Felice Clemente - Nuvole Di Carta // Doppia Traccia

Nuvole di Carta is my heartfelt tribute to a beloved friend who left us three years ago, at a very young age. A young man very rich in spirit, with many projects he wanted to realize. This latest work of mine is dedicated to him and to his dreams; the title, Nuvole di Carta, alludes in fact to the fusion between dreams (the clouds) and their realization (paper), as if, someway, with my notes I wanted to give a shape to his open eyed dreams.
Clouds then acquire the shape of our dreams, which, as our life and our experiences go by, change, sketching outlines that are always different and more complex, sometimes even simpler, but in everlasting movement. Alas, his clouds have stopped still, crystallizing in an eternal present, becoming made of paper. The journey through this cd's tracks would like to melt this painful fixity entrusting that magic of music, which is able, from time to time, to turn even the last drop of the hourglass into honey. I have worked very hard on the choices of timber and rhythm, on the shape of the tracks, trying to deconstruct the themes so to give more space to the creative improvisation of the musicians, without renouncing that melodic element that I consider an indispensable part of my stylistic hallmark. The result is an aesthetic experience, always changing, in continuous metamorphosis, rich with continuous surprises even for us musicians, who have tried to leave the singing to instinct, heart, emotions, anything that can shape dreams and make them come true. The dreams of us, of our friend, and, I hope, of everyone who will listen to us.

Felice Clemente

Felice Clemente - tenor and soprano sax
Massimo Colombo - Piano
Giulio Corini - doble bass
Massimo Manzi - drums

DOPPIA TRACCIA

The music contained on this disc is written, either for the duo compositions either for piano. In discussion is for aid in the study of classical music to jazz address, which must be interpreted with "swing" and with some notion of improvisation, in fact a good jazz practice is necessary. Some compositions have a polyphonic language and needs a good listen of classical music, particularly the Baroque repertoire. It is music for classical or jazz musicians, first of these to give an interpretation, for the other ones to explore and develop creative compositions while keeping firmly to its original score.

The " 9 notturni " (op. 581) are compositions for alto saxophone and piano inspired by the famous collection of Frédéric Chopin, among the greatest piano composers of the Romanticism, marvelous piano player and an excellent harmonizer, absolutely one of the most influent classical musician in the modern context.
For the easy singability, the romantic expressivity combined with simplicity, the harmonization to the border between romance and jazz (thinking of Bill Evans) are essential components of the collection. The " 9 Notturni" can also be performed by piano only keeping the same score.

The "duo Fantasia" (Op. 624) for piano and soprano sax is a track more complex in form, rhythm and interaction between written and improvisated parts, in which it develops improvisation while maintaining a strict classical evolution.

The "15 immagini" (op.480) for solo piano are easy samples in which are discussed different musical styles: jazz, latin, choral, folk song, blues.

The two compositions at the end of this disc, "L'insaziabile tono" and "La linea di spago", are made following jazz techniques, even if contaminated with developments related to classical culture: at the thematic exposure follows improvisation on the same structure. The same thematic element is also the final restatement.

Massimo Colombo

FELICE CLEMENTE

Born in August, 9 1974 in Milan. He developed his passion for music in the family circle, under the guidance of his grandfather, who taught clarinet. He continued to study clarinet at the Conservatorio G. Verdi in Milan, where he obtained a first-class degree with M° L. Tessari; afterwards, he attended the two year post-diploma training program. At the same time, his discovery of jazz and the saxophone lead him to pursue its study with saxophonists Paolo Tomelleri, Pietro Tonolo and Tino Tracanna.
He obtained a first class degree in jazz music with M° Tino Tracanna at the Conservatorio G. Verdi in Milan. In Milan, in 2001, he attended the Masterclass in jazz arrangement taught by Corrado Guarino and, in 2002, the jazz Masterclass taught by Dave Liebman and Massimo Colombo. In 2005 he obtained the teacher certification for "classi di concorso 31 e 32 A". At 36, his recording activity can already claim 8 records as a leader and coleader and 7 records as a sideman, plus a hectic concert activity.

AWARDS

As a clarinetist he came in first at the Concorso Internazionale di Musica "Premio Ispra" (Va) in 1991, the Concorso Nazionale di clarinetto "Vito di Lena" of Segni (Rm) in 1994, the Torneo Internazionale di Musica T.I.M. Erba (Co) in 1997.

ACKNOWLEDGEMENTS FROM SPECIALIZED MAGAZINES

He has had many reviews and recognitions in Italian and foreign magazines specialized in record productions. He has been described by Enzo Siciliano in Repubblica as "the best young Italian saxophonist", and by Cadence magazine (USA) "a talent destined to make jazz history". He has been voted as one of the best saxophonists of the year in the referendum TOP JAZZ 2007, 2008 and 2009, organized by the magazine "Musica Jazz", and JAZZIT AWARD 2011 organized by the magazi "Jazzit".

MUSIC COLLABORATIONS

In addition to his own usual musicians, he has collaborated with artists that are amongst the greatest on the national and international scene, such as Gregory Hutchinson, Xavier Davis, Danny Grissett, Ugonna Ogekwo, Jimmy Greene, Quincy Davis, Asaf Sirkis, Yuri Goloubev, Marco Tamburini, Marco Brioschi, Paolo Birro, Tino Tracanna, Massimo Colombo, Massimo Manzi, Sandro Gibellini, Bebo Ferra, Stefano Di Battista, Andrea Dulbecco, Stefano Bagnoli, Riccardo Fioravanti, Ferdinando Faraò, Rudy Migliardi, Geggè Munari, Giorgio Rosciglione, Antonio Zambrini, Pietro Lussu, Roberto Cecchetto, Claudio Fasoli, Guido Bombardieri, Tullio De Piscopo, Laura Fedele, Sergio Orlandi, Massimo Pintori, Bruno De Filippi, Luigi Martinale, Alberto Mandarini, Giovanni Falzone, Stefano Bertoli, Javier Perez Forte, Francesco D'Auria, Montecarlo Night Orchestra and Nick The Nightfly directed by Gabriele Comelio

ENSEMBLES AND PROJECTS

As of now he directs his own quartet (with Massimo Colombo, Giulio Corini and Massimo Manzi), which sometimes is expanded to a quintet with Bebo Ferra's presence.
He co-directs the duo with Javier Pérez Forte.
He co-directs the duo with Massimo Colombo.

Resonance Records : Freddie Hubbard - Dado Moroni

Dado Moroni - Live In Beverly Hills

( Cd e Dvd Blue Ray )

Dado Moroni è uno dei pochi, se non l’unico pianista italiano ad essere popolare di qua ed al di là dell’Atlantico e il recentissimo 4 stelle e mezzo che il cd Live In Beverly Hills ha "portato a casa" niente meno che dalla bibbia del jazz statunitense Downbeat ne è la riprova. Nel suo ultimo lavoro, produzione della californiana Resonance pubblicata in edizione CD + DVD e Blu-ray, dal titolo “Live At Beverly Hills” è accompagnato da Peter Erskine alla batteria e Marco Panascia al contrabbasso. Dado si conferma uno tra i grandi della tastiera jazz e di cui il nostro jazz può andare orgoglioso. L’approccio è quello Swing-centrico, ma Dado Moroni dimostra padronanza assoluta dell’idioma jazz in ogni sfumatura cosi l’ex ragazzo prodigio del nostro jazz, ora uomo fatto, ci dimostra un volta di più che “jazz is a state of mind”. CD + DVD – Blue-ray

Moroni was born and raised in Genoa, Italy, and took to jazz early. "My parents bought a piano for my sister, but she didn't show a lot of interest in it. When I came along, I was immediately taken with it from the age of three. My father was always playing jazz records in the house - people like Earl Hines, Fats Waller and Count Basie. I fell in love with those records, and started trying to imitate them on the piano. My mother, who played accordion, saw how interested I was in the instrument, and put me on her lap to explain the difference between major and minor chords. And that was the beginning!"

Originally self-taught, Moroni would heed the advice of a family friend and study piano formally, eventually gigging with local Italian, as well visiting American musicians. Unsure he'd be able to mount a successful career in music, Moroni actually enrolled in law school. But a chance encounter accompanying famed bebop trumpet pioneer Dizzy Gillespie would forever alter Moroni's musical path, with the elder jazz statesman telling him, 'Man, there are too many lawyers out there. You should play piano!' "That was the turning point," Moroni says. "I decided right there that I could make a living doing what I loved to do. So I took him seriously, and quit law school!"

