According to Richard Marcus, we all have our "Nigel Kennedy stories." He tells us that "supposedly there is a small potted tree in Toronto's Roy Thompson Hall that is now known as 'the pot that Nigel peed in.'" Yes, well. Probably the less said about that the better ! But we do have our individual experiences of Nigel. A concert we went to ? A brief encounter with him that stays in the memory ? Whatever, let's share. Send in your story, even if it's only a few sentences. You have a picture ? Send that too. Your chance to do Nigel Kennedy !
I have a six year old boy Sean who is a violin student and a huge fan of Nigel ... so the moment we got to know Nigel is heading down under I booked tickets for us to go and see him ... I was very sick last year and my illness and absence as a mum left deep scars on my sons ... so organizing a one on one trip with my middle son was a wonderful idea as well as very special, knowing we are going to share something we love, just the two of us together.
We took a plane on Monday morning and spent a nice time together, not walking too much so we did not get too tired :D ! About 30 min. before the beginning of the concert Sean gobbled up a pizza, drank a glass of soda and we headed off to the Opera House ....
We were counting minutes ... Sean fidgeted in his seat .. when is he going to come, when is he going to come out? till he heard this sort of footy kind of call from the backstage and finally heard the announcement ...
And there he was .... the cool dude .... look at his hair, mum .. it is really spiky ... and he has a violin (hee hee, imagine .... like, Nigel really has a violin ! )
Sean..........a violinist in the making......
The concert started with beautiful piece of Bach ... well, that is what I thought about the music ... Sean's perception about this first piece was a little different.. I got to realize it after few minutes into the music when after the second slow down part that resembled an ending, he whispered ... when is it going to finish? .. haha ... but when Nigel performed another crescendo Sean just sighed and gave in... he managed to find stillness and gave himself to the beauty of the music, the same way he has to face challenging moments during his violin learning ... then at the very moment Nigel swapped violins and performed his first Jazz piece ... Sean came alive ..
I watched my gorgeous son dancing in his seat ... waving his arms and clapping way out loud like at a soccer match ... he managed to sit through the 3 hours of performance with only three little comments on length ... I was really proud of him ...
He wondered about a young girl from the audience seat Nigel called to join him on the stage . She played a few Bartok pieces so beautifully together with Nigel .. and I was grateful for the moment as for Sean who is truly just a little boy practicing hard his twinkles and song of the winds ... to see that if he will do his practice and will love and trust the process of learning a musical instrument, facing the hard bits ... that when he is grown up he will be able to play real big music like the young girl did .... and definitely much more difficult music than he knows to play right now ...
When the concert finished we left quietly into the darkness of the night ... the ultimate beauty of the music Nigel shared with us filled our hearts .. our bodies and us as such ... I felt like crying ... it was like saying goodbye to a place long time known and long time loved ... we took a stroll along the wharf and bought ice cream at the corner shop ... there was nothing that needed to be said ... so we enjoyed ourselves just the way we were in that very moment ... quiet mellow moment ...
Jazz was the best .. Sean told me later, but I know that deep in his heart a seed of love of music as such was planted ...
and I was very grateful he, as well as me, could experience the love of music personalized in Nigel ... in Sean's words, really real and big ... with little houses when his fingers touch the strings ...
The next day I got to read a lovely message from our violin teacher and my friend that she left under one of our images from the day ... she said that Sean's friend and schoolmate William, who is also learning violin, decided he is Nigel .. because he got so much inspired by Sean's Nigel trip to Sydney ...
At that moment, I realized how big and special and very important "everything" that Nigel is IS ...
and I felt a deep gratitude.
mainly because I have been busy with all things around my current production - Stories from the 428 - and barely have I had time for seeing shows, let alone reflecting on line about them. In my busy schedule, which often involves seeing up to 5 theatre productions a week- and, when in production as I am right now, I spend days on end, computer in lap, coffee in hand, managing spreadsheets, budgets, creative imput, publicity, dramaturgy, casting the shows I am directing, reading scripts and all things related to the creation of a brand new show (or in this case a collection of shows)… rarely do I give myself permission to stop. To rest. To be filled up and nourished. And that is why, in truth, I have a Sydney Symphony subscription.
