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Nigel's Music
Nigel, of course, IS his music. On this page we will feature reviews of his CDs and DVDs, and of his own original music, heard at concerts and in clubs in different venues, in words or in pictures. If you have something you'd like to say about his music, or pictures to send, feel free ! We'll be more than happy to publish them.
PAWEL WYGODA: PICTURES FROM PRZYSTANEK WOODSTOCK, AUGUST 8th, 2010
KERRY SPARKS : RELIVING A KENNEDY EXPERIENCE
I've just found a CD of the "Kennedy Experience".
This is Nigel Kennedy when he stopped playing Vivaldi and began playing Hendrix. I'd totally forgotten we had that! We actually saw Nigel Kennedy performing it live years ago back in the days when he still lived in Malvern.
He used to play gigs at one of the local pubs. A friend of ours lived nearby and tipped us off when the "He's playing Saturday" rumours would go round. We saw him a couple of times and he was AWESOME, so when we heard that he was playing a proper concert in the local Community Centre we rushed to get tickets. He played two concerts. The first night was classical, the second night was Hendrix.
Back in the day......
(Courtesy musicalcriticism. com )
I don't think there was seating. We certainly didn't sit! Everyone seemed to be hanging about towards the back of the hall. Stephen scanned the room and said "Sod that, we're going to the front". I imagine people were thinking of the possible hearing impairment, and not wanting to stand in front of the banks of amplifiers, but we laughed in the face of tinnitus and went for the full on Kennedy Experience! We were right at the front. I mean RIGHT at the front. Close enough that Nigel Kennedy dripped sweat on us!! Close enough that my ears rang for days afterwards. It was amazing.
Watching an undoubted musical genius play the violin (he even got the Strad out at one point), inspired Stephen the genius guitarist to go "Pah. I could do that. I'm going to learn to play violin. It'll be easy. I play guitar. Its a transferable skill." I can tell you right now that it is most certainly NOT a transferable skill! Not even close! I bought him a violin for Christmas and after a few days of unspeakable cat torturing noises it was put away in its case and never mentioned again !!
( This is Kerry Sparks in her blog telling how finding an old CD triggered a memory from back in the day. Click HERE. Thank you, Kerry, for sharing !)
Kerry and her husband are back in the UK from spending two years in the USA. They're presently putting their CDs on an IPod.
SLAWEK MELANIUK: THE KENNEDY EXPERIENCE
In 1966 Hendrix assembled The Jimi Hendrix Experience.
Thirty-two years later, in 1998, Nigel Kennedy brought to life The Kennedy Experience.
The group released a record comprising 6 pieces by Hendrix. Hendrix's composition "1983 (A Merman I Should Turn To Be)" is placed on the third side of his analogue album. The piece, read out with the voice of Kennedy's violin, carries the listener to the peak of audile sensation, experience and imagination.
The opening sounds are released by two acoustic guitars, accompanied by the cello and contrabass. The tune, initiated by Kennedy in an acoustically astonishing fashion, adds new quality to Hendrix's music. The violin sounds evolve into the well-known and distinct electric guitar wah-wah and fuzz effects.
The passion with which the bow attacks the strings is stunning. Blazing up and subsequent rhythmic extinguishing of the sounds is a demonstration of the performer's craft. By stretching the sounds and
emulating riff pumping, Nigel Kennedy displays his exquisite perception of Hendrix's musical ideas.
Keeping in our music memory the Kennedy achievements that astounded the music halls of the world, we realize the outstanding mastery with which he maneuvers amongst sounds created by totally unrelated composers. Antonio Vivaldi's ?Four Seasons is a breathtaking success. The violinist's performance may be considered perfect.
Nigel Kennedy says that in his musical dictionary of composers, under the letter H there are the names of Hayom and Hendrix, the latter being most valued.
Sinking deeper into the music, we come across the drumming effects. Pounding the body of contrabass enhances our musical appetite and our ears are ready for even more intense stimuli. The acoustic guitars join in the dialogue, and the flutes, alongside with an oboe, lead the tune to the peak. Then the violin rules the climax. Going back to the main theme, Kennedy serves us a good deal of lyricism.
Jimi Hendrix..........The Kennedy Experience..........Nigel today
(Courtesy 3.bp.blogspot.com; sonymasterworks.com; rockmetal.pl)
In the seventh minute, the sound engineers used a technique developed by E. Krammer - Hendrix's sound director and engineer. Letting the violin sound through two stereo channels and gentle sound delays - so typical of rock recordings - illustrate the effort of the team to recreate the feeling of rock as much as possible.
The graphic aspect of the album, with the burning violin and floral colour scheme, makes reference to the flower power era esthetics. The producer certainly deserves appraisal for the editorial accomplishment.
Having reached the musical pinnacle, the recording soothes the listener's heart, offering cosy rest, inviting to contemplate it. The contrabass, with its stumping sounds, drags the violinist into the music, which then blossoms with lyric, warm and serene notes. All this is to prepare the listener for the forthcoming stormy and ferocious finale. A counterpoint of the rhythmic guitar introduces elements of dance into the composition. Violin variations perfectly concur with the tension created with other instruments. In the higher registers, Kennedy gives way to his emotions and a wildly imaginative improvisation takes the stage.
Once the tension is relieved, the silence descends and allows the listener to gather his strength to face the final flood of juicy notes. The music, coming from the violin, chases the listener with a gallopade of tremulous sounds. Playing legato in low notes, plucking the strings with the bow: all this envisages Kennedy's fascination with Hendrix. Tremolos, so typical of Hendrix, are interpreted here by Kennedy with his violin, illustrating the nature of his musical soul.
The joy with which the musicians play the final notes provoke the listener to stamp his foot to the rhythm. The ending reflects the value of the entire piece. We can hear the performers breathing, as if exhaling the musical breeze they had to cope with.
The record gives us the picture of what the atmosphere was like in the studio. Kennedy's desire to beard Hendrix's music had been ripening for quite a long time, which could be observed on the concerts he gave in Poland, where among other compositions used to enrich his performances, Hendrix's pieces were performed.
The album was recorded between 30 Nov. and 2 Dec. 1998. The length of this period gives the picture of the atmosphere of harmonious cooperation that must have prevailed in the recording studio.
( This piece was written by Slawek Melaniuk, back in 1999. If it doesn't make you want to get out your copy of this CD and listen to it again, I don't know what would ! My sincere thanks to Slawek for submitting it.)