Moroni's love for the jazz language is evident across all seven tracks of Live in Beverly Hills. The album opens with Moroni's fierce left-hand anchoring a sea of buoyant band interplay on his own "Ghanian Village," complete with Kenny Barron-esque piano proddings that recall the elder pianist's rhythmic renegade. "If I'm playing a song and I hear a sound that makes me think of someone like Kenny Barron, who I love and is one of my dearest friends, I say hello to him in the music," Moroni says. Other infectious album cuts include a metrically-modulating romp through famed Modern Jazz Quartet pianist John Lewis' "Django," as well as a Bossa Nova-infused take on "Where Is Love?" from the musical Oliver!

Freddie Hubbard 

Pinnacle - Live & Unrealeased From Keystone Korner

A trent’anni dalla data di registrazione di due indimenticabili concerti di questo gigante della tromba (Keystone Corner, SanFrancisco Giugno e Ottobre 1980) la Resonance decide di pubblicarli in quanto rappresentano al meglio il talento di un grande della tromba, prima che la malattia minasse le sue capacità espressive. Il compianto Hubbard, scomparso nel 2008, andrebbe ricordato attraverso questo cd dove per un’ora imperversa alla tromba. (Ascoltatelo cosa riesce a fare di un classico del sax come la Coltraniana “Giant Step”)

Considered by many to be among the top echelon of jazz trumpeters, Freddie Hubbard is at a career peak during these live performances, recorded with two different groups during several 1980 sets at the Keystone Korner in San Francisco. The core group includes pianist Billy Childs and bassist Larry Klein, with either Eddie Marshall or Sinclair Lott on drums. Hubbard's take-no-prisoners attitude is apparent in a power-packed performance of his "The Intrepid Fox" (adding trombonist Phil Ranelin and tenor saxophonist David Schnitter), though the spotlight is on the leader, aside from a brief feature for Lott. Childs switches to Fender Rhodes for Hubbard's driving bossa nova "First Light," while "Happiness Is Now" is a funky affair. Hubbard was underrated as a ballad interpreter, though his poignant take of Michel Legrand's "The Summer Knows" (from the film Summer of '42) is a brilliant showcase for him on flügelhorn. One of the great thrills is Hubbard's first known recording of "Giant Steps," with the leader tackling it with his sextet at a fast tempo, showcasing tenor saxophonist Hadley Caliman and Childs, as well. This well-packaged, previously unissued music from producer Todd Barkan's (the owner of the long defunct club) personal archives, includes detailed liner notes by several contributors and lots of period photographs. ( All Music )

Red Records : Vito Di Modugno - Pablo Bobrowicky - Edward Simon

Vito Di Modugno - East Side

L’affermazione nel referendum delle celebre rivista statunitense Down Beat, che lo ha inserito nella top ten mondiale dei solisti di organo Hammond, ha incoraggiato il barese Vito Di Modugno – e con lui il discografico Sergio Veschi, patron della Red Records – a insistere sulla strada intrapresa di un «hard bop» personale, ma al contempo per nulla vergognoso della propria discendenza stilistica da quel «Blue Note Sound» che resta tutt’oggi fra i più amati dagli appassionati. E i fasti della celebre etichetta fondata nel 1939 da Francis Wolf e Alfred Lion vengono rievocati non appena si scorre la copertina del cd East Side, nel quale il Nostro, oltre ad aver allestito una formazione ampia, degna di certe sedute di Jimmy Smith (si pensi a The Sermon o House Party), ha inserito anche Zoltan, The Moontrane e Softly As in a Morning Sunrise, ovvero tre temi tratti da Unity, l’album del 1965 nel quale l’indimenticato Woody Shaw aveva «incrociato» la propria tromba con il sax di Joe Henderson e, soprattutto, l’organo Hammond di Larry Young (il batterista, per la cronaca, era Elvin Jones).
Sostenuto dai fidati Pietro Condorelli alla chitarra e Massimo Manzi alla batteria, Di Modugno ospita allora la tromba di Fabio Morgera, il sax di Jerry Bergonzi e, in alcuni brani, anche quello del pugliese Michele Carrabba, per un disco nel quale la cifra jazzistica non fa sconti a nessuno e segue opportunamente solo il rigore stilistico, l’entusiasmo, senza ammiccamenti modaioli di sorta.
L’apertura di East Side Blue, con i suoi aromi di balkan jazz, sembra quasi pensata a mo’ di prologo per Zoltan, che Shaw compose in omaggio al musicista ungherese Zoltan Kodaly. Seguono poi due brani originali di Di Modugno, il ternario Jury’s Bite, in slow tempo e il gustoso Sidran, del quale si apprezza l’afrolatin beat. Tipicamente in stile Blue Note è poi anche Tilt di Bergonzi, protagonista anche del succitato Softly... con un aspro assolo di sax. In The Moontrane, Carrabba si dimostra ben all’altezza dei blasonati colleghi, mentre di nuovo Di Modugno firma gli indovinati Clemmy e Unity, espresso omaggio alla registrazione di Shaw, mentre tocca a Morgera chiudere la scaletta con The Incredible Truth, che sembra riproporre gli aromi levantini del brano iniziale.
Un cd che piacerà, c’è da starne certi e che continuerà a consolidare la fama di Di Modugno al di là dell’Oceano. ( Tratto dalla Gazzetta Del Mezzogiono )

VITO DI MODUGNO ORGAN COMBO

feat. JERRY BERGONZI & FABIO MORGERA
PIETRO CONDORELLI, GUITAR
MASSIMO MANZI, DRUMS
MICHELE CARRABBA, SOPRANO & T. SAXES
JERRY BERGONZI, T. SAX
FABIO MORGERA, TRUMPET

Tracks

1. East side blue (V. Di Modugno) 8,54
2. Zoltan (W. Shaw) 6,41
3. Jury's bite (V. Di Modugno) 7,02
4. Sidran (V. Di Modugno) 6,51
5. Tilt (J. Bergonzi) 7,18
6. Softly (S. Romberg) 6,52
7. The moontrane (W. Shaw) 4,28
8. Clemmy (V. Di Modugno) 6,33
9. Unity (V. Di Modugno) 6,15
10. The incredible truth (F. Morgera) 4,32

Pablo Bobrowicky - Southern Blue

 

Esiste un libro che può dirci molte cose su Pablo Bobrowicky. L’ho scoperto per caso, prima ancora di ricevere l’incarico di scrivere le note di Southern Blue. Nel leggere Evaristo Carriego di Jorge Luis Borges, realizzavo che tra le pagine e la vicenda del chitarrista, i punti di contatto erano molteplici.

L’essere argentino è il primo tratto comune tra Evaristo e Pablo. «Sebbene i miei parenti e genitori siano immigrati, la mia cultura è argentina; sono proprio loro che lo hanno fortemente voluto. Ho ereditato un cognome “straniero”, che viene da lontano ed è difficile da pronunciare». Pablo non è creolo, ma come Evaristo è senz’altro porteño: «Sono nato e vivo a Buenos Aires da sempre. Questa città è molto simile a New York, un crocevia di razze capace di generare simultaneamente una nuova cultura locale».

Le ‘razze’ di cui parla Pablo, sono discendenti neanche troppo lontane di quelle che abitavano il quartiere Palermo raccontato in Evaristo Carriego. Émir Rodriguez Monegal dice che Borges, scrivendone la biografia, salva Evaristo, poeta minore realmente vissuto (1883-1912) e il suo mondo dall’oblio, una Buenos Aires «di cattivi ragazzi, piccole genti, di tango e duelli al coltello»; Pablo invece, ‘salva’ tradizioni musicali di quello ‘stesso’ mondo; le ricostruisce, integrandole e sintetizzandole col jazz. «Qui ci sono molti artisti, poeti, compositori, che esprimono genuinamente i mondi delle genti, come fanno il jazz e la musica classica, ma non sono considerati universali. Sono inevitabilmente impregnato di quest’arte e non posso smettere di stimarla, viverci attraverso, godermela; è quello che respiro e spesso lo trasformo in jazz, il linguaggio che ho deciso di esprimere».

