21 de noviembre de 2016 § Deja un comentario
Jeremy Pelt, trompetista de jazz. Californiano del 76 e hijo “soplador” de Lee Morgan, pero con sello propio. Un grande de la trompeta actual q tenemos el placer de escuchar esta noche en VLC dentro del VI Festival de Jazz Contemporáneo en el Jimmy Glass Jazz Bar.
Trumpeter Jeremy Pelt is a firebrand jazz artist in the tradition of Lee Morgan and Freddie Hubbard. Born on November 4, 1976 in Southern California, Pelt first began playing the trumpet in elementary school, focusing on classical studies. However, it was not until joining his high-school jazz band that he became strongly interested in changing directions and pursuing jazz full-time. This led to studying jazz improvisation and film scoring at Berklee College of Music in Boston, where he earned his B.A. in professional music. Since graduating from college, Pelt has performed and/or recorded with some of the jazz world’s most high-profile players, including Roy Hargrove, Ravi Coltrane, Greg Osby, Cassandra Wilson, and the Mingus Big Band, among others. He released his solo debut, Profile, for Fresh Sound in 2002. A year later, Pelt returned with Insight on Criss Cross. From 2003 to 2008, Pelt released several albums for Maxjazz, including Close to My Heart, Identity, Shock Value: Live at Smoke, and November, all of which showcased his growing facility on the trumpet and penchant for progressive, harmonically adventurous post-bop and modal jazz. In 2010, Pelt moved to High Note and released the mid-’60s Miles Davis-influenced Men of Honor. Sticking with the same ensemble, Pelt released the similarly inclined The Talented Mr. Pelt in 2011, followed by Soul in 2012. The album was celebrated by several magazines and music websites as one of the finest jazz albums of the year. Pelt then returned with two funk, Brazilian, and electronic-infused releases with 2013’s Water and Earth and 2014’s Face Forward, Jeremy. In 2015, Peltdelivered his 12th studio album, Tales, Musings, and Other Reveries, which featured his two-drummer quintet with percussionists Billy Drummond and Victor Lewis. For 2016’s #Jiveculture, Pelt returned to a more straight-ahead acoustic quartet format featuring Drummond, pianist Danny Grissett, and legendary bassist Ron Carter.
7 de abril de 2014 § Deja un comentario
PAOLO FRESU… compositor y trompetista. Un músico entregado a su instrumento y q comparte como nadie la magia de su arte. Particularmente a mi me abduce en formación con Richard Galliano con su disco Mare Nostrum como caso extremo. Sí! he tenido q saltarme el OAC (justificadamente) por la inminente visita de Fresu a mi ciudad (23A 2014_La Rambleta VLC) en duo con Dino Rubino.
Aprovecho para felicitar desde aquí a Massimo, director de eSOUND por pensar q Valencia es un buen lugar para la música de jazz (no te equivocas amigo) y gracias por traernos a uno de los más grandes trompetistas del momento.
Respecto a Paolo os contaré un sentimiento mío, la verdad ciertamente íntimo pero confesaré, así soy… con un simple copy & past nos servirá: “Mis voluntades anticipadas… que suene como despedida/comienzo el tema “mare nostrum” del album del mismo título de Fresu, Galiano & Lundgren, y después… cenizas al Mediterráneo” (NUEVA PLAYA-Carrer Riu Canyoles, Dénia, Alicante)
Y ahora vamos al grano con Fresu… Paolo es capaz de transmitir emoción gracias a la autenticidad y naturalidad de su lenguaje. Seguramente es el representante más auténtico del jazz italiano actual. Las propiedades de su sonido introspectivo y recogido se unen al gusto por la melodía pura, el lirismo de raíz mediterránea y su necesidad de investigar. En 2001 recibió el prestigioso premio internacional Django d’Oro, en la categoría de mejor músico de jazz. Es director artístico del Festival de Jazz de Berchidda y del Concurso de Grupos Jóvenes de Oristano “Eurojazz”.
Mare Nostrum’s biggest surprise isn’t its instrumentation — a trio of accordion, trumpet and piano — but how natural the combination sounds in its execution. Of course, Italian trumpeter Paolo Fresu, French accordion player Richard Galliano (who is of Italian offspring), and Swedish pianist Jan Lundgren are well-known, critically praised jazz musicians who have all been known to eschew musical boundaries and defy genre limitations, so the music on Mare Nostrum — an album co-led by all three — shouldn’t come as a surprise, nor should its quality, and yet not everybody would have expected such marvelous results. The 15 compositions on the album include originals by all three musicians and several covers, touching upon jazz, tango, classical music, and folk, reinterpreting Charles Trénet (“Que Reste-T-Il de Nos Amours?”), encompassing Antonio Carlos Jobim (“Eu Nao Existo Sem Voce”), and Maurice Ravel (“Ma Mère L’Oye”). There is an almost delightful sense of trust and ease among the three performers, who never take away their bandmates’ spotlights, and who find a balance between playfulness and restraint throughout the album. The music is evocative, as if it was the soundtrack to a missing Louis Malle movie, and much of it creates a warm feeling of gentle nostalgia, even on the more up-tempo tracks. Let’s hope these musicians meet again to record more music — Mare Nostrum is a precious gem (allmusic.com).
