Whether or not we admit it, the music that makes an impression upon us as teens remains an important part of our lives. Italian pianist, composer, writer, and broadcaster
Stefano Bollani
is no different. Born in 1972, he was too young to have encountered the excitement and controversy surrounding the 1970 recording of
Andrew Lloyd Webber
and
Tim Rice
's
Jesus Christ Superstar
.
Deep Purple
Ian Gillan
sang as Jesus,
Yvonne Elliman
was Mary Magdalene, and
Murray Head
was Judas, all accompanied by a rock band alongside a symphony orchestra. It was deemed so radical that the BBC banned it from airplay straightaway. At 14,
Bollani
saw
Norman Jewison
's cinematic adaptation of the work and was so blown away, he bought the original album, learned all its parts, musical and vocal, and has studied it ever since.
To commemorate the original recording's 50th anniversary,
cut these deeply intuitive solo piano versions of each tune in the production. He performs these songs with a jazzman's sense of rhythm, swing, and improvisational embellishment, without remotely sacrificing their melodic essences. They are recorded as if he were playing for himself, and reflect joy, humor, empathy, warmth, and reverence for the composers' achievement. These songs are delivered with the pianist's requisite sense of mischievous curiosity and bountiful creativity. In the "Prelude" overture, he illustrates
Webber
's use of
Stravinsky
Firebird
, plain. He melds
Scott Joplin
Horace Silver
in a funky, rag-style approach to "What's the Buzz," complete with a staggering solo. An insistent meld of swing and stride fuels "Heaven on Their Minds." The brief "Strange Thing Mystifying" weds country, gospel, and the blues, while acknowledging the contribution of
Keith Jarrett
. "Everything's Alright" relishes its unusual time signature for pop/rock (5/4) as a platform for melodic improvisation before turning into a jazz waltz.
's embellishments illustrate the sophistication in
's tender melody. The pianist approaches "I Don't Know How to Love Him" as
Bill Evans
might; he dives deep into its lyric building blocks to reveal a universe of harmonic and rhythmic connections between pop, classical, and jazz while displaying authority and vulnerability simultaneously. "King Herod's Song" is the only track composed before the musical was conceived --
wrote it as "Try It and See," a pop single for Italian singer
Rita Pavone
. This swaggering stride take underscores
's love for
Fats Waller
. The deeply moving lyric impressionism in "Pilate's Dream" and "Last Supper" both recall the intimate beauty in
Michel Legrand
's best film scores. The only vocal is on the theme "Superstar," where
rhythmically sing-speaks a la
Ben Sidran
, then delivers swinging bop fills and comps. A small, informal chorus of family and friends sings the refrain in closing. Despite
's award-winning work with orchestras, singers, and jazz ensembles large and small, this lovingly presented solo set examines these accessible compositions as enduring works ripe for reinvention and deserving of their enduring place in Western pop culture. Ultimately,
Piano Variations on Jesus Christ Superstar
is a small, intimate wonder. ~ Thom Jurek