# Myra Melford a Novara: She had an impetuous encore which concluded a very thoughtful concert: Videos, Photos

- Link: https://jazzblues.eu/2024/06/15/myra-melford-a-novara-she-had-an-impetuous-encore-which-concluded-a-very-thoughtful-concert-videos-photos/
- Published: 2024-06-15T00:02:44+01:00
- Author: https://JazzBlues.EU

**And here we are back in the elegant neoclassical courtyard of Palazzo Bellini 
in Novara. It is undoubtedly one of the most beautiful locations of Novara Jazz,
perfect for a solo piano concert with its intimate atmosphere.**

The palace is full of history: two Napoleons have passed through it, the first and
the third. And above all the melancholic Carlo Alberto, who after the defeat of 
1849 signed his abdication here. One of the few people to resign in Italy, his generals
instead remained ‘heroically’ in their place… The building, restored to its former
splendor also in the interior by the Banca Popolare di Novara Foundation, will open
to the public in autumn with the support of the FAI .

A grand piano peeks out under an arch of the portico, with Myra Melford at the keyboard.
A pianist with an original and varied background, she has been active since the 
beginning of the 90s after having especially treasured her acquaintance with Don
Pullen and Henry Threadgill. While his growing fame is linked to ensembles ranging
from trios upwards (the two volumes of ‘Alive at the House of Saints’ and ‘Even 
the Sounds Shine’ for the long-missed Swiss Hat Hut were fundamental), his arrival
at solo piano it has remained decidedly more in the shadows and less documented.
.
And this made the Novara occasion decidedly precious, not only for the public, but
also for the musician: in fact, a skilful layout of the concert was immediately 
evident, divided into very distinct and carefully alternated pieces in a chessboard
structure which sees alternating pieces pointillistic and percussive with others
in which the spirit of the song shines through.

![](https://i0.wp.com/traccedijazz.com/wp-content/uploads/2024/06/alive_in_the_house_of_saints.
jpg?resize=640%2C630&ssl=1)

In the former, a dry and muscular touch dominates, a sound devoid of nuances and
all hard matter with marked dynamic contrasts (sometimes even a little insistent).
The prevailing color is dark. One would be tempted to mention Taylor’s name, but
perhaps it is a red herring: here there is a dramatic contrast absent in the imposing
and granitic Taylorian architecture. Furthermore there are moments of clear brightness
and vast spatial openness. Perhaps the most appropriate reminiscence is that of 
Bartok, an author with whom modern jazz has secret but intense relationships: after
all, Melford frequented him for a long time, together with Stravinsky.

 In the ‘songs’, however, a singability transpires distorted by a tormented complexity
and refined elegiac abandonments. However, everything is always supported by a perennial
vibrant tension. And here in my opinion Myra in solo expresses the best of her and
her greatest originality. Her dryness and controlled measure also allow her some
impressionistic trespassing, a temptation that is almost always fatal and ruinous
for others.

An attentive and concentrated audience followed and warmly supported the pianist
until a finale with heartfelt and thrilling blues accents. A hot and tired, but 
visibly satisfied Myra had an impetuous encore which concluded a very thoughtful
concert, and above all completely immune from the narcissistic tendencies frequent
in the ‘solo piano’ genre. Another beautiful page from the Novara Jazz album. Milton56

And here is Myra grappling with the blues, the moment of truth for every authentic
jazzman.

![](https://i0.wp.com/traccedijazz.com/wp-content/uploads/2024/06/myra-melford2-
780x525-1.jpg?w=640&ssl=1)

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