Junto a Sosa ha desarrollado un nuevo concepto de jazz al que han dado forma en el disco “Alma“, conocido como “free-jazz-fusión” y caracterizado por una mezcla de ritmos latinos, electrónicos y sonidos acústicos. Buenísimo! At the beginning of the ’80s, trumpeter Paolo Fresu attended the Siena Summer Jazz Seminars and amazed Enrico Rava with his creativity, talent, and technique. Over the next ten years, he became a major player on the Italian scene, first with his own quintet (which is still going), then branching out in a variety of projects. After finishing his Conservatory studies, he became a teacher at the same Jazz Seminars in Siena; he lives half the year in Paris, from where he coordinates the major Time in Jazz Festival he created in his hometown. His discography numbers an astonishing 130 titles since he’s been invited to play all over Europe in a variety of projects, from contemporary music to straight jazz, from dance to jazz/folk fusions. His style is based on the classic Miles Davis sound of the ’50s, and the very lineup of his quintet is reminiscent of Davis’ group, with excellent tenor Tino Tracanna. They mostly play originals and the music flows fresh and engaging, never a mere imitation. Live in Montpellier (1990) and Ossi di Seppiafeaturing Gianluigi Trovesi, both on Splasc(h), are good representations of the different facets of the group; Shades of Chet is an affectionate tribute withRava on Label Bleu (2001) featuring new piano talent Stefano Bollani. Sonos ‘E Memoria (ACT 2001) and Metamorfosi (BMG 1999) are respectively inspired by Sardinian musical heritage and European classical Richard Strauss, their success being proof of his commitment to an open musical aesthetic. In addition to Fresu’s quintet, he played in an unusual duo with bassist Furio di Castri, this became the PAF trio with the addition of Antonello Salis on piano and accordion, and another trio with English pianist John Taylor (Contos, Egea 1995), while his European quartet includes French-Vietnamese guitar player Nguyên Lê (Tales From Viêtnam, ACT, 1995).
Paolo Fresu…compositore e trombettista. Un musicista dedicato al suo strumento che condivide, come nessun altro, la magia della sua arte. In particolare, mi ha rapito insieme a Richard Galliano con il suo album Mare Nostrum, che ne è l’ esempio lampante. Sí! Ho dovuto saltare la OAE (giustamente) a causa dell’ imminente visita di Fresu alla mia città (23A 2014_La Rambleta VLC), in duetto con Dino Rubino.
Ne approfitto per complimentarmi, da qui, con Massimo, direttore di EsounD, per aver pensato che Valencia è un buon posto per la musica jazz (non ti sbagliavi amico mio) e ringraziarlo per averci portato uno dei più grandi trombettisti del momento.
Per quanto riguarda Paolo, vi esprimerò un mio sentimento, a dire la verità priprio intimo, ma lo confesserò, son così…ne renderò l’idea con un copy & paste: “Il mio testamento biologico…che suoni come addio/inizio il pezzo “mare nostrum”, dell’ album dall’omonimo titolo, di Fresu, Galiano & Lundgren, e poi…ceneri nel Mediterraneo”.
Ma ora andiamo al dunque con Fresu…Paolo Fresu è in grado di trasmettere emozioni attraverso l’autenticità e la naturalezza del suo linguaggio. Sicuramente è il rappresentante più autentico della corrente jazz italiana. Le proprietà del suono introspettivo e raccolto si uniscono al gusto per la melodia pura, il lirismo di radice mediterranea e il suo bisogno di ricerca. Nel 2001 ha ricevuto il prestigioso premio internazionale Django d’Oro, nella categoria di miglior musicista jazz. È direttore artistico del Festival del Jazz di Berchidda e del Concorso Berchidda di Gruppi Giovanili di Oristano “Eurojazz”.
Paolo Fresu è un musicista raffinato, un trombettista difficile da trovare, solido e caldo, con l’accento posto sulla sensazione di un suono rotto, forse consumato nei suoi panneggi. Una voce viva che ci travolge.
È professore e responsabile di varie istituzioni italiane ed internazionali ed ha suonato in tutti i continenti con i musicisti più importanti del jazz contemporaneo: Franco D’ Andrea , Giovanni e Bruno Tommaso, Enrico Rava, Enrico Pieranunzi, Aldo Romano, John Taylor, Kenny Wheeler Jon Christensen, Gerry Mulligan, David Liebman, Dave Holland, Richard Beirach, John Zorn, John Abercrombie, Helen Merrill, Ralph Towner, Richard Galliano, Michel Portal, Trilok Gurtu , Jeanne Lee, Jim Hall, Lew Soloff, Uri Caine, Gil Evans Orchestra, Toots Thielemans, Omar Sosa, Carla Bley, Steve Swallow, Andy Sheppard, Nguyen Le …
Tra album propri e quelli per cui ha collaborