the genesis of The Nijinska Chamber
In 1994 Sue Parrish of the Sphinx Theatre Company asked me to work with her on a piece about the choreographer and dancer Bronislava Nijinska. Initially we talked with the Cosh Theatre company about evolving a narrative through lyrics which I would write. Nothing came of this first effort. Sue then commissioned me to write the book and lyrics for a piece of music-theatre which I called Nijinska's Whistle. I started to research the life and times of Nijinska. Sue had a document from Nijinska's daughter, a synopsis of a book that Nijinska had planned to write towards the end of her life—the book never got written but the synopsis gave me access to some wonderful material. My first draft of the show had a large cast including many of the Ballets Russes stars—Nijinsky, Diaghilev, Stravinsky, Bakst, and Chaliapin who was the love of Nijinska's life. The story was set on a Cunard liner. During the last night of a crossing from Europe to America, the Company exorcised many ghosts for Nijinska with recreations of her St. Petersburg childhood, her war-torn youth, professional triumphs, joyful moments with Chaliapin, and tender times with her famous brother Vaslav Nijinsky. The piece was to end with the docking in New York as dawn breaks on a new world. When I was a child, before there were regular flights to the States, I did the Cunard Atlantic crossing several times, and it was remembering these days and nights at sea that served as my framework for the show. Errollyn Wallen joined us at that point to write the music, and we started to workshop songs and dialogue.
Then followed re-writes in the light of the workshops, more workshops, more re-writes—a process which is totally engrossing and rewarding and can also make one totally wretched. We went to Snake Ranch Studios and made a demo of the main songs with some marvellous young singers who have since worked in various Westbrook enterprises, Lore Lixenburg, Marie Vassilliou, and Matthew Sharp among them. But it all went wrong and Sue decided to drop the whole idea. She was very sad I know, since she has a great interest in the subject. I find it hard to define the loss I felt.
Having learnt about Nijinska and loving the project so, I had to put all the tapes and scripts in a box at the back of the shelf and try not to let the box catch my eye. Fortunately we always have projects bubbling away and before long I was gripped by TURNER IN URI, CUFF CLOUT, ART WOLF, and touring and recording. Still the feeling for Nijinska endured and last year I asked Errollyn if she would be interested in working on a small scale version of the Nijinska story. The two of us got together and looked at the songs we had written, and talked about possible new songs.
After some weeks, yet again, it was clear this was not the route to take. Dates in Jon Hiseman's studio were already agreed for the piece to be recorded, and I was becoming superstitious about the succession of problems and collapses. I asked Mike one evening if he would consider writing an entirely new score for some existing lyrics and also some new ones: I said he need not answer until the following day.
Mike decided to take it on. We had a month to write and rehearse the entire thing before going in the studio. I now set the piece in a dance rehearsal studio, the Nijinska Chamber, where she reviews her long life, surrounded by mirrors. Something wonderful happens when time is short—ideas come together, a shape emerges and then the fine tuning begins, all very fast. We phoned Karen Street and asked if she would join us in the piece to be performed by just accordion and voice. Karen rehearsed with us over many days. In August last year we recorded the main body of the album. Jon couldn't then have us back in the studio until the following December. So we took away an unfinished album. My unease that the piece would never be finished reared its head once more. However, this enforced gap allowed us to re-think parts of the album.
I wrote another text Dancing Tonight. Mike extended some of the numbers musically. Then, in the pocket of time between Christmas 2005 and New Year 2006, Karen, Mike and I were back in Jon's studio doing the final recording and mixing for The Nijinska Chamber.
It was released on Voiceprint at the end of May 2006. I wrote to Sue Parrish recently, 12 years after our first discussions. She gave the project her blessing. The mysterious workings of art catch us out frequently, - this is the form for which the story of Bronislava Nijinksa was destined, and the album is our testament to a great woman and artist, ‘La Nijinska'. Of course we haven't reached the end of the story—there will be ‘live' performances, possibly with dancers. Watch this space.
More information (with sound samples) about The Nijinska Chamber CD
Buy The Nijinska Chamber CD online from JAZZCD's
Guildhall Jazz Band Mike Westbrook Project
The Guildhall, 30th March 2006
One of joys of music is hearing a piece afresh, and discovering things that previously escaped our attention. Citadel/Room 315, a classic Westbrook score from the mid ‘70s, has recently been given new lease of life—firstly with its reissue on CD (BGO records BGOCD713, available online from JAZZCD's), and secondly with a live performance at the Guildhall - and is revealing several new secrets.
The recording has been remastered, and the resulting sound achieves a space and clarity which greatly enhances this busy score. The rhythm section in particular benefits from the greater depth and presence. The new release was given a boost at Ray's Jazz Shop, now housed in Foyles, when Mike, in conversation with composer Philip Clarke, discussed the piece and looked back over his life and work. The evening ended with a solo piano rendition of Blues for Terenzi.
Two days later a packed Music Hall at the Guildhall School of Music and Drama - housed within the Barbican complex, where the architecture has more than a touch of citadel about it - witnessed a complete performance of Citadel/Room 315.
The very big band (4 trumpets, 4 trombones, tuba, 6 saxes, 6 rhythm) conducted by an ebullient Martin Hathaway, with Westbrook on hand to provide additional direction and encouragement, was enthusiastic with laser-sharp ensemble work and mature soloing. Sections where apparently irreconcilable elements come together and build to a fever pitch contrast with moments of tranquillity to create a piece that is coherent and satisfying. While the origins of Citadel reflect a specific time and place, the blend of styles and generous helpings of infectious tunes have a vitality and universality which make it endure. This is a joyous score, and the Guildhall band relished the opportunity to put their stamp on it.
The evening began with a Duo performance by Kate & Mike Westbrook of the Wasteground and Weeds song, presented as a prelude to Mike's Wasteground Concerto – commissioned some 20 years ago but never performed until tonight. The song underwent a series of transformations and gave scope for several soloists and the ensemble to flex their muscles. Guesting with the band, principal soloists Chris Biscoe and Pete Whyman get ever stronger, their interplay achieving an extraordinary high level – no doubt a result of their recent Art Wolf experiences.
The encore – Ellington's Jones - had Westbrook and the band tipping their hat to the maestro and brought the evening to a rousing conclusion.
Citadel/Room 315 CD information (with sound samples)
Buy Citadel/Room 315 online from JAZZCD's
