25 de julio de 2017 § Deja un comentario
Jamie Cullum cantante y pianista londinense q practica el salto desde lo alto de un piano como seña de identidad indiscutible. Amén de esta circunstancia muy identificadora tb se caracteriza por una voz quebrada y singular q le sitúa en un espacio musical diferenciador. Su aspecto de jovencito extrovertido le permite llegar con facilidad a diferentes públicos femenino-obsesivos logrando con ello calores efusivos e incontrolados en sus directos. Invita a cantar a su público con éxito y se acompaña con una banda de multi-instrumentistas, sin memorables, celebrando así su liderazgo con vehemencia y buenas técnicas persuasivas. Comenzó su carrera con gran intención y, creo, el exceso de comercialidad secuestró su talento indiscutible. Ya me gustaría reencontrarme con el Cullum de 2005: eterna promesa. Destacaré “It Ain’t Necessarily So” LISTEN!
British pianist/vocalist Jamie Cullum mixes jazz with melodic pop and rock into a crossover style that calls to mind such artists as Harry Connick, Jr. and Norah Jones. In that vein, Cullum will just as often cover a swinging jazz standard as a modern rock song, and his original compositions deftly move from earnest ballads to songs of sardonic wit. Having played guitar and piano since age eight, Cullum developed an avid interest in jazz passed down from his older brother Ben. Inspired by such piano icons as Oscar Peterson and Dave Brubeck, Cullum spent some of his formative years living in Paris, where he honed his abilities performing in jazz clubs. Cullum eventually earned a degree from Reading University, during which time he recorded his first album, Heard It All Before, at age 19. Its surprise success eventually put him in contact with jazz bassist Geoff Gascoyne, who offered Cullum the opportunity to play on his album Songs of the Summer. With Gascoyne’s encouragement, Cullum eventually recorded his second album, Pointless Nostalgic, released in 2002. The album benefited from a boost of publicity as it received heavy airplay on TV and radio personality Michael Parkinson’s BBC 2 radio show.
Cullum eventually signed with Universal Records and released his breakthrough third full-length, Twentysomething, in 2003. The album charted all over the world, sold millions of copies, and made him the fastest-selling British jazz artist in history. Catching Tales and the compilation/mixtape album In the Mind of Jamie Cullum followed in 2005 and 2007, respectively. In 2009, Cullum was nominated along with Clint Eastwood for a Golden Globe Award for Best Original Song for their composition “Gran Torino.” A year later, he released the album The Pursuit. In 2013, Cullum returned with his sixth studio album, Momentum; it performed respectably the U.K., reaching 20 on the album charts, but didn’t make much of a ripple in the U.S. Cullum’s seventh album, Interlude, saw release in October of 2014 in most parts of the world — including his native U.K., where it entered the charts at 19 — but wasn’t scheduled for U.S. release until 2015.
20 de abril de 2017 § Deja un comentario
Aaron Parks TRIO Estaba escuchando un trabajo de Oscar Peterson (The Jazz Soul of…) cundo mi buen amigo doc Álvarez me recordó q esta noche tocaba Aaron en el Jimmy. Yo mismo reservé las entradas (18€)… un poco más caro q en el Café Latino de Orense (10€)… bueno serán las instalaciones o el caché del local. Yo pagaré lo q me pidan (o no)… pero ELLOS sabrán!
Bien está! lo demás se lo dejo a expertos y q os cuenten (allmusic), en mi caso me puse a buscar en discografía y encontré en mi colección dos piezas estupendas y con una de ellas me quedo (una composición muy intimista y evocadora) y os invito a escuchar. Destaco “Homestead“. LISTEN!
Algunas instantáneas de su actuación y un fragmento grabado:
NOTA del Jimmy Glass Jazz Bar
AARON PARKS CON 1906 EN JIMMY GLASS
Formado en una triple licenciatura en Matemáticas, Informática y Música, Aaron Parks recala finalmente en Nueva York para estudiar en la Manhattan School of Music. En su último año de estudios fue fichado, con solo 18 años, por el magistral trompetista y cinco veces premio Grammy Terence Blanchard, con el que giraría y grabaría en cinco ocasiones.
