburg 43 Curie
The musicians are myself, Albert Wing and Mike Miller.
Albert Wing: Alto, Tenor, Soprano, Flute, Pennywhistle, Clarinet, Synth Horn, Synth Bass, Synth Strings, Synth Drums
Mike Miller: Steel String Acoustic Guitar, Nylon String Acoustic Guitar, Electric Guitar, Banjo, Mandolin
Bob Danziger: Arranger, composer. Sampled and synthesized instruments played on EWI, or composed in Sibellius/Logic: String Bass, Cello, Piano, Drums, Percussion, Double Reed, Horns, Harp, Sound Effects; cover design; liner notes.
Chris Bolster at Abbey Road Studios in London mixed all of the songs except the 3rd Concerto that was mixed, mastered and sound designed by Pat Woodland. Pat also did sound design on several other songs as well. 23 Vermeer was mixed by Forrest Lawrence.
There are numerous differences between these recordings and arrangements and previous versions of the Brandenburg Concerto.
Numbering and names
For a number of reasons we use a different numbering system than the traditional classical numbering system. Among these are to distinguish The Brandenburg 300 Project from traditional recordings; all arrangements are in 12 tone, not a key; the classical versions are deconstructed, and the hybrid versions are not classical; the old numbering system is out of step with naming practices in the non-classical world, and are incomprehensible to most people.
For example, the 2nd movement of the 1st Concerto is traditionally titled: Brandenburg Concerto No. 1 in F Major, BWV 1046: II. Adagio. In our system it is called “Brandenburg 12.” The first number is the Concerto (1 though 6), and the second number is the Movement within that Concerto (1 through 8).
Combining Multiple Movements into One
There is a further complication that occurs when, as with these two movements, I have combined them. Not as uncommon as one might think – everyone from Karl Richter and the Munich Bach Orchestra to the Classical Jazz Quartet have done it – we have combined movements in the 1st and 3rd Concertos.
For example, in the 3rd Concerto we also combine the 2nd and 3rd Movements, and call this 32-3
Several of the Movements have multiple variations. For example the third movement of the 2nd Concerto has 8 variations and counting. Others like 31 have only one variation at this point, but hopefully will gather several over time. In today’s world, with download and streaming, multiple variations in a range of genres and moods, is easy and why not let listeners and sound supervisors choose the version they like or need? Why not capture all of the greatness the musicians contribute, instead of choosing to make just one version (as you had to back in the CD/record album days) and leaving genius on the cutting room floor?
Thanks for giving the website.