Pablo come Borges lavora dall’interno, conosce i luoghi, i lineamenti dell’etnie, il suo ‘panorama’, riprendendo un’indovinata intuizione di Mark Corroto, ‘evoca’ la vita e per questo è di valore inestimabile: «la musica popolare è l’espressione delle genti e non l’invenzione di una sola persona». Sin da bambino, suona musica popolare argentina e jazz, ma limitare la sua conoscenza al solo folklore locale, significa negare il più ampio oscillare tra le tradizioni. È stato il grande musicista Norberto Minichillo a fargli comprendere come jazzificare il folklore, in un continuo processo di andata e ritorno col jazz: «Per tre anni ho lavorato con Norberto che mi ha aiutato ad esprimere in jazz la musica popolare e viceversa».

La prova di questo procedere ci veniva fornita in “South of the world” (Red 269), un disco avanguardistico, realizzato con Minichillo e Luis Agudo («L’uso che quei due facevano delle forme popolari era impressionante»), in cui una profonda conoscenza dei linguaggi potenziata da una conturbante naturalezza espressiva, permetteva un trascendimento degli stessi. L’indefinibilità delle musiche diveniva la forza del disco – brani come De Buenos Aires a Rio e Tierra, Aire Y Fuego rifuggono ogni etichetta. Fu invece Jim Hall ad accorciare la distanza tra Pablo e la ‘tradizione’ jazz: «Lui mi diede il titolo di “chitarrista jazz” e l’impulso per diventare una vero “Zen teacher”».

Nel punto di confluenza tra l’esperienze con Minichillo e gli studi con Hall, si trova la forza innovatrice di Pablo Bobrowicky, da cui emerge un jazz nuovo. Il suono e il fraseggio immediatamente riconoscibili, il personalissimo senso del tempo, sono vettori di una prospettiva differente e pertanto unica, segnata da tratti tipicamente argentini e sudamericani. Pablo è riuscito a calamitare il nord è il sud delle Americhe. Bisogna tornare al primo Gato Barbieri o ai lavori di Norberto Minichillo per rintracciare qualcosa di simile, che qui trova una definitiva compiutezza.

Standard, folk poetry, e inedite fusioni (come scorporare il tema di Barbados dall’incalzante Murga Urugaya messa in moto da Pepi Teveira?) compongono Southern Blue. Dai sessantasette minuti di Where we are (Red 288) si è passati ai cinquanta di quest’ultimo lavoro. «Per me la durata ideale di una registrazione è di quaranta minuti; lo stesso tempo sul quale organizzo il set live. Così facendo soddisfo il pubblico, lasciandolo con un pizzico di desiderio. Southern Blue prevede quaranta minuti in trio e dieci in solo; credo che ci sia un buon equilibrio». Davvero dettagli? Può darsi; ma anche indicatori dell’attenzione che Bobrowicky rivolge a tutti gli aspetti del suo essere musicista.

Accanto a Pepi Teveira («Pepi is my musical brother») uno dei più quotati e richiesti contrabbassisti d’area newyorkese: Ben Street. Nuovamente, la scelta non è stata casuale: «Nel 1994, durante il mio soggiorno a New York, ho suonato in una session con Pepi e Ben e da quel momento ho voluto registrare con loro. Quindici anni dopo, grazie al supporto della Red, quel “sogno” è divenuto realtà. Devo ringraziare Ben per la sua collaborazione, per avere viaggiato da New York a Buenos Aires quand’era necessario». D’allora Ben Street ha suonato e registrato con alcuni dei più interessanti jazzisti emersi nell’ultimo quindicennio (due pianisti su tutti: Edward Simon e Danilo Perez). Oltre a Pablo, ha accompagnato chitarristi come Ben Monder, Kurt Rosenwinkel e più recentemente Lage Lund.

In Southern Blue il suo ruolo è quello di sostenere e alleggerire i pesi. Se in Where We Are il carico solistico gravava in gran parte sulle spalle di Pablo, ora i compiti sono ripartiti. La cavata di Ben favorisce l’insieme, contribuendo a formare un suono sferico, che mantiene rotondità e densità nonostante il continuo rimbalzare tra i brani. Pablo e Ben s’inseguono come nel caso dell’esposizione tematica di Sos Vos?, la sola composizione firmata Bobrowicky, il brano più out del disco, basato sulla splendida All The Things You Are: «Ho cambiato il tempo da 4/4 a 3/4, modificato la melodia e qualche accordo». Il tema destabilizzante viene tenuto sotto controllo dall’interplay del trio e dalle linee quasi complementari di chitarra e basso. Ben muove il solo sulla reiterazione di brevi figure melodiche continuamente alzate e abbassate lungo il manico.

Quando il trio rallenta, relax e lirismo entrano in gioco. Il bolero cubano Eclipse de Luna (AABA form), la canzone brasiliana Luiza (in 3/4, tema di 24 battute) incarnano il quiet mood del terzetto. Pepi lavora con le spazzole poche figurazioni, gli armonici di Ben vibrano tra le frasi della chitarra. L’attenzione è votata al suono e a poche note che pesano come macigni: Pablo è maestro in questo.

I suoi soli si sviluppano senza fretta, lui stesso è persuaso che con poco si può dire tutto. Vale quanto Horace Parlan diceva di Grant Green: «[He has] the natural ability to know when not to play». Per trovare il suo spazio, in un universo chitarristico che predilige la velocità e l’urgenza inespressiva, torna indietro in cerca dei propri referenti: «Ciò che più mi attrae in un musicista è il suono, sentire che mi “parla”, che mi racconta una storia, una poesia, qualche segreto della sua anima. Un esempio di questa sintesi è Lester Young». Come Prez, si attacca alle melodie senza mai lasciarle, divenendo un raffinatissimo improvvisatore ‘orizzontale’. Nel subordinare la tecnica al feeling ci espone una visione del mondo e della musica, oggigiorno quasi sempre assente: «Spesso noi musicisti ci dimentichiamo del pubblico; pensiamo troppo a noi stessi, la rincorsa al successo e alla reputazione, ci rimuove dalle cose genuine. Personalmente vorrei che il disco e il suono, aiutassero l’ascoltatore a sognare, divertirsi, condividere momenti, amicizie, solitudini».

Ad un suono svincolato dai modelli, ottenuto lavorandoci ‘sopra’ senza sosta («Ogni tanto, quando suono delle linee, utilizzo un octavador analogico»), Pablo associa un innato senso dello swing. Tempi, metri, il ‘sentire’ ritmico di Southern Blue, ne sono pervasi. Coabitano nel chitarrista sia il quattro tipico del jazz sia ritmi provenienti da altre tradizioni e culture: «Molte musiche, dalle quali il jazz non è escluso, condividono una radice afro, la presenza di poliritmie, metri come 3/4, 6/8 e anche 4/4». Pablo è un ‘narratore’ che ha molto da raccontare e sa come farlo.

Chi ha suono genera suoni, e infatti dietro all’apparente ed ingannevole semplicità del trio, si celano segreti. Occorre attenzione per sentire come vengono accompagnati i chorus e i break di Ben Street in Luiza e Cottontail: suoni inaspettati e inauditi, ottenuti grazie a una fine cesellatura dei volumi tenuti a valori minimi («Lavoro molto sul sound acustico della chitarra cercando di tirar fuori un insieme di colori il più possibile utilizzabile. Cerco di farlo tutti i giorni»).

La Gibson ES175 diviene un armamentario timbrico. Il sound più convenzionale dell’accompagnamento di “C” Jam Blues si scontra con il palm muting del bridge di Rhythm-A-Ning eseguito all’unisono con Ben Street. Si può discutere sugli aggettivi adottati, ma non si può non notare la differenza tra la chitarra materica e metallica di Cottontail e quella più chiusa e ovattata di Rhythm-A-Ning.

