Interact & Reviews / Reviews

Jazz is not "my thing" at all but I recorded the concert on HDD. Gareth Malone normally so articulate could not remember anything to say about Stravinsky's Ebony Concerto - couldn't someone have picked up the programme and read from that? Charles Hazlewood is excellent but that shirt!!

Pat Leacock
I have to say that anyone who listened to Simcock's composition and found it "disappointing" surely must have been at another concert. Flicking through the TV that fateful Saturday, and by chance encountering this moving, spirited, soulful and imaginative piece made my year. Touches of Latin rhythms, Claus Ogerman-inspired string and horn arrangements, sprinkled with Herbie/Chick Corea piano noodlings over the top was a revelation. If this is what this young man can compose which someone unfortunately commented as being "written in a hurry", when he takes his time the true masters of orchestration will bow to his greatness. Listen back to the piece again on "iPlayer" to find out that I am right. Also a comment on the great jason Yarde who as saxophone player does not have to have a solo in his work. That's why he has other great competent players to recreate his idea. I tip my hat to Jason for still playing so good after years of seeing him with Courtney Pine and other great British players. Support them all, not knock them down. Unless you think you can do better!

Andy. McAleer
Michael Collins and the horn section was tremendous in both clarinet pieces. Collins can switch styles at ease from jazz-inspired riffs to lush romanticism. The accompanying horn section in both clarinet pieces were also tremendous. In disappointing contrast, the Yarde and Simcock commissions fell flat. The former was surely an opportunity for some extended improvisations on the soprano sax: none were forthcoming. The latter was mere pastiche that sounded either as if it had been wriiten in a hurry or by someone without any interest in orchestration or orchestral development.

Richard Lane
Listening to the Simcock piece was a revelation and perhaps more so for arriving halfway through the performance and with no idea of by whom or when it was composed. There remained throughout a sense of listening to something both wonderful in its lyricism and important as a piece of late 20th century music; for this is where I firmly placed it and with no lesser credit than the finest example of seamlessly aligned jazz and classical compositional structure. Whilst it was clear to even my untutored ear that there was an element of improvisation, I remained convinced that this was an established piece that somehow had escaped my attention although quite how I just couldn't imagine. How wonderful then to learn that we were hearing 'Progressions' for the first time and care of a BBC commission of this century!

If there was anything to be disappointed about, as I dabbed an overly moist eye, it was that not every member of the audience rose to their feet and Simcock's wardrobe has yet to match his standard of musicianship. Oh, and when will we learn if this premiere is to be committed to disc as so surely it deserves? A masterpiece and nothing less.

Martin Adams
Simcock's Progressions was a tremendous aural experience, especially his spontaneous improvisation towards the end. The choice of the male commentator (I cannot recall his name) was somewhat odd as he was not totally au fait with the type of music on offer. Jaqui Dankworth's comments were far more informed, especially her linking Jason Yarde to Coltrane-ish influences, to name but one observation. Michael Collins was his usual brilliant self, Hazlewood inspired, and even the main MC mentioned Chick Corea which shows a contemporary awareness to the world of Jazz. More Jazz (and other music forms, Folk etc.) at the Proms, please BBC!

Rob Haines
Great concert - wonderful music and great to have premieres too - the Simcock was fab. The TV coverage was good too, with interesting and intelligent discussion. But the crown must go to Charles Hazlewood, that all-round good thing in our "classical music" (sorry to use the phrase) world, who makes things accessible without being patronizing or simplistic. To conduct and to turn the camera on himself almost commentating on a performance he was involved in and for it not to seem weird is a very considerable talent. The whole evening showcasing the very best aspects of the Proms.

Adrian Pickering, Southampton, UK
Like many others, I enjoyed Simcock's Progressions. However, the main reason was that it was based on a old favourite of mine from many years ago - Bernstein's Symphony No.2 "The Age of Anxiety". The latter, sometimes regarded as a piano concerto, was originally composed in 1946-9. It features all the inventiveness and orchestration skills associated with Bernstein. Simcock's version was perfectly valid as a variation - it was as if composed and performed having just listened to Bernstein's original. However, I found it strange that there was no acknowledgement of the association, either by Simcock or the commentators. Bernstein featured in the Prom so his contributions to the genre should be well known. I wish Simcock well in developing this genre of music. However, I would rather that he and others acknowledge the origins of this premiere work.