Engrosar las filas de semejante mentor fue el mejor escaparate para su lucimiento. Con una sólida reputación a sus espaldas, su juventud no fue obstáculo para que grabase a su nombre a los 24 para el prestigioso sello Blue Note. ECM, otra discográfica de cabecera, pero orientada a la otra orilla del jazz, publicaba su trabajo Arborescence en 2013, un registro intimista con influencias de pianistas como Keith Jarrett o Paul Bley.
Con su última grabación, también para ECM, cumple quince años como líder de sus propias formaciones, siempre intercaladas por jugosas colaboraciones con músicos sobresalientes de otras generaciones (Joshua Redman, Kurt Rosenwinkel…) y de la que está llamada a sucederlas (Christian Scott, Ambrose Akinmusire, Francesco Cafiso…).
Le acompañan en su nueva aventura dos músicos extraordinarios y muy experimentados: Ben Street (Sam Rivers, John Scofield, Danilo Pérez…) y el avezado e incombustible Billy Hart, quien puede presumir de haber tocado con verdaderas leyendas (Miles Davis, Wes Montgomery, Oscar Peterson, Clark Terry…).
En definitiva: calidad sobresaliente sobre el escenario…
Pianist Aaron Parks is a forward-thinking jazz musician who came to the public’s attention during his time with trumpeter Terence Blanchard. Born in Seattle, Washington, Parks began playing piano at a young age and by the time he was 14 had enrolled in an early entrance degree program at the University of Washington. Originally, Parks pursued both science and music degrees; however, his prodigious talent won out and by age 16 he had transferred to the Manhattan School of Music. While there, he studied with noted pianist Kenny Barron and received several competitive accolades, including being named the 2001 Cole Porter Fellow of the American Pianists Association. At age 18 he joined Blanchard’s ensemble and subsequently recorded four albums with the veteran trumpeter, including 2003’s Bounce, 2005’s Flow, the soundtrack to the 2006 Spike Lee film Inside Man, and Blanchard’s 2007 Grammy-winning opus A Tale of God’s Will (A Requiem for Katrina). Besides playing with Blanchard, Parks has performed with a variety of artists including trumpeter Christian Scott, drummer Kendrick Scott, vocalist Gretchen Parlato, and others. Parks has released several albums under his own name, including his 2008 Blue Note debut, Invisible Cinema. Parks, who has also recorded with Christian Scott, Kendrick Scott, Ambrose Akinmusire, and Kurt Rosenwinkel, was an integral part of the James Farm Quartet with Joshua Redman, Matt Penman, and Eric Harland. Nonesuch released their self-titled album in 2011. The pianist subsequently signed to ECM and released the solo piano offering Arborescence in the fall of 2013. He also made sideman appearances on Will Vinson’s Live at Smalls and Yeahwon Shin’s Lua Ya, and Live in Japan with his own trio of Thomas Morgan and RJ Miller. It was recorded on the pianist’s phone during a show and released for free on his Bandcamp page. Parks cut Groovements in a collaborative trio with Danish bassist Thomas Fonnesbæk, and drummer Karsten Bagge for Stunt in 2016. He moved back to ECM in 2017 for his sophomore label date, Find the Way, issued in the late spring. It featured bassist Ben Street and drummer Billy Hart in the rhythm section and was inspired in part (according to Parks) by the music of Alice Coltrane and Shirley Horn (for whom Hart played); both of whom prioritized space and subtlety in oposition and improvisation.
3 de febrero de 2017 § Deja un comentario
We are in Love de Harry Connick, Jr. en formato MiniDisc MAGIA digital… Todo tiene su explicación! Mi equipo musical SONY del histórico PATHFINDER v6 japonés de mi propiedad lee este estupendísimo soporte. Brutal!
Y ahora hablemos de Harry, actor, pianista y auténtico heredero de “La Voz” con un rico y prolífico número de grabaciones. Entró de lleno en el ámbito de la popularidad con su banda sonora de la película de 1989 When Harry Met Sally. Ese mismo año, grabó dos discos simultáneamente orientados a públicos distintos: We Are in Love, un disco de estándares orientado al ámbito pop; el otro, Lofty’s Roach Souffle, completamente instrumental, orientado al mundo jazzístico. Continuó con su carrera de actor, con un papel protagonista en Copycat (1995) y se casó con la actriz Jill Goodacre.