L’intera poetica di Southern Blue è però racchiusa in Idle Moments. Non c’è miglior brano che può illustrarcela. Il beat viene rallentato, Pepi riprende in mano le spazzole, le trentadue battute del tema così come l’incedere bluesy di Pablo, vengono immersi nelle stesse atmosfere smooth e malinconiche di Eclipse de Luna e Luiza, non a caso due brani sudamericani. Il trattamento a cui viene sottoposto il brano di Duke Pearson, lo carica di nuovi significati. Se come dice Borges a proposito del tango: «La solitudine, come nel blues e nelle letterature sudamericane, fu un tema d’elezione», allora quello che si ascolta diviene progressivamente spleen porteño. Con gran senso della ‘storia’, il trio riveste uno dei brani-capolavoro del jazz con un velo ricamato in Sudamerica. Non solo. Registrare Idle Moments – ne è responsabile il produttore Sergio Veschi – significa rendere omaggio all’omonimo disco di Grant Green (Blue Note, reg. 1963), una delle session più belle e dimenticate della storia jazz, a cui presero parte musicisti come Joe Henderson e Bobby Hutcherson. Esistono rarissime riprese del pezzo (una, recente, contenuta in “On Fire” di Mike LeDonne) ragion per cui, la versione del Southern Blue’s trio diventa ancora più preziosa.
Argentina, Brasile, Uruguay, Cuba. Il jazz. Lo sguardo di Pablo va ben oltre il Rio de la Plata, le sue orecchie hanno filtrato suoni provenienti da un continente intero. Ecco perché prendendo in prestito una figura retorica, la sua Buenos Aires può essere letta come una metafora del Sudamerica. D’altronde anche quella di Evaristo era popolata d’italici, creoli, altri sudamericani… Di fronte a Southern Blue lo stesso concetto di latin si sfilaccia e la musica di Pablo Bobrowicky viene a coincidere con l’idea, più geograficamente e musicalmente ampia, di jazz sudamericano.

Luca Civelli – Musica Jazz

Edward Simon - La Bikina

Il miglior pianista della sua generazione nella sua opera seminale osannato dalla critica e da musicisti come Herbie Mann, Bobby Watson, Terence Blanchard, Paquito De Rivera, Greg Hosby etc. Un disco fondamentale nel jazz del 2000 fra jazz, folk, caraibi e latin tinge


Edward Simon, piano;
Adam Cruz, drums, pans & percussion (tk4);
Ben Street, bass;
Mark Turner, tenor sax;
David Binney, alto sax;
Pernel Saturnino, percussion;
Diego Urcola, trumpet;
Milton Cardona, vocals

Tracks

The Prayer
Uncertainty
The Process .
El Manicero (The Peanut Vendor) Part 1
La Bikina
Qunita Anauco
The Cha Cha
Ericka
El Manicero Part 2

The process by which Simon became an internationally regarded jazz musician began in the small coastal town of Cardón, Venezuela, where he grew up surrounded by the sounds of Latin and Caribbean music. Born in 1969, Simon credits his father, Hadsy, for developing his passion for music and supporting him and his two brothers, Marlon and Michael, to become professional musicians.

He attended the Philadelphia Performing Arts School, graduating at 15, then received a music scholarship from the University of the Arts where he studied classical music with concert pianist Susan Starr. Later he transferred to the Manhattan School of Music where he studied jazz piano with Harold Danko.

Upon arriving on the New York jazz scene in 1989, his reputation as a pensive, rhythmically astute, versatile player caught the ear of noted musicians Greg Osby, Jerry Gonzalez, Bobby Hutcherson, Herbie Mann, Kevin Eubanks and Paquito D’Rivera, all of who would later employ him. In 1989 Simon took the piano chair in Bobby Watson’s influential group Horizon (1989-94), later moving to the Terence Blanchard Group (1994-2002).

Simon made his first recording as a leader in 1994 (Beauty Within, Audioquest), giving birth to the Edward Simon Trio–- the same year he took third place in the Thelonious Monk International Jazz Piano Competition. Since then he has founded, established and served as musical director of several jazz ensembles such as: the Edward Simon Quartet, Ensemble Venezuela and Afinidad. Today, the Edward Simon Trio has become an established voice with five recordings and recent performances at such well-known jazz venues as the Village Vanguard, Jazz Bakery and Casa del Jazz.


Fueled by a strong desire to break boundaries through improvised music, in 2000 Simon co-founded the quartet Afinidad with saxophonist/composer David Binney, which includes bassist Scott Colley and drummer Antonio Sanchez. Afinidad's mission is to create and perform eclectic contemporary American music with a focus on jazz, reflecting a wide range of musical influences such as Pop, Brazilian, Latin American and contemporary classical music. With this ensemble he produced two critically acclaimed recordings: Afinidad (Red Records, 2001) and Oceanos (Criss Cross, 2007). In 2008, Chamber Music America awarded Simon a New Works: Creation and Presentation Program grant (2008-09) to compose and present Sorrows and Triumphs, a work for Afinidad and special guest artists guitarist Adam Rogers, vocalist Gretchen Parlato and percussionist Rogerio Boccato.

At the same time, Simon has become increasingly interested in the folk music of his native land. In 2003 he founded Ensemble Venezuela, an outlet for exploring the marriage between jazz and Venezuelan music through new works and arrangements of works by Venezuelan masters. Two years later he was awarded a second grant from Chamber Music America to compose and perform the Venezuelan Suite, a work that crosses the barriers between jazz, chamber music and Venezuelan folk music. Considered by some to be his most important work to date, the Venezuelan Suite inspired the creation of a series of abstract paintings by artist Ellen Priest: "Jazz Paintings on Paper: Improvisations on the Venezuela Suite."

Simon has received Fellowships in Music Composition from the Pennsylvania Council on the Arts (2005), the State of Florida (2007) and the New York Foundation for the Arts (2008).

He has served as faculty at the New School for Jazz and Contemporary Music, the City College of New York and the University of the Arts. He has taught master classes and clinics at music conservatories and universities around the world and continues to teach piano and improvisation at the New School for Jazz and Contemporary Music. He has been honored on two different occasions (1999, 2004) for this work with a Certificate of Appreciation for Outstanding Service to Jazz Education from the International Association for Jazz Education. In 2008 Simon had the rare opportunity to share his knowledge and experience with fellow Venezuelans. Thanks to a grant from the J. William Fulbright Foreign Scholarship Board and The U.S. Department of State, he was a visiting professor at the Instituto Universitario de Estudios Musicales in Caracas, Venezuela.

Simon has recorded 10 critically acclaimed albums as leader, including two New York Times Top Ten Jazz Records of the Year: Edward Simon (1995) and Simplicitas (2005). He has appeared as guest artist on more than 50 recordings, including Paquito D'Rivera's Grammy Award winning Funk Tango (Best Latin Jazz Album, 2007) and several Grammy Award nominated albums.

His performing career spans 20 years of international touring as pianist with prominent artists and ensembles. His recent collaborations include Don Byron, Miguel Zenon, Luciana Souza, Paquito D’Rivera and John Patitucci.

In 2010 Simon was named Guggenheim Fellow by the John Simon Guggenheim Memorial Foundation. He is currently a member of the San Francisco Jazz Collective, a prominent musician/composer jazz ensemble dedicated to creating new work and highlighting the music of historically significant jazz composers of the modern era. The Collective is comprised of “eight of the most in-demand” (New York Times) artists performing today.

AWARDS & HONORS

MacDowell Fellow, 2011

Guggenheim Fellowship, 2010

New York Foundation for the Arts Fellowship in Music Composition, 2008

Chamber Music America, New Works: Creation and Presentation Program, 2008 | 2004

Fulbright Senior Specialist, The J. William Fulbright Scholarship Board, 2008

State of Florida Music Composition Fellowship, 2007

New York Times Top Ten Jazz Records of the Year, 2005 | 1995

Certificate of Appreciation for Contributions in Promoting Venezuelan Culture and Outstanding Accomplishments in the Field of Jazz, The Embassy of the Bolivarian Republic of Venezuela, 2005

Pennsylvania Council on the Arts Fellowship in Jazz Composition, 2005

Emoticons - Riggio Ensamble - Santimone / Tavolazzi / Paio - Mu

Emoticons - No Project

 

The project "Emoticons" starring some of the best musicians of the Italian and European scene. A draft cultural breath in step with the times that blends and mixes inspirations that belong to the contemporary world characterized by globalization . It is thus an exciting job, played with absolute mastery and that is remarkable for freshness and modernity. The roots of this project originates in the tradition but develop in a sign of modernity, bringing to the fore a project that stands out for variety of references and also a rare listening pleasure.
The repertoire of "No Project" ranging from Radiohead to Komeda,from McCartney to Leonard Cohen, from Stevie Wonder to Shorter also includes two new songs. The partecipation of Danilo Rea, winner of the last Top referendum jazz as best pianist, completes and perfects an artistic proposal in wich sound and style appear as the most exciting of the last decade.