This subscription is vital in my mental, spiritual growth, my understanding of the arts, my development as an artist, but, above all else, permission to turn off my phone, get away from my computer and surrender to the perfection of someone else’s craft - music. Tonight’s welcome surrender came in the guise of the masculine swaggering, sultry-voiced Nigel Kennedy with his virtuosic talent as the world's most loved and respected violinist.
As a child, the floorboards of my parents' humble house would hum with the sounds of music - the instruments each of us were encouraged to learn, the occasional guitar strums of my parents, the CD or record collection which defined and highlighted the contrast in my parents' taste. My father with his Brandenburg Concertos (or Bach’s Brandenburgs, I should say) and my mother with her traditional jazz and big band standards. My brother dedicated his clarinet playing to Bach , whilst I ran away to play Ellington, Holliday and Miller with my saxophones. Music – an essential part of my life- and in the listening, it fills in the corners of my life – it soothes, invigorates, seduces, inspires, enrages, consoles.
Rare and surprising and inspired.....a break with tradition
(Courtesy heraldsun.com.au)
In a rare and surprising and inspired juxtaposition, Nigel Kennedy brought the cultural divide in my life together in a robust and zesty collison. Daring to break with tradition- to create a set which spoke of black and white, of a history of low culture versus an history of high culture, repositioning the audience in the no-mans’s land of concert etiquette (rude to clap between movements/ and rude NOT to clap after the solos of individual musicians), Kennedy offered me tonight permission to reconcile within myself the contrasts of my life.
Peering down from my “30 and under subscription” seats to the sea of shiny pink heads below - the glow of the lights flickered turquoise and purple, or rusty red and amber - the glare had been taken out of the lights which usually bleach the stage - this isn’t any concert- this is an artist. Kennedy, with casual banter, re-sets the lights at the mercy of the front row audience dazzled by light. A few jokes, a curly story or two, a few machine gun scattered expletives, some context, gentle flirtation with the orchestra’s key female players, a (soccer) football kicked into the crowd, an audible gasp from the concert hall, a playful dig at the genteel folk who got their concert times wrong and arrived late, swinging from Bach to Ellington, acknowledging all in his army, Kennedy is striking, magnificent and unrelenting. His charm is that of seeing someone completely and utterly himself enjoying the act of playing music. Someone revelling in this Argus-like monster audience and their expectation and their predictability.
Banter in between is subservient and unpolished, sometimes funny, often crass, repeatedly charming and always astute. Kennedy’s intermittent spiels contrast the heightened excellence of his playing. The leap from the lower class tone of his voice to the elevated tone of his classical instrument is thrilling. Kennedy’s daring to be himself, musically, to be himself, utterly without pretence, generous, charming, kind, playful and cheeky. He is robust and intelligent and joyful… And this is obvious, I know - I really shouldn’t write things other people have already said in more eloquent ways - but what I want to point out is how normal this is.
Daring to be himself.....utterly without pretence
(Courtesy directoryof paramatta.com.au)
Kennedy is unique - talent undeniable, yes - but what is more unique is this honesty in the portrayal that both aspects “low” and “high” art can exist in the same person at the same time, thus drawing our attention to the affectation or the performativity of the higher class affectation. He gives us permission to indulge our lustful need for seduction (for truly music seduces us) whilst creating sound which elevates and relieves.
How lovely it is to be surprised- to be caught up in the sound from an age old instrument – to feel transported and transposed from here to another time through the multitude of instruments representing a composer's voice. What an honour it is to hear faithful and passionate interpretations of music which has informed our culture, and creative sounds that directly or indirectly resonate and resound throughout our lives.