With very few exceptions, the career of Harry Connick, Jr., can be divided in half — his first two albums encompassed straight-ahead New Orleans jazz and stride piano while his later career (which paralleled his rising celebrity status) alternated between more contemporary New Orleans music and pop vocals with a debt to Frank Sinatra. Born in New Orleans on September 11, 1967, Connick grew up the son of two lawyers who owned a record store. After beginning on keyboards at the age of three, he first performed publicly at six and recorded with a local jazz band at ten. Connick attended the New Orleans Center for the Creative Arts and studied with Ellis Marsalis and James Booker. A move to New York to study at Hunter College and the Manhattan School of Music gave him the opportunity to look up a Columbia Records executive who had asked to see him, and Connick’s self-titled album debut — a set of mostly unaccompanied standards — appeared in 1987. Jazz critics praised Connick’s maturity and engaging style as well as his extended stays at New York hot spots during the year. His second album, named for his age in 1988, was the first to feature him on vocals.
Already well known within jazz circles, Connick entered the American consciousness with the soundtrack to 1989’s popular film When Harry Met Sally. Director Rob Reiner had asked Connick to compose a soundtrack, and he recorded several warm standards (“It Had to Be You,” “Let’s Call the Whole Thing Off,” “Don’t Get Around Much Anymore”) with a big-band backing. A world tour followed, and When Harry Met Sally eventually reached double-platinum status. With Connick a major celebrity, he diverged into an acting career, playing a tail gunner in 1990’s Memphis Belle. That same year, he released two albums simultaneously: one, We Are in Love, was another vocal outing with similar standards as had appeared on When Harry Met Sally, while Lofty’s Roach Souffle was all-instrumental. (Of course, the vocal album performed much better in the pop charts, hitting double platinum, while the instrumentals worked better with jazz audiences.) Connick toured again, this time with a big band, and recorded the group on 1991’s Blue Light, Red Light. Though his celebrity decreased slightly during the mid-’90s, Connick’s albums continued to reach platinum status, including 1992’s 25, a 1993 Christmas album, and 1994’s She. Connick continued his acting work with a starring role in 1995’s Copycat (where he played a serial killer), and he married actress Jill Goodacre. In 1996, he had a brief role in the year’s biggest blockbuster, Independence Day, but his album Star Turtle failed to connect with pop audiences. Come by Me, a return to big-band sounds, followed in 1999. In the new millennium, Connick cycled between albums exploring his jazz roots and those with songbook standards.
Interestingly, post-2001 Connick moved between two labels with albums getting released on both Columbia Records and saxophonist Branford Marsalis’ Marsalis Music label. Among these were the big-band album Only You, featuring popular music from the ’50s and ’60s, and the more intimate releases Other Hours: Connick on Piano, Vol. 1 (2003) and Occasion: Connick on Piano, Vol. 2 (2005), which focused on Connick’s instrumental abilities. As well as releasing albums, Connick continued to act, appearing regularly on the television sitcom Will & Grace before it ended in 2006. Ever devoted to his hometown, Connick was also heavily involved in the support and rebuilding of New Orleans post-Hurricane Katrina. In early September 2005, he organized the benefit telethon A Concert for Hurricane Relief on NBC to raise money for and draw attention to the beleaguered residents of New Orleans. Afterward, he worked closely with Habitat for Humanity in helping victims of Katrina. In 2007, Connick once again expressed his deep love for his hometown with the release of his New Orleans tribute album, Oh, My Nola, on Columbia Records. The similarly New Orleans-themed Chanson du Vieux Carré also appeared in 2007. A year later, Connick returned with his third holiday album, What a Night! A Christmas Album. He once again revisited a set of American popular song classics and contemporary pop standards with 2009’s Your Songs. In 2011, as part of WNET’s Great Performances series on PBS, Connick released the live album and DVD In Concert on Broadway. The concert featured Connick backed by his big band and orchestra performing at the Neil Simon Theater in New York City. In 2013, Connick returned with the funk-oriented album Smokey Mary. The album coincided with the 20th anniversary of the Krewe of Orpheus, the Mardi Gras super krewe that Connick co-founded in 1993. Included on the album was the song “Smokey Mary Boogie Woogie Choo Choo Train,” which Connick penned in homage to the krewe’s signature float. Also in 2013, Connick released the eclectic album of all-original songs, Every Man Should Know.
In 2014, Connick signed onto be a judge on the 13th season of American Idol. He stayed with the show through its final season — the one that ran from 2015-2016 — but he made plans to stay on television via a daytime variety show scheduled to appear in the autumn of 2016. While all these plans were being laid, Connick released the poppy album That Would Be Me in the fall of 2015.