Cristiano Arcelli : alto sax
Luigi Masciari : guitar
Alessandro Paternesi : drums
Luca Pirozzi : doublebass
Danilo Rea : piano

Riggio Ensamble With Tom Harrell - Audrey

The CD “Audrey” features the compositions of Claudio Riggio, supported by excellent musicians who in turn give rise to different ensembles (duo, trio, quartet, ...) and Tom Harrell who once again descends into a Italian weblog Abeat recording project of great scope.A disc which is linked to a series of tracks in the form of cameos lasting a few minutes, sometimes seconds. A dimension almost timeless and "impressionist"in which Tom Harrell said to feel comfortable as rarely happens. The result is an unusual expressive intensity. The songs develop as "images" that take shape almost painterly brushstrokes of copyright and in which the palette of "sounds" is changing every time like in a kaleidoscope of "colors". An album of immense class and elegance in which the compositions resonate without hesitation even a typical Italian, stirring lyricism of Opera, classical music, the band tradition of the country... A superb CD and also a shining example of european art which is accompanied by international artists of absolute value.

Marco Ariano : drums
Piero Bronzi : alto, tenor,and baritone sax, flute
Alessandro De Angelis : piano ,fender Rhodes
Tom Harrell : trumpet, flugelhorn
Claudio Riggio : classical and electric guitar
John Stowell : nylon strings and baritone guitar
Nicolao Valiensi : trombone

Daniele  Santimone - Ares Tavolazzi- Riccardo Paio 

 A Little Bartòk

Some of the most acclaimed jazz musicians of the Italian scene they create a recording project that revisits some of the melodies from the opera Mikrokosmos, the famous cycle of piano pieces composed by Bela Bartok. The intent is to bring out the lyricism of these short compositions rich in references to popular music of many peoples of Eastern European and Middle East and put them in a context very close to the harmonic and rhythmic atmosphere of modal jazz. A 'transaction of great value also because this reading is set up as a rarity in the contemporary jazz. The presence of musicians of great value and intensity of expression of the soloists give the album a touch of class and elegance that make the listening experience interesting from both an emotionally and intellectually.

Riccardo Paio : drums
Daniele Santimone : guitar
Achille Succi : alto sax,clarinet & bass clarinet
Marco Tamburini : trumpet & flugelhorn
Ares Tavolazzi : doublebass

Mu - Sensilenti 

I MU, si inseriscono come grande novità nel panorama della nuova musica italiana, creando un loro unico ed inconfondibile stile, tra nu-jazz e worl music. Musicisti di estrazione jazzistica che partendo dalle loro radici s’inventano una musica davvero originale miscelando vari elementi con istintiva passione e geniale razionalità. La scelta di strumenti e timbri seducenti, un sapiente accostamento di armonie tipicamente jazz a melodie spesso semplici e reiterate, una libera improvvisazione che a tratti sembra scomparire per poi riemergere inaspettatamente, costituiscono la loro cifra stilistica. Il contesto lacustre e naturale in cui i brani di Sensilenti sono stati concepiti ( i musicisti vivono nell’area di uno dei più grandi laghi italiani) , ha donato loro un carattere meditativo, lineare, dolce e gentile. Ci si immagina trasportati lentamente da una barca che avanza con il suo tipico incessante dondolio. Ci si ritrova immersi a volte in un dolce risveglio nel bel mezzo di un paesaggio dalla natura incontaminata. La sensazione derivante dalla latente presenza dell’acqua genera un effetto quasi catartico. Questa impagabile atmosfera di serenità interiore fanno di Sensilenti un disco tutto per intero godibile, mai noioso, intelligente e raffinato.
MU : una ennesima sorprendente scoperta che farà molto parlare di sè.

Riccardo Chiaberta : drums, vibes, vox
Davide Merlino : vibes, glokenspiel,ibodrum,pipephones, cymbals, vox
Simone Prando : bass. vox
Dario Trapani : guitar, ebow, vox

James Maddock - Sunrise On Avenue C

Inarrivabile. E' questo il pensiero che continuava a battermi in testa mentre ascoltavo estasiato il concerto di James Maddock all'una e trentacicinque, circa di Cantu'. Dieci anni, sono occorsi dieci anni, prima che il nostro, smaltita la sbornia del successo al debutto, capisse come mettere a disposizione la sua grande vena poetica e musicale, la sua voce emozionante il suo spirito alla causa della Grande Musica. James è tornato, ha girato l'Italia e noi ci siamo imbattuti in lui. Vi posso assicurare che erano anni che non ci capitava nulla del genere. Folk, Rock, Pop raffinatissimo, tutto questo e altro ancora in questa seconda vita di questo cantautore inglese ormai trasferitosi in pianta stabile nella grande mela dove ha trovato la dimensione giusta, e i compagni di viaggio adeguati, per il suo progetto musicale. Un nuovo Boss, un novello Rod Steward, un nuovo James Taylor ? No , semplicemente un nuovo grande cantautore che per pace dei molti altri bravissimi presenti in questo momento sulla scena mondiale, rimane inarrivabile, un gradino sopra tutti gli altri. Cinque Stelle qui non bastano, quella sera a Cantu' ci è andata proprio di lusso......

James Maddock is quietly becoming one of the breakout musical stories of 2010. With the release of the exquisite song cycle, Sunrise on Avenue C, Maddock has re-established himself as one of the most respected singer/songwriters on the scene.

When Columbia Records released Songs from Stamford Hill in 2000 it looked like James Maddock was destined for stardom. All the benchmarks of burgeoning success were there; a top 5 Triple A radio song, prominent placements in TV/Film, inclusion on the first Dawson’s Creek compilation, and extensive touring with the likes of Paula Cole and Train. Although James created a small base of rabid fans, he didn’t achieve the wide recognition he deserved. With his grass roots touring presence around the country and airplay on some of the most influential stations in the country (WXPN, WFUV, Sirius/XM), what seemed meant to be in 2001 is taking shape in the new decade.

Vin Scelsa of WFUV and Sirius/XM puts it this way; “I fell head over heels in love with James Maddock's music around the turn of the century when his band Wood released Songs From Stamford Hill. My heart broke when James seemed to disappear completely from the music scene without a follow-up. From time to time I would search for him on the Internet, to no avail, and play the songs from Wood's only album with a bittersweet ache that matched the mood of the music. Imagine then how thrilled I was to discover at the end of the decade James was living and working right under my nose in New York City, far below the radar, honing his skills, biding his time. Then understand how exhilarated and thoroughly gladdened I became upon hearing his new songs, heartbreakingly beautiful, exquisitely crafted, which pick right up where Stamford Hill left off. James Maddock's talent has a timeless quality he shares with the great songwriters. His music touches the soul. How happy I am to have him back on the radar screen ... the world at large needs artists like this.”

Markelian Kapedani - Balkan Bop

Scopriamo insieme a Sergio Veschi , Red Records, questo piccolo capolavoro in piano trio di Markelian Kapedani. Per ascoltare l'intero cd ( solo per questa settimana ) clicca qui.