Tonight, Nigel Kennedy played the music of my childhood - and tonight I felt at peace and whole in the experience of having both simultaneously inhabiting who I am. I felt this as the two halves of my heart - what a remarkable gift to be given. Permission to love it, to live it all with a cheeky grin and a “f**ken great” exclamation. This is just what I needed to be filled up, shaken up, inspired and reassured that whatever I am doing right now, I should do it because it's who I am. There aren't rules to creating (there is etiquette) but it's more exciting to embrace the possibilities.
Thank you, Nigel Kennedy - I hope you had fun at the Basement - catch you next time you are in Sydney.
Since graduating with honours in Performance Studies from the University of Sydney in 2001, Augusta has worked in theatre as a playwright, director, producer, carpenter, performer, dramaturge, stage manager and musician. She regularly writes feature articles, commentary and reviews
It's impossible to write a review
when you are left completely speechless at the end of a concert. I will try my best to bundle together a bunch of adjectives and superfluous thoughts whilst trying to relay how I feel, however ultimately whatever I write will still leave the facts short changed.
Last night I was privileged to witness one of the world’s greatest violin virtuosos - Nigel Kennedy - as he opened the first leg of his Australian tour at Melbourne’s Hamer Hall, complete with his very own hand-picked chamber orchestra and a group of rather talented musicians collectively known to us all as The Melbourne Symphony Orchestra (MSO).
I, like most of the world, am well aware of Kennedy’s prodigious and unique talent; however, I don’t think I was really prepared for what would eventually unfold during the course of the evening. The word ‘versatile’ gets too often thrown around when describing artists. With Nigel Kennedy, however, I don’t feel it goes far enough in describing just what this amazing performer is actually capable of.
Kennedy’s radically unorthodox approach to performing classical music didn’t so much break the rules in its day but re-wrote the entire book, and with it came not just universal critical acclaim, but also a new and previously untapped audience who would ultimately end up buying his recordings by the millions, making him one of the most relevant musicians of our time.
A child protégé to the late great Yehudi Menuhin (who, it was reported after his death, financed the young Kennedy whilst studying at his School), he was to find media attention at a very young age. Being raised in the UK, I can so clearly remember Nigel Kennedy’s meteoric rise to stardom; I suppose with The Three Tenors breaking down operatic barriers, it was inevitable that a classical musician would also follow. And so it was that in 1985 with the release of his first recording, Elgar’s Violin Concerto, Nigel Kennedy would announce himself as the rightful owner to that title.
It would however be his seminal 1989 recording of Vivaldi’s Four Seasons that most people will always remember him by. This became a phenomenon, earning a place in music history as the world’s best selling classical album of all time and staying at the top of the UK classical charts for well over a year.
Since that time Nigel Kennedy has performed and released a plethora of material in every imaginable genre including his critically acclaimed 2006 release Blue Note Sessions - a jazz record released on the legendary Blue Note label, and his soon to be released original composition titled SSHHH !
One of the most relevant musicians of our time....
(Courtesy radio.lublin.pl)
This first part of his Australian tour titled Nigel Kennedy Presents Bach and Ellington brings together two of his great musical influences and acts as a wonderful showcase to demonstrate just how accomplished and nonconformist a musician he is. Incidentally on March 7th at QPAC, he will also be playing homage to another hero with a show titled Nigel plays Jimi Hendrix.
Right from the onset it was obvious that this was going to be a pretty extraordinary evening. Kennedy’s personality is in many ways as unique as his talent. His genuine and highly likeable larrikin persona all adds up to the perfect juxtaposition to the violin playing genius that he is; and brings with it a wonderful sense of uncertainty and rebellion that I personally found compelling.
Due to the torrential rain encountered in Melbourne last Thursday, the start time was delayed by some twenty minutes. Where as most musicians would be constantly clock-watching whilst cutting out unnecessary banter from the proceedings, Kennedy seemed to revel in this fact; taking a good 15 minutes after stepping onstage to even pick up his violin. His humble and generous nature also became immediately apparent as he constantly acknowledged every musician around him. I can only hope that other performers might take note.
Musically the evening was about as perfect as one could ever wish to hope for. Kennedy’s newly formed Chamber Orchestra is an absolute tour de force; all highly astute & capable musicians and all of them easily able to adlib and adapt to everything thrown at them during the two and a half hour set. It should go without saying that the MSO were also sensational, and once again proved why they are considered both locally and internationally as one of the world’s truly great orchestras. I should also give mention to Violinist and Concertmaster Wilma Smith, whose camaraderie and byplay with Kennedy was simply a joy to behold.
Bach selections including, Violin Concerto in A minor, Violin Concerto in E, and the spellbindingly beautiful Concerto for Violin and Oboe in D Minor - which I have to say left me utterly overwhelmed and unashamedly moved to tears.
Some may argue that the balance between Bach and Duke Ellington may have leaned slightly too much towards that of Ellington, and certainly if you were expecting to see an evening of classical music with a sprinkling of Jazz mixed in, you may have left a touch disappointed. However I am certain that no audience member felt this way, for such is Nigel Kennedy’s obvious passion for jazz music and his incomparable skills at improvisation, there was never going to be any dull moments on the night. By the time he decided (as if off the cuff) to throw in the instantly recognisable first few bars of Caravan, he had, I’m certain, everyone witnessing this spectacle eating out of his hand, it was simply magical.
So I had what I can only describe as a truly blessed evening - and then just when I thought things could not get better, I hear a whisper that Nigel Kennedy would be performing in a free ‘Semi Secret Super-Jam’ at The Abbotsford Convent on the Friday evening, straight after his second Hamer Hall performance.
Now such rumours are normally just rumours and rarely come to fruition, however not in this case. And so true to his word at about 12:45 am, Nigel Kennedy once again appeared on stage before me, this time however the stage was tiny, the equipment basic, and the crowd less than 200 people. It was then it hit me that he is without doubt the most extraordinary musician I have ever experienced.
Joined by his long time friend Allan Zavod (he of Frank Zappa’s 1984 lineup), drummer Danny Ferugia, bassist Jeremy Alsop and saxophonist Julien Wilson, for the second time in two days I witnessed Nigel Kennedy blow the roof off a venue.
As he pointed out (in his own slightly less than subtle way!), it should have and would have gone on all night had licensing laws not have dictated otherwise. I was just happy that it had gone on in the first place - it was a truly spectacular night that I will never forget.
My primary interest in this concert
can be traced back to a great love of Krakow (one I believe Nigel Kennedy shares - which is partly echoed in the appearance of a Cracovia football shirt on an album cover of his - city rivals of Wisla Krakow) in particular and of the music of Kroke, who originated as musicians from that city and are embedded in both musical learning in the Krakow's academic institutions and also a deep empathy with the music, culture and traditions of the former Jewish district of Kazimierz (subject of Schindler's List).
Krakow and Nigel played Lodz in June but I was unable to get to that concert due to family matters. Returning to Poland, we found that they were due to play Lublin, Tarnow and Wroclaw. Having already visited Wroclaw and Tarnow I was hoping we could get tickets for Lublin but all that apparently were available were some additional seats to be placed alongside the existing seating. As Wroclaw, date wise, was too difficult, Tarnow was the option we elected for.
When we actually arrived at the Moscickiego Centrum Kultury, to collect our tickets for the 3rd December concert, we were told that although we had travelled some 220 miles for the concert, others had travelled from Gdansk (some 400 miles away).
Another aspect of the event, which for me was a new experience, was that it was held in conjunction with a photographic exhibition by Andrzej Dudzinski of "Antagony in New York" and a talk by a well known Polish writer Janusz Glowacki. The audience itself was quite a mix which probably goes with the event itself. Kroke, outside of Krakow, are not as well known, as their music deserves.
At this point I need to roll things back a little. For me I have a strong emotional as well as musical feel for the music that Nigel and Kroke produce together. Tarnow for me is particularly relevant and appropriate, in that the first people to be sent to the Nazi Concentration Camp at Oswiecim (Auschwitz) were Poles from Tarnow. This coupled with the bloody massacre of thousands of Jews in the streets of Tarnow - before the war over 40% of the city's population was Jewish (this of course was only a reflection of what was being wrought right across Poland by the Nazis) made this a very, very poignant and moving concert.
