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London Jazz Festival: Tigran Hamasyan - review
Wigmore Hall, London
John Lewis
guardian.co.uk, Sunday 11 November 2012 17.51 GMT
The Armenian piano wunderkind Tigran Hamasyan is here to play from
Fable, an album he released on Verve 18 months ago when he was only 22
years old. It's a debut that leaves you clutching at references. Like
Bartók, he takes ancient folk themes from his home country and twist
them into complex modernist miniatures. Like Liszt, he writes romantic
piano solos with a sparkling right hand; like Keith Jarrett, he
improvises funky gospel tunes, humming along with his own solos.
However, after a fruitful session for Gilles Peterson's show, Tigran
seems keen to try new things. Indeed, for much of tonight's concert,
he doesn't touch the piano at all. Arriving on stage dressed like an
eccentric waiter (red bow tie, black waistcoat, 1950s quiff, fulsome
beard) he leans towards the microphone, starts humming, and composes
an a cappella song on the spot - Jamie Lidell style - using a digital
delay unit to loop several layers of harmonies. Later he uses the same
method to improvise a squelchy dubstep track, with fellow Armenian
Gayanée Movsisyan providing operatic vocals.
Even playing solo piano, every track has a pulse running through it,
but that pulse is implied rather than crudely stated. On a
harmonically complicated version of the old Disney standard Someday My
Prince Will Come, Tigran shifts seamlessly from jazz waltz to ragtime,
from piano-pounding freakout to gentle lullaby, without ever losing
that pulse.
Tigran could probably play absolutely anything on the piano but,
crucially, he limits himself to only playing things he can sing. All
that mumbling along as he plays keeps him in check. Where so much
contemporary jazz can be a dreary display of muscle memory, Tigran has
found a way to keep improvisation fresh and lyrical. Other jazz
musicians would be wise to take note.
What have you been to see lately? Tell us about it on Twitter using #GdnReview
Wigmore Hall, London
John Lewis
guardian.co.uk, Sunday 11 November 2012 17.51 GMT
The Armenian piano wunderkind Tigran Hamasyan is here to play from
Fable, an album he released on Verve 18 months ago when he was only 22
years old. It's a debut that leaves you clutching at references. Like
Bartók, he takes ancient folk themes from his home country and twist
them into complex modernist miniatures. Like Liszt, he writes romantic
piano solos with a sparkling right hand; like Keith Jarrett, he
improvises funky gospel tunes, humming along with his own solos.
However, after a fruitful session for Gilles Peterson's show, Tigran
seems keen to try new things. Indeed, for much of tonight's concert,
he doesn't touch the piano at all. Arriving on stage dressed like an
eccentric waiter (red bow tie, black waistcoat, 1950s quiff, fulsome
beard) he leans towards the microphone, starts humming, and composes
an a cappella song on the spot - Jamie Lidell style - using a digital
delay unit to loop several layers of harmonies. Later he uses the same
method to improvise a squelchy dubstep track, with fellow Armenian
Gayanée Movsisyan providing operatic vocals.
Even playing solo piano, every track has a pulse running through it,
but that pulse is implied rather than crudely stated. On a
harmonically complicated version of the old Disney standard Someday My
Prince Will Come, Tigran shifts seamlessly from jazz waltz to ragtime,
from piano-pounding freakout to gentle lullaby, without ever losing
that pulse.
Tigran could probably play absolutely anything on the piano but,
crucially, he limits himself to only playing things he can sing. All
that mumbling along as he plays keeps him in check. Where so much
contemporary jazz can be a dreary display of muscle memory, Tigran has
found a way to keep improvisation fresh and lyrical. Other jazz
musicians would be wise to take note.
What have you been to see lately? Tell us about it on Twitter using #GdnReview