[Dixielandjazz] Polina, Bach, and Pee Wee Russell

[Charles Suhor]

Okay, this isn’t jazz, but there are so many interesting things going on, musically and visually, that I couldn’t help sharing it. The lines of of the opening cadence has some great syncopations. The camera captures the grace and and dazzling speed of Polina’s fingering, enhanced by the mirrored panel (and her beauty is stunning). I’ve always loved Bach’s counterpoint but seldom seen up close how the pianist’s hands interplay in the execution. Funny aside: the stony page turner reminds me of Keely Smith—so much is happening musically but she’s sitting deadpan next to Polina, who’s clearly transported, knocking herself out.
The audience spontaneously applauds at the end of the movement, which I really like. The mandatory concert convention of not applauding until the end is as artificial as the conventional applause after each solo by some jazz audiences. The whole 23 minutes is a pleasure, but you can skip to the third movement at 16:00 to see Polina Osetinskaya’s ferocious beauty at a peak. She’s almost levitating with the joy of it.
Relevant to this, Pee Wee Russell once said, “A certain group of guys—I don’t care where they come from—that have a feeling and a rhythm that you couldn’t take away from them, even if they were in a symphony organization. Regardless of what type of music they play, they could feel a beat from a conductor.” 

Charlie

https://www.youtube.com/watch?v=osg_WmeLxQk

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