I apologise for the cliches but the music itself was beautiful, involving intellectually and emotionally. The play of the individual musicians was sublime and transported me to many different places. The rapport that Nigel clearly enjoys with the other members of the group was wonderful to watch , experience and be a part of. A truly unique experience.
Nigel's quirky style, humour, mannerisms and empathy with the music, stood only second to his abilty to extract divine music from his instrument.
He arrived with a can of zywiec (a Polish beer) and later went through a list of Polish vodkas (Wyborowa, Belvedere, Chopin). He rechristened himself Tomek Kennedy (the three original members of Kroke all being called Tomek) and played for at least two and half hours. I think if he could have he would have played all night.
It was one of, no, it was, the most involving and magical concert I have ever attended and it reminded me why, lest I forget it, live music is so important to our lives. It's the whole experience. The sounds, sights and interactions of everyone, venue included. A dance of beauty, through the soul of emotion.
Nigel Kennedy is one of the most interesting players of classical music.
His interpretation of Vivaldi’s Four Seasons is the best-selling classical CD of all time. He is recognized for his great talent, while at the same time his sometimes challenging opinions, different stage clothes and punk hair style also draw attention.
Nigel has already released an album of Jimi Hendrix songs, The Kennedy Experience, back in 1999. This CD proved that, despite what many people thought, Jimi Hendrix’s genius was extraordinarily akin to Nigel’s genius and the result was an exhilarating musical event in itself. When you add to that Nigel’s intense interaction with his listeners in the concert hall, you can understand why I was looking forward to the concert at the Babylon Club in Istanbul.
That Wednesday evening the spirit of Jimi Hendrix filled the club. If Hendrix could have heard it he would have been both proud and happy.
It was one of the most crowded nights at the Babylon. We went up the stairs and we could see the tables arranged near the stage, but we had to wait by the bar, the crowd in front of us pushing each other in their attempt to make some progress. Then we saw Nigel. There he was with a beer in his hand, trying to make his own way up to the stage. He noticed us and said, “Hello, how are you ?” My friend said to him, "By the way, I am from EMI, your record company." “It’s fucking lovely to see you here,” he replied.
The concert finally began at 9.55 pm. From the opening piece, “Fire,” it was obvious that this was going to be a great night. In the full fifteen minutes that it took them to play it, a warm interaction between the musicians and the audience was established. Nigel’s stage presence also had a profound influence on the sympathetic relationship between them. He told jokes and talked to the audience, beer in hand…….”What’s your name ? My favourite name ! This song is for you !”
After “Fire,” which nearly set the Babylon Club on fire, we got “Little Wing,” tender with a touch of melancholy in it. With this song, we have to highlight the role of Jarek Smietana, the Polish guitarist. He had a perfect night with his electric guitar solos, especially in “Purple Haze.” Everyone was fascinated by him.
When they got to “Third Stone from the Sun,” Nigel introduced another musician ……….“ Not good-looking, but a very good saxophonist !” he joked and Tomasz Grzezgorski came on stage. [ED: He is, of course, the saxophonist in the Nigel Kennedy Quintet.] Grzezgorski contributed a pure jazz solo to the song.
This was followed by “Drifting” and then an outstanding performance of “1983…….A Merman I Should Turn to Be.”
The evening culminated in ringing applause which brought the musicians back on stage to play something which surprised everybody……………an arrangement of one of Duke Ellington’s songs.
We had experienced 2.5 hours of uninterrupted performance. The admiration of the audience was obvious from the expressions on their faces.
And on Nigel’s face…………..pure happiness !
The musicians were Wojciech Karolak (Hammond organ), Adam Kowalewski (bass), Jarek Smietana (guitar), Krzysztof Dziedzic (drums), Nigel Kennedy (violin) and guest Tomasz Grzezgorski (saxophone.)