Il jazz è già arrivato là. Ma non è mai partito da là a questo livellThe Shape Of Jazz To Come intitolava Ornette Coleman all'inizio degli anni 60 uno dei suoi dischi manifesto.
Oggi si potrebbe definire la musica di Kapedani One of the Shapes Of Jazz To Come.
Brani come Caravan, Nardis, Black Nile, Punjab, Delilah, Medina, Sama Layuca, Blue Rondo A La Turk, Turkish Mambo, Bedouin etc. sono già da tempo parte della letteratura jazzistica. Alcuni famosissimi altri meno ma non per questo meno belli o meno importanti.
Già dagli anni 60 in Europa musicisti come Tete Montoliu, Pedro Iturralde, Claudio Lo Cascio, Dusko Gojkovic, Csaba Deseo e altri si sono ispirati a vari folclori dei loro paesi o del bacino del mediterraneo coniugando melos popolari di varia provenienza e il jazz ma nella sostanza erano e sono stati visti come delle cose esotiche e un po marginali.
Oggi invece con la musica di Markelian Kapedani si assite ad un processo inverso.
Ciò che era ed è ancora periferico diviene via via più centrale. Non è più il jazz che ingloba altre culture ma sono culture "altre" che inglobano il jazz per evolversi e diventare altro da quello che sono. Quello che in alcuni composizioni di Ellington, Evans, Davis, Randy Weston, Victor Young, Bobby Hutcherson, McCoy Tyner, Lennie Tristano, Dave Brubeck etc. erano delle aperture su culture limitrofe al jazz sono per Kapedani l'humus, il suo naturale background su cui si innestano le tecniche e le metodologie improvvisative del jazz. In questo c'è un precedente illustre: Dollar Brand, oggi meglio conosciuto con il nome di Abdullah Ibrahim, che all'inizio degli anni 70 fece in qualche modo una operazione analoga con il suo celebre African Piano.
E' forse non inutile ricordare che quella musica comparve proprio con l'emigrazione di una folta rappresentanza di musicisti Sud Africani in Europa e a Londra in particolare sullo sfondo di una più vasta ondata migratoria di gente in fuga verso migliori condizioni di vita e di lavoro che dall'Africa si dirigeva in Europa e in particolare proprio verso l'Inghilterra e la Francia.
Markelian Kapedani viene dall'Albania del Nord, dalla zona di Skoder (Scutari). Figlio d'arte, il padre è pianista, compositore, direttore d'orchestra e una sua composizione è inserita in questo album. Kapedani possiede un solidissimo background di studi pianistici e musicali classici e la sua musica è qui ispirata a varie musiche non solo della sua terra ma dell'area balkanica, mediorientale e mediterranea. Si va dalla Bulgaria alla Spagna del Flamenco, e quindi della musica Arabo Andalusa (parafrasando un'altra Sketch of Spain), passando per varie forme, melos, metri dell'Albania, Grecia, Turchia, Egitto. Il risultato non è folclore ma musica che riflette come pochi i tempi che viviamo. Anche Kapedani, che da anni vive in Italia e Svizzera, è un figlio dell'emigrazione massiccia che dai paesi dell'Est e del Nord Africa, e non solo, si riversa in Europa .
Di questa diaspora, Kapedani, è, a suo modo, un interprete profondo e sincero che ci porta in dono il suo mondo musicale che incrocia i Balkani con il Jazz, sullo sfondo di varie culture che non si sommano ma si mescolano e danno vita ad una sintesi musicale che nasce da varie tradizioni per osmosi naturale e non per volontaristico, anche se nobile, atto di fede o ideologia, il che è lo stesso.
Nella sua inesorabile naturalezza e contemporaneità queste musiche assurgono già di primo acchito all'universale proprio perché non aspirano ad essere ma già sono la musica delle genti, che forse vorremmo ignorare o non vedere, assieme a cui viviamo in un crogiuolo in cui timori e speranze si fondono in un comune quanto ormai inesorabile destino.

Sergio Veschi

Balkan Bop
Brano legato all’idioma del be bop con forti riferimenti di intonazioni melodiche dell’area balcanica. La melodia affidata al pianoforte si appoggia ad una matrice ritmica mutevole: dal ritmo Malfuf allo Swing e vice versa. Il basso accompagna energicamente tutta l’esposizione del tema. Il finale del brano si ispira alle *Jare (Yaareh) Shkodrane, ), ballate malinconiche della città di Scutari (Shkodër).


Blue Penthaton
Brano basato sulla ritmica composta (2 + 2 + 2 +3) detta anche “Kars” o “Karsilamas”. Questa particolare ritmica che spesso caratterizza le danze e la musica Greca e turca, costituisce l’elemento di sostegno della melodia. Tale struttura ritmica la possiamo ritrovare anche nelle danze della Macedonia e dell’Albania.
Dal punto di vista melodico, il Tema si sviluppa sul modello pentatonico. La ritmica Karsilamas viene concettualmente incastonata su di una Matrice Blues che segue una struttura binaria in 4/4. Esposta in tal modo, la melodia, ad un primo ascolto, risulta alquanto sfuggente.


Nashke
Brano che richiama le intonazioni del nord-est dell’area Mitteleuropea. La melodia si muove per mezzo di intonazioni slavo-tzigane evocando la briosa atmosfera delle feste balcaniche. Le situazioni melodiche, armoniche e ritmiche si mescolano in modo naturale con il linguaggio del jazz.

Cous Cous in Tunisia
Questo brano si ispira alla tradizione ritmica delle Antille ed in particolare all’energia della musica Afro/Cubana. La melodia segue un andamento in Clave 2/3. Il basso “viaggia” sul Tumbao. Non manca una citazione (anche se brevissima) del motivo del celeberrimo brano A Night in Tunisia.

Bop Drops
Il Brano si ispira alla tipica tradizione Jazz, lo Swing.
La melodia costituita da successioni di quarte è basata su una struttura modale pentatonica.
Tale disposizione degli elementi melodici, conferisce al brano un andamento incisivo e scattante.
I Remember My Dad
Ballad.In ricordo del Compositore albanese Gjon (John) Mark Kapidani, padre dell’autore, recentemente scomparso. Il brano attinge dalle forme di Jare* (Yahre)*, ballate malinconiche della città di Scutari (Shkodër) luogo natale dell’autore. La prima parte di solo piano (“ad libitum” - quasi una fantasia) è ricca di elementi contrappuntistici. La melodia si estende sul tessuto armonico con ampi intervalli.

One for Bud
Brano dedicato a Bud Powell, grande figura centrale e caposcuola del pianismo jazz di tutti i tempi. Il brano si ispira dalla tradizione del be bop.
Oriental Traveller
Un viaggio immaginario attraverso le terre d’oriente, dove miraggi, sogni, realtà e fantasia si confondono e … si perdono nell’orizzonte.Questo brano si basa sulla matrice ritmica di Sayyiddi*, tipica delle danze mediorientali.

Quickly
Brano composto sulla tipica struttura dell’Anatole.

Davaj
Il brano inizia con il pianoforte solo. Sin dalle prime note del pianoforte si percepiscono le intonazioni della musica popolare Russa. La melodia ricrea l’atmosfera della poesia di S.Esenin: Oh, la mia cara Russia.



Malfuf = avvolto. Ritmo binario di origine Egiziano/Yemenita.

Yare, di etimo incerto. Alb – Jare; forse dalla lingua araba – Jaareh = ferita. Probabilmente si conferiva questo termine alle canzoni di carattere malinconico che segnavano neprofondo i sentimenti (come un “indelebile ferita” al cuore).
Sayyiddi Arabo: 1). “Sayyiddi” = mio signore, 2). Meno probabile il termine “Sàeed” = fortunato. Ritmo in 4/4 di origine Mediorientale.

Anatole, di etimologia incerta, disegna una struttura formale tipica del jazz, meglio nota come rhythm changes.
Davaj, Russo – ДABAЙ = avanti.

Markelian Kapedani

Dave Douglas United Front - Brass Ecstasy At Newport

Trombettista, compositore, leader originalissimo Dave Douglas omaggia Lester Bowie e la sua “Brass Fantasy” grazie a questo nuovo cd non a vaso intitolato Bras Ecstasy At Newport dove ben tre dei musicisti che lo affiancano (Luis Bonilla al trombone, Marcus Rojas al tuba e Vincent Chancey al corno francese) sono stati componenti del gruppo di Bowie. La formazione, completata dal batterista Nasheet Waits, ha gia al suo attivo il cd, "Spirit Moves", consigliato dalla stampa di settore come uno dei migliori del 2010. Il critico Aldo Gianolio ha giustamente rilevato che lo spirito e la sonorità del gruppo di Bowie vengono mantenuti intatti, ma al tempo stesso si avverte una componente intellettuale e virtuosistica prettamente “douglasiana”.

Dave Douglas elabora gli stili di Clifford Brown, Booker Little e Miles Davis. Come i migliori artisti contemporanei, sfrutta la sua profonda conoscenza della tradizione, coniugandola con quell’urgenza espressiva tipica del jazz contemporaneo e inglobando i linguaggi musicali più disparati, dal klezmer al folk balcanico, dall'avanguardia più radicale alla musica elettronica, senza rinunciare ai ritmi e alle armonie del jazz. L’incontro con John Zorn (quartetto “Masada”) e le collaborazioni con Myra Melford, Uri Caine e Don Byron, rappresentano tappe importanti della sua crescita artistica. Con i dischi “Sanctuary” (1997) e “Soul on Soul” (2000), Douglas ha conquistato il primo posto nei più prestigiosi referendum internazionali.