26 de marzo de 2016 § Deja un comentario
Jacky Terrasson… pianista y arreglista nacido en Berlin de padre americano y madre francesa protagonizó con Mark Levinson una de las grabaciones estrella “REACH” q para el sello Blue Note utilizó la tecnología CELLO desarrollada por Levinson.
Influenciado por Bud Powell, Bill Evans y Telonious Monk es un virtuoso de su instrumento y ha colaborado con grandes del panorama internacional como Michael Brecker, , Minu Cinelu (quien produjo muchos de sus discos), Ugonna Okegwo, Richard Bona, Fernando Saunders, Leon Parker, Cassandra Wilson, Stefano di Battista, Bireli Lagrene, Stefan Harris, Jimmy Scott (para quien hizo los arreglos de su disco HEAVEN) y otros muchos músicos y cantantes de primer orden.
Destacaré “baby plum” LISTEN & ENJOY
Originally hailed as one of the bright young lions on the straight-ahead jazz scene of the 1990s, virtuoso pianist Jacky Terrasson developed into a sophisticated performer with eclectic stylistic taste. Beginning with his self-titled 1995 debut for Blue Note Records, Terrasson drew high praise from all corners of the jazz world. His feathery keyboard touch is coupled with a lot of power and passion, and a complete understanding of the blues and improvisation, and Terrasson is also a gifted arranger, putting his own personal stamp on well-known tunes. He’s been one of the jazz world’s most talked-about piano player/composers since he captured everyone’s attention when he won the Thelonious MonkInternational Jazz Competition in 1993.
Born in Berlin to a French mother and an American father, Terrasson’s distinctive piano style reflects his old and new influences. In his youth, he spent years studying and listening to recordings by Bud Powell, Bill Evans, and Thelonious Monk. He began playing piano at age five, and his parents were always playing classical music on the stereo. At age 11, he began listening intently to the Billie Holidayand Miles Davis records that belonged to his mother, and at that point he was hooked on playing jazz piano. He studied jazz at the Berklee College of Music in Boston with many other new traditionalists as classmates, including people like Danilo Perez. After graduation, he spent a year jamming at clubs in Chicago and New York before hooking up with ensembles led by his mentors, including Arthur Taylorand Betty Carter. The vocalist told him she needed a pianist to begin a tour the next day, and he accepted, spending nearly a year on the road with her.
Among many other sessions, Terrasson performed on Jimmy Scott’s 1996 release, Heaven, for Warner Bros. He also did arranging for that record. Terrasson continued to perform around the world as leader of his own trio, and has made several European and Japanese tours. He’s one of the most sought-after sidemen in jazz, constantly in demand for touring jazz bands and recording dates. On his 1996 sophomore effort, Reach, he’s ably backed by the same musicians who accompanied him on his debut: bassist Ugonna Okegwo and drummer Leon Parker. Rendezvous followed in 1997, and a year later he returned with Alive.
Released in 1999, What It Is emphasized Terrasson’s compositional skills as well as his technique. A Paris, an homage to Terrasson’s hometown, followed two years later. In 2002 he delivered Smile, a companion piece of sorts to A Paris. He then moved away from ensemble work with his 2007 solo piano album Mirror. Terrasson released the lively trio album Push in 2010, and he returned in 2012 with the eclectic album Gouache, featuring a handful of guest artists including clarinetist Michel Portal, trumpeter Stephane Belmondo, vocalist Cecile McLorin Salvant (winner of the 2010 Thelonious Monk International Jazz Competition), and others. In 2015 Terrasson made his Impulse! Records debut with Take This, which featured a collaboration with vocalist/beatboxer Sly Johnson, among others.
10 de diciembre de 2014 § Deja un comentario
BAPTISTE TROTIGNON… compositor y pianista de jazz francés de alto copete aunq comenzó su aventura musical con un violín. Llegó a mis oídos por primera vez desde las baquetas de Aldo Romano, baterista q le acompaña en varios de sus trabajos. En 2001 recibió el premio «Django de Oro» al músico de Francia más prometedor por su primer disco: Fluide y desde entonces su carrera tomó una gran proyección q le ha llevado a ocupar un espacio propio en la escena europea respaldado por talentos como el propio Aldo Romano, Mark Turner, David El-Malek y con anterioridad como acompañante de Archie Shepp, Christian Escoudé o Frank Morgan. Tengo q apuntar su influencia de pianistas como Keith Jarret o Brad Mehldau y destacaré “Suite… Interlude I” LISTEN! una composición propia incluida en su disco SUITE… con MarK Turner, Jeremy Pelt, Matt Penman y Eric Harland. Como apunte de última hora y razón de este post su actuación de esta noche miércoles 10 diciembre 2014 en el Jimmy Glass Jazz Bar de Valencia acompañado por Javier Colina y Marc Miralta… si estás en VLC no te lo puedes perder!
