Soviet officialdom shuddered at the freewheeling syncopation and scat of jazz. It bespoke of a freedom of spirit, undeniably too American for the masses.

Probably the best jazz pianist of Estonian heritage, Armas Maiste (Art Maiste to many in music circles) has gained universal admiration and praise for his talent and superb musicianship. For Estonians, it’s the added acknowledgement that his chosen musical genre was oftentimes suppressed, heard mostly conspiratorially at underground venues in the USSR.

In spite of this, some western jazz musicians were still able to tour the Soviet Union. It;s interesting to note that after returning from these concerts, they recognized Estonian audiences as being more genuinely appreciative, as having an actual grasp of the jazz form. It was in Tallinn that Oscar Peterson allowed his concert to be taped on the sly, without official sanction.

Maiste’s career developed diversly: “ The Montreal Symphony Orchestra took up most of my time [some years ago] where I was resident pianist. My trio, ‘Show Art Maiste” was also active. The work day was long, but I was young and jam-sessions ended in the early morning hours. I couldn’t have imagined that I was known in Estonia. [ Jazz afficionadoes heard his music secretly through Voice of America, regardless of Soviet electronic jamming.] I escaped from Estonia as a young pianist. The first years at the Tallinn Conservatory I still remember.” [ As a student of classical music, Maiste was already recognized as a child ‘wunderkind’.]

“ In Sweden I practised seriously... A pretty young Swedish girl once played a few records on the Gramophone for me.... This was something so new and refreshing. I couldn’t ignore it, music that flows improvisationally from th soul. Composition is instantaneous, when performing. Every time, it is new. It flushes stale feelings and keeps one’s senses sharp and fresh. Sounds take over sadness and distress. Jazz is logic - a world view, a complicated musical art.”

“That was my destiny. I had to grasp it immediately. Mistakes were unforgiveable. I remember the concerts with Judy Garland ... And Frank Sinatra. ... Once I stood in for his pianist who was ill. At rehearsal, a musician made a slip-up. ‘Old Blue Eyes’ demanded his immediate dismissal. ... The members of the orchestra were petrified. But soon the old master was smiling and we all had a momentuous life experience.”

Being much in demand, Maiste has performed with other musical legends. “We completed a series of tapings with Toots Thielemann ... Michel Legrand wanted us to play a lot of notes. We happily complied. There are plenty in the piano if you diligently practise. Herbie Hancock, George Shearing, Bill Evans, and of course Gil Evans with his incredible imagination inspired us. ... Maynard Ferguson.”

“Then McGill University established its jazz faculty. To teach the meaning of thinking free and crerative improvisation. .... [ Also at] the Royal Conservatory in Toronto and in Ottawa.”

Maiste’s repertoire is massive - Debussy, Chopin, Mozart, Prokofiev and many others. He’s also a recognized master of Estonian works including folk usic. It’s uncanny how fluently he flows from recognized harmonies into a jazz format on the same melody. The transition is effortless, an unconstrained change of hue.

In Janary, at an-invitation-only, packed house session in Tartu College, Maiste onc again reminded this writer as to how accompished and disciplined he is. With a professional bassist and percussionist, his interpretations of Chick Corea, Duke Ellington, Thelonius Monk and others drew the expected standing ovation.

I’ve heard Maiste several times at auspicious occasions in front of M.P.’s, senators, diplomats in Ottawa’s house of parliament, in Estonia and elsewhere. His discipline is always disguised by self-assurance. The audience is taken by his smile and affable raportee. It’s always marvellous! (* With quotations translated from an earlier “ Meie Elu” article)

Kultuur

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