( Ringraziamo il Piacenza Jazz festival sia per il bellissimo concerto di sabato sia per la splendida presentazione dell'artista )

Tracklist :

1. Spirit Moves (live) 5:02
2. Rava (live) 10:04
3. Fats (live) 3:34
4. I'm So Lonesome I Could Cry (live) 7:30
5. United Front (live) 6:17
6. Bowie (live) 12:28



Originally recorded by WBGO Jazz 88 and presented as part of NPR’s live concert series, the album captures the group’s spectacular performance during the 2010 Carefusion Newport Jazz Festival.

“There was a special feeling for us on taking the drive out to the festival grounds at Fort Adams State Park,” said Douglas. “On the day of the gig, each of us was flying in from a different location. The weather was cooperating, and I remember watching boats in the harbor…such a magnificent setting. During the set each of the tunes grew into new proportions that day, stretching in all sorts of directions from their original studio release.”

Picking up where their critically acclaimed debut Spirit Moves (Greenleaf 2009) left off, United Front (Douglas’ 32nd release) sees this all-star band plunging into Douglas' compositions (plus one Hank Williams Sr. tune) with an intensity and exuberance garnered only at a live jazz concert, particularly one with the legacy and spirit of Newport. The album features tunes from Spirit Moves including the 12-plus minute set closer “Bowie” – a tribute to Lester Bowie - that steadily works the crowd into a loud and appreciative frenzy. Also included are two previously unreleased songs, “Spirit Moves” and “United Front.”

Savant Novita' : Eric Reed - Jerry Bergonzi

Da casa Savant, un’uscita che miglior celebrazione non poteva essere allo spirito del jazz della label di Joe Fields, sicuramente la più “jazz” della popolata scena contemporanea. In quest’occasione le “luci” vengono da due personaggi semplicemente giganteschi: il sax del celebrato Jerry Bergonzi ed il pianista Eric Reed in due nuovissimi progetti.

ERIC REED - THE DANCING MONK

Look in the dictionary under "Renaissance Man" and you may just find a picture of Eric Reed. Not only did Ahmad Jamal cite him as "one of my very favorite pianists," not only has he worked with such diverse talents as Wynton Marsalis, Freddie Hubbard, Jessye Norman, Patti Labelle, Quincy Jones, Natalie Cole and others but he has composed scores for film makers Eddie Murphy and Tim Story and annually serves as musical director for "Revelations with the Alvin Ailey American Dance Theater." Somehow he still finds time to teach, perform and cut his latest disc for Savant, "The Dancing Monk." Here the genius of Thelonious Monk is refracted through the prism of Eric's own creativity resulting in 'thoughts on' rather than a 'tribute to' one of the true titans of improvised music. As Eric wrote in his album annotations, "Far beyond what his legacy entails artistically, [Monk] stands as tall and strong as an oak in his character, singular determination, thirst for knowledge, raw defiance and tenacity to swing. It is with the greatest respect that I offer this first album of treatments of Thelonious Monk's compositions."

Eric Reed - piano;
Ben Wolfe - bass;
McClenty Hunter - drums

Tracks :

Ask Me Now; Eronel; Reflections; Light Blue; Ruby, My Dear; Pannonica; Ugly Beauty; The Dancing Monk; 'Round Midnight; Blue Monk

JERRY BERGONZI - CONVERGENCE

If you like your jazz full of ostentatious show and torrents of notes full of sound and fury, signifying nothing, be warned that you encounter nothing but sheer musicality when it comes to the Boston saxophonist Jerry Bergonzi. But Bergonzi's no-nonsense approach to music cannot mask the fact that he is one of the most remarkable jazz saxophonists on the planet. His tenor sound has developed a rather crackling quality now, and between the twisting, dry-toned runs he can sometimes hammer home a dramatic punctuation of snorting Coltrane-like split-notes. He's a supreme spontaneous melodist, however. The sound effects of the avant-garde are merely markers on compellingly logical yet constantly diverted journeys. Bergonzi is backed by his usual colleagues, Dave Santoro (bass) and Andrea Michelutti (drums) and this time out he is joined by pianist Bruce Barth. Featuring a program of Bergonzi's quirky compositions and a track by Jerry's favorite songwriters, the Gershwins, the musicians work together with a uniformity of intent and vision that perfectly personifies the release's title, "Convergence."

Bergonzi - tenor & soprano saxophones;
Dave Santoro - bass;
Andrea Michelutti - drums;
Bruce Barth - piano

Tracks: Lend Me a Dream; I've Got a Crush On You; Squid Ink; Stoffy; Silent Flying; Osiris; Mr. Higgins; Ddodd; Convergence; Seventh Ray

Pierre Dorge & New Jungle Orchestra - At The Royal Playhouse

Two months after the spanking new, modernistic Royal Playhouse was opened beside the harbour in wonderful Copenhagen, Pierre Dørge and the New Jungle Orchestra became the first musical group to play the venue, as part of the Danishcapital’s jazz festival. No better band could have been chosen for this honour as the NJO, soon to celebrate its thirtieth year, is an international brand, known and loved around the globe.

Tickets were sold out in advance for every one of the 700 seats, and for such a significant event for the band, audience and local community, Dørge prepared a special programme of music featuring three special guests from Sweden, India and the Gambia. From just across the Sound in Sweden came singer Josefine Cronholm, whose talent had been spotted by Pierre when he gave an open music course at Copenhagen Conservatory. He had also been impressed by a recording of standards that she made with Django Bates.

Dørge reached back ten years into his past in an effort to find Indian flute player Shashank Subramanyam, whom he had also met in Copenhagen when the young man was giving a master class in Indian music at the jazz conservatory. In the intervening decade Shashank had become his country’s leading classical flautist, recording with guitarist John McLaughlin, and many of the top players in his own country.



Tracking down Shashank proved difficult, and it took Pierre six months to locate him, working through the Internet. They were then able to bridge the vast distance by rehearsing the music together via sound and vision Internet links. Another vital piece of the jig-saw was in place. Shashank arrived in Denmark the day before the concert. The third concert guest was Gambian Dawda Jobarteh, a virtuoso on the West African kora instrument which has a long neck running into a gourd with rings made of antelope hide and strings that are actually fishing lines. Dørge says the kora is the African equivalent of a piano, although its sound is closer to the harp. Jobarteh is also a singer, who contributes the main vocal to “Fode Kaba”. The trio of guests from different continents were added to the usual NJO line-uptrumpet,trombone, two saxophones, guitar, keyboard, bass and two percussionists in a recital that stretched over two sets, but without the luxury of ample rehearsal. Indeed, there was time for only one get-together, the day before the concert, and Pierre was worried about how it would all go over on the night.

“It’s like having no security net underneath. So there has to be concentration, but you also take chances and mostly I’ve been lucky in that kind of situation. I was this time, too. There are always difficulties with location recordings because musicians move around, drop things and are sometimes off the microphone. At this concert something went wrong with the recording equipment on the second set, soactually almost everything on the CD is from the first set,” Pierre explained.

“The concert was filmed and the idea was to make a promotional DVD. It was some months before I listened to the tapes and to my surprise, despite all the problems and doubts that I had about the quality of the music, it sounded good. And then Nils Winther got to work and cleaned up the tapes to achieve very acceptable results. I’m so happy with the way that he was able to improve the overall sound and compensate for deficiencies in the original balance.” The concert was held a month before NJOwent into the SteepleChase studio to record their CD, entitled “Whispering Elephants” which also included versions of the title track and “Malam Lagu”, both of which appear here in original and therefore slightly embryonic guise.

The arrangement of “Whispering Elephants” was modified for the studio take, and the concert performance of “Malam Lagu” includes a vocal. The leader’s composition Mbizo Mbizo is a dedication to the late Johnny Dyani, a South African bassist, who was a member of NJO from 1982 until his death four years later. Dyani’s nickname was “Mbizo” which means “togetherness”. In this piece Pierre recalls fragments of songs that were important to Dyani. “It’s a sort of South African anthem and at the end we chant ‘do you see a rainbow over the bamboo forests.’” There is piquant interplay between saxophonist Morten Carlson and Dørge’s guitar before Cronholm’s very sensitive vocal. Trombonist Kenneth Agerholm’s ruggedness reminds of the great Bill Harris. Jobarteh’s kora adds cute touches, and trumpeter Kasper Tranberg and tenorist Jakob Mygind contribute powerfully. Note how Irene Becker’s synthesizer combines with the kora, and Josefine’s return in scatting mood. Fode Kaba is a traditional Mandinka tribe anthem. Kaba was a noted storyteller, a legendary figure in the tribe’s history. It was arranged by Pierre, who first heard the melody when he visited the Gambia in 1982. The kora is once again in evidence in the introduction, and the lead vocal is also by Jobarteh with responses by Dørge and,later, chants by the whole band. The instrumental chorus gradually swells as the hypnotic performance progresses, and then slowly fades, leaving Jobarteh and his kora with the last words and notes. Swaralaya, written by Subramanyam, is announced by the composer on bass flute before he hastily switches to the higher pitched Indian flute in a controlled display. Thommy Andersson’s bass sets up an ascending vamp for the flute improvisation that follows, as the band provides a richly textured ensemble background.