2 de noviembre de 2013 § Deja un comentario
BRAD MEHLDAU… pianista de jazz y figura capital de una nueva generación con sustancial aportación a esta disciplina musical junto a Joshua Redman, Avishai Cohen, Mark Turner, Kurt Rosenwinkel o David Sánchez. Curiosamente su primer trabajo fue editado por la española Fresh Sound Records. Mi contacto con Mehldau fue introducing, donde se muestra insultante en la versión del countdown de Coltrane (su mentor reconocido) desde entonces sigue como caballo desbocado capaz de sorprendernos tocando melodías separadas, una con cada mano, increíble! (bueno toca el piano desde los 6 añitos).
… existe un lugar mágico en Torrent, cerca de la ciudad de Valencia, el Huerto de Trénor, un auntético jardín botánico con su casa y capilla donde se celebra el Jazz Panorama desde hace 24 años… un lujo y siempre una sorpresa encontrarse cada inicio del verano con estrellas del jazz cerca de ti (os iré contando historias, q las hay) y en un entorno familiar (bocata de embutido y cerveza de bote, tremedo!!!). Aquí tuve el privilegio de verle en directo por primera vez en 2003 acompañado de mi buen amigo Miguel Ferrando (gran admirador de Brad y exquisito de las buenas escuchas).
Y el plato fuerte del día, presentamos la colaboración incondicional de María Lazcano una de las aficionadas al jazz más comprometidas y activas del circuito; ella frecuenta con “buenas razones” grupos de gran participación como A TODO JAZZ RADIO3 y nos sorprende casi a diario en su muro de facebook con apuntes musicales y opiniones acertadas… y claro está una fan absoluta de Brad Mehldau, como así lo expresan sus medidas palabras:
Lo confieso… me gusta el jazz.
Hace unos cuanto años, cayó en mis manos un disco de Bill Evans, ni siquiera me sonaba su nombre pero en cuanto escuché las primeras notas de aquel “Waltz for Debby” quedé atrapada y comencé a devorar discos y discos de esta bendita música.
Será por eso que si tengo que elegir un músico de jazz actual ese es Brad Mehldau.
Brad combina como nadie la técnica más depurada con la más hermosa sensibilidad jazzística, y es que su música está llena de lirismo y poesía.
Y si tengo que destacar un disco ese es “Elegiac Cycle”, grabado en directo en el Sumida Triphony Hall de Tokio, el 15 de Febrero de 2003.
Un disco de piano solo, no necesita más… en el que transmite toda clase de emociones: nostalgia, melancolía, amargura, excitación, alcanzando el sentido de lo sublime.
El pianista se inspira en este álbum en los poemas de Rainer María Rilke en su obra “Elegías de Duino”, en palabras de Brad, “la elegía es un reconocimiento de nuestra mortalidad, pero es un proceso de sanación, catártico”.
Muchos vemos en él al Bill Evans del siglo XXI en el piano de jazz.
Los dos son poetas y verdaderos “artesanos” de la belleza… fabricando con sus manos un universo propio de donde muchos no queremos salir.
(María Lazcano) https://eljazzquenosune.com/by-maria-lazcano-jazz-al-dia/
Para la ocasión me rendiré a la consideración de María Lazcano y destacaré “resignation” LISTEN!
