![]() ![]() ![]() That he manages to do both is testimony to his astonishing ability to move easily from the work’s brutally demanding violin segments to the flowing lyricism and surging rhythms of the improvisations. He is “true to the original” in Vivaldi’s written passages and impressively effective as a jazz improviser. ![]() “The real question, I felt, was whether I could play the violin part so respectfully that when the jazz comes in, the people who don’t like jazz will like the way I play the classical passages so much that they’ll be more open to the jazz improvisations.”ĭaniels succeeds on all counts. To me, there was never any question of doing it any way other than by being true to the original. ![]() “They wanted me to take the themes of Vivaldi,” Daniels recalls, “add a string section and make a pop jazzy record. As the universally acknowledged contemporary successor to Goodman and Shaw, it’s not surprising that Daniels would also have a go at a classical piece.ĭaniels’ first reaction, however, was “momentary shock” when producer Danny Weiss of Shanachie proposed a new version of the work.īut when Daniels realized what Shanachie-an innovative, New Jersey-based company dedicated to between-the-cracks recordings of jazz, blues, world and folk music-actually had in mind, “it was like two people listening to the same words and getting a totally different kind of interpretation.” George Gershwin kicked off his “Rhapsody in Blue” with a long, swooping clarinet glissando, Benny Goodman recorded the Mozart Clarinet Concerto (and commissioned works from Copland and Bartok), Artie Shaw wrote his own clarinet concerto and Woody Herman recorded Igor Stravinsky’s “Ebony Concerto” (which was composed for Herman and his band). Jazz clarinetists have frequently taken a crack at classical music in the past-and vice versa. ![]()
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