Percussive and synth effects loom large. The Tranberg trumpet darts about with daring runs and shares in tasty duetting with the flute. Jeg Gik Mig Ud En Sommerdag is a Dørge arrangement of a Danish folk song that he first heard as a child. The lyrics relate that “I went out on a summer’s day to hear the birds and nightingales in the deep woods”, but there is also a romantic element in the story. “It is a bittersweet little story, and unusually for Danish songs this one is written in the minor,” says Pierre. “I found this quite remarkable to hear the Danish words sung with a Swedish accentSCCD 31693 accompanied by a Gambian kora player and an Indian flute player. This is what I like doing all the time, mixing elements.” In fact Dørge’s setting of the piece suggests Middle Eastern influences, and there is even a phrase that is the opening to the traditional English carol “God Rest You Merry, Gentlemen”. Listen for the unusual melding of taragot, kora and flute. Whispering Elephants in this initial treatment makes interesting use of electronic sounds from the synthesizer - something of a tour de force for Pierre’s wife and musical collaborator of more than 30 years, Irene Becker, who doubles on piano. The composition is an ode to the elephants of the world, and the threat to their survival due to man’s cruelty and irresponsibility. Malam Lagu, written by Irene Becker, was inspired by a visit to Bali. This is an evening song with an absurd text in Balinese all about drinking tea and eating chicken. A subtle drone is maintained as a persistent backdrop to the flute and Cronholm vocal. The effect is of a peaceful, pastoral scene. The vocalist adds her own timbre to the ensemble parts.

The closing Muzun Mun was written quite deliberately by Pierre Dørge in the style of
Bollywood movie themes. “I am a Bollywood fan, and I always tell the audience that this theme is all about a gangster, a beautiful lady and an exciting chase on a Vespa scooter. So here is the soundtrack for the movie. It just needs somebody out there to make the film! “I saw my first Bollywood picture in an outdoor cinema when I first visited the Gambia. This is my idea of a monsoon moon. I love the way that
osefine sings it with the bass.” The rhythmic impetus here is relentless.

A by-product of this amazing concert is that in 2010, Pierre and NJO will be joining up again with Shashank Subramanyam for a tour of India in the band’s 30th anniversary year. As for Pierre Dørge, his focus, energy and interest is devoted almost exclusively to writing, for, performing with and directing this unique global ensemble.

“When you get past 50, you just have to concentrate on what you love and value the
most. Travelling, new ways of expression, exploring different cultures - that is what I’ve been doing all these years. I would not have lived in any other time because while there are downsides to the so called global village, mixing the many strands of music of yesterday and today is very refreshing. We have access to all that went before us and it is there for us to interpret and enjoy in our own way.”
Stand by for Pierre & NJO’s next venture on SteepleChase in which it is planned that each member of the band will be featured on an individual piece. As with the enclosed live concert, a festive feast of invention can be
expected.

Mark Gardner

Pierre Dorge Presents : New Jungle Orchestra

Pierre Dørge è una figuria ormai entrata nella storia della scena jazzistica danese. Innamoratesi del jazz moderno quasi fin dall'inizio della sua carriera, nel 1960, nel corso degli anni ha anche mostrato curiosità per altre culture musicali che hanno influito nella propria musicalita' incorporando elementi europei, asiatici, africani e tradizioni musicali afro-americane che sono stati assemblati da questo geniale chitarrista danese in una sintesi originale. Ad accompagnarlo in questo cd e nel concerto che il 13 Marzo si terra' al Manzoni di Milano in occasione dell'Aperitivo in concerto ci sara' la New Jungle Orchestra, nata nel 1980. Prende il nome dal leggendario approccio "giungla" della Duke Ellington Orchestra negli anni Trenta e di cui alcune composizioni vengono ricreate con sprito dadaista e con intelligente capacità di riadattamento e di idiomaticità. Le influenze di Carla Bley, Charlie Mingus e Gil Evans sono facilmente avvertibili nelle pagine della New Jungle Orchestra, e vengono rielaborate attraverso sofisticati arrangiamenti e il contributo di alcuni eccellenti solisti. Un cd e un concerto unici per gli amanti di questo genere.



Pierre Dørge and New Jungle Orchestra are celebrating a generation of international music- making. That longevity, allied with their perennial freshness of sound, places them right up there with great enduring bands of the past - Basie, Herman, Kenton, Ellington. Ensembles that reinvigourated themselves over the decades, while remaining true to their original purpose. The comparison between Dørge’s N.J.O. and the Ellington orchestra is pertinent since Duke was and is a constant inspiration to Pierre. And both men provided most of the material for their aggregations, always
composing with specific soloists in mind.

Thirty years, three decades, is a wide wedge of a lifetime for any group of creative artists to stay together. To remain as a unit for so long, the stimulation and demands of the repertoire have to be exceptional. And every member must feel satisfied that he/she is making a full contribution to the evolution and development
of the whole. A player who feels marginalised will soon seek opportunities elsewhere. A vital core of four musicians have been with the N.J.O. from the start. Of course there were personnel changes along the way, so that now the ensemble is truly multi-generational. But there is an ongoing stable foundation that can accommodate an occasional infusion of new voices. The present line-up is virtually unchanged since Pierre returned to the SteepleChase fold in 2007 with the orchestra’s brilliant CD “Jazz Is Like A Banana” (SCCD
31636).

While the NJO’s continued existence is now assured, it was not always so. The first 13 years were a struggle. Often a gig would pay quartet wages to a group of ten. In those circumstances it was love of the music that sustained the ensemble. As Pierre observes, the turning point came in 1993 when the orchestra was chosen as a state ensemble, representing Denmark on royal visits at home and around the world. For instance when Danish royalty went to South Africa at the invitation of Nelson Mandela, the N.J.O. was there too.

Suddenly Pierre and his colleagues were in terrific demand, playing 80 concerts a year, and a growing audience was attracted to the band’s unique blend of jazz, folk and classical elements merged into a vibrantly exciting, international whole. “I never set out to be a bandleader,” says Pierre. “I was interested in composing and arranging and I obviously wanted to hear my music performed. But then I found out you had to negotiate fees, make travel arrangements and deal with a whole lot of administrative stuff. In the first year none of us talked about money, but finance has to be a factor if musicians are turning down other jobs to play with you.”

Then there were the social and musical problems that inevitably arise in every band.
“One guy doesn’t want to play Ellington tunes, another wants to play only Ellington material. Someone else demands that we should concentrate on free jazz. So, as a leader, you have to try to keep everyone happy. My philosophy was that we should use all the best elements from the many different styles of music, combining them in our own way". “When writing, I have tried to employ the most powerful side of each musician’s character, and to set them a challenge. I also try to put myself in the place of the audience and think about what would be interesting and pleasing to their ear. When we have added new players, it has provided fresh inspiration, stimulating different ideas and possibilities which are reflected in the writing. It is important to stay open-minded in music.”

The N.J.O. made its debut at the Music Cafe, Copenhagen, on 24 September, 1980, so in September 2010 that 30-year milestone was being marked by a week’s celebratory tour of Denmark, and release of this outstanding anniversary CD, the orchestra’s 22nd recording. The band was due to play a number of these pieces during their September progress. For this collection, Pierre decided to structure each composition to focus on a particular member of the orchestra. “I spoke to each musician and asked if they had any special preferences or wishes about which side of their style they would like me to portray. They approved of the idea and I
received very positive feedback". “My concept was to create 10 pieces of music, as 10 abstract pictures, each of them as an image of an individual, creative, New
Jungle musician. They responded with their special wishes for the individual piece.

I knew that the music would not shine unless the composition inspired and challenged each individual’s creativity. I can write the music, ut it is the musician who is the true creator of the spontaneous expression in the music - the here and now.”