Fotos exclusivas de Jose Horna…
During the ’90s and into the 2000s, Brad Mehldau was one among a plethora of young jazz pianists who rose to prominence. He is one of the more absorbing and thoughtful practitioners within that idiom, and he is receptive to the idea of using material from the rock era (Paul McCartney’s “Blackbird,” for example). Though Mehldau’s training is primarily classical, his interest in jazz began early. He played in the Hall High School jazz band of Hartford, Connecticut, winning the Berklee College of Music’s Best All-Around Musician Award while still in his junior year of high school. He studied jazz at New York’s New School for Social Research under Fred Hersch, Junior Mance, Kenny Werner, and Jimmy Cobb. Cobb soon hired him to play in his band,Cobb’s Mob, and Mehldau also played and recorded with the Joshua Redman Quartet before forming his own trio in 1994 and recording his first Warner Bros. album, Introducing Brad Mehldau, in 1995. Art of the Trio, Vol. 1 followed in 1997, with the next two volumes in the series appearing over the following months. Two years later, Mehldau returned with Elegiac Cycle, as well as Art of the Trio, Vol. 4: Back at the Vanguard. Places followed in 2000, consisting of all original compositions focusing on various cities, hence the title of the album.
Another Art of the Trio album came out in 2001, but the most significant release was Largo, which recorded Mehldau performing with other groups outside of his usual trio format. This was a big change from his previous work, and offered new challenges as he adapted to several interesting lineup situations. Mehldau followed the genre-bending album with the standards-based Anything Goes and Live in Tokyo in 2004, with Day Is Done arriving the following year. In 2006, he released House on Hill as well as Love Sublime, the latter with soprano vocalist Renée Fleming on Nonesuch Records.Mehldau chose to work with his trio plus Pat Metheny on Quartet in 2007; he followed it up with with the double-disc Live in 2008, which was recorded with his trio at the Village Vanguard.
In 2010, Mehldau emerged with the ambitious Highway Rider, a double disc of 15 new compositions; it was produced by Jon Brion. He employed his trio as well as drummer Matt Chamberlain, saxophonist Joshua Redman, and a small chamber orchestra led by Dan Coleman. Mehldau arranged and orchestrated all the music. Also in 2010, Mehldau was honored by Carnegie Hall when he was named the first jazz artist to hold the Richard and Barbara Debs Composer’s Chair for the 2010-2011 season. In 2011, Mehldauappeared on two live albums, his own Live in Marciac and the ECM date Live at Birdland (recorded in 2009) with saxophonist Lee Konitz, bassist Charlie Haden, and drummer Paul Motian. In September of that year, Nonesuch also released a studio album, Modern Music, a collaboration between Mehldau, pianist Kevin Hays, and composer/arranger Patrick Zimmerli. The music on this set was comprised of tunes by each of the principals, as well as compositions by Ornette Coleman, Steve Reich, and Philip Glass.
On December 6, 2011, while Mehldau was at the beginning of a world tour, Nonesuch issued a box set entitled Art of the Trio Recordings: 1996–2001. The set includes the five Art of the Trio albums — the last a double disc — that were originally issued on Warner Bros. The box also includes a seventh disc of previously unreleased material from shows at the Village Vanguard in 1997, 1999, and 2001. In 2012, Mehldau’s Trio released two studio albums with the all-original, Ode, and the companion collection of cover songs, Where Do You Start.
11 de octubre de 2013 § 1 comentario
JOE ZAWINUL, keyboards… imposible concebir mi universo personal-musical sin su figura todopoderosa. Sin ir más lejos y motivo de este post, ha sido mi tenso peregrinaje de tres días por las tiendas de discos de mi ciudad en búsqueda de uno de sus discos fundamentales q no tenía en CD (si en vinilo)… una oferta tentadora de grabaciones remasterizadas para el mercado japonés de Atlantic Records; genial en todos los aspectos (títulos, calidad superior de las grabaciones y precio). Joe Zawinul suena a Weather Report porq Zawinul es Weather Report en esencia, con permiso de Wayne Shorter… yo diría a pesar de Shorter. Ha sido bandera del mestizaje musical en toda su dimensión (cultural, geográfica, étnica, sociológica, religiosa….) y representante de toda una generación q como yo hemos bebido de las influencias de Miles Davis y de su manera de entender la vida y la música o viceversa… una rendición al fluir de las emociones más enraizadas con los ancestros populares de las músicas del mundo y esa visión extravagante, explosiva e improvisadora de la dinámica del jazz moderno. Destacaré, por primera vez en este medio, su obra completa!!!… aunq por razones de espacio lo debo concentrar en un disco y en un tema rodeado de una banda brutal (Victor Bailey, Alex Acuña, Paco Sery, Richard Bona, Manolo Badrena, Dean Brown, Bobby Malach, Maria Joao…) y otros ángeles q siempre le acompañaban. Así: “Tower of Silence“. LISTEN!
Impresionantes tomas de Jose Horna en Getxo Jazz 2000 y en Jazzaldia 2001
Joe Zawinul belonged in a category unto himself — a European from the heartland of the classical music tradition (Vienna) who learned to swing as freely as any American jazzer, and whose appetite for growth and change remained insatiable. Zawinul’s curiosity and openness to all kinds of sounds made him one of the driving forces behind the electronic jazz-rock revolution of the late ’60s and ’70s — and later, he would be almost alone in exploring fusions between jazz-rock and ethnic music from all over the globe. He was one of a bare handful of synthesizer players who actually learned how to play the instrument, to make it an expressive, swinging part of his arsenal. Prior to the invention of the portable synthesizer, Zawinul’s example helped bring the Wurlitzer and Fender Rhodes electric pianos into the jazz mainstream. Zawinul also became a significant composer, ranging (like his idol Duke Ellington) from soulful hit tunes to large-scale symphonic jazz canvases. Yet despite his classical background, he preferred to improvise compositions spontaneously onto tape rather than write them out on paper.
At age six, Josef Erich Zawinul started to play the accordion in his native Austria, and studies in classical piano and composition at the Vienna Conservatory soon followed. His interest in jazz piano, initially influenced byGeorge Shearing and Erroll Garner, led to jobs with Austrian saxophonistHans Koller in 1952 and gigs with his own trio in France and Germany. He immigrated to the United States in late 1958 after winning a scholarship to Berklee, yet after just one week in class, he left to join Maynard Ferguson’s band for eight months, where Miles Davis first took notice of him. Following a brief stay with Slide Hampton, Zawinul became Dinah Washington’s pianist from 1959 to 1961, and then spent a month with Harry “Sweets” Edisonbefore Cannonball Adderley picked him to fill the piano chair in his quintet. There Zawinul stayed and blossomed for nine years, contributing several compositions to the Adderley band book — among them the major pop hit “Mercy, Mercy, Mercy,” “Walk Tall,” and “Country Preacher” — and ultimately helping to steer the Adderley group into the electronic era. While with Adderley, Zawinul evolved from a hard bop pianist to a soul-jazz performer heavily steeped in the blues, and ultimately a jazz-rock explorer on the electric piano. Toward the end of his Adderley gig (1969-1970), he was right in the thick of the new jazz-rock scene, recording several pioneering records with Miles Davis, contributing the title tune of Davis’ In a Silent Way album.
After recording a self-titled solo album, Zawinul left Adderley to form Weather Report with Wayne Shorter and Czech bassist Miroslav Vitous in November 1970. Weather Report gave the increasingly self-confident Zawinul a platform to evolve even further as his interest in propulsive grooves and music from Africa and the Middle East ignited and developed. He gradually dropped the electric piano in favor of a series of ever more sophisticated synthesizers, which he mastered to levels never thought possible by those who derided the instruments as sterile, unfeeling machines. Weather Report eventually became a popular group that appealed to audiences beyond jazz and progressive rock, thanks in no small part to Zawinul’s hit song “Birdland.”
When Zawinul and Shorter finally came to a parting of ways in 1985, Zawinulstarted to tour all by himself, surrounded by keyboards and rhythm machines, but resurfaced the following year with a short-lived extension of Weather Report called Weather Update (which did not leave any recordings). Weather Update quickly evolved into another group, the Zawinul Syndicate, which over the span of a decade tilted increasingly toward groove-oriented world music influences. Zawinul showed renewed interest in his European roots, collaborating with fellow Viennese classical pianist Friedrich Gulda from 1987 to 1994, producing a full-blown classically based symphony, Stories of the Danube, in 1993, and following the near-disastrous Malibu fires of 1994, moving from California to New York City in order to be closer to Europe. In 2002 he released Faces & Places, his first studio album in several years and one that boasted an international roster of supporting musicians. He went on to release a handful of albums including Midnight Jam (2005) and Brown Street(2007), the latter of which was issued the year his life was taken by cancer.
Though he explored new musical paths at a time of life when most jazzers are long set in their ways, Zawinul’s influence upon jazz waned due to the jazz mainstream’s retreat from electronics back to acoustic post-bop. But with global music continuing to infiltrate the jazz world of the 21st century, Zawinul’s uplifting, still invigorating later music may very well renew the departed keyboardist’s reputation as a prophet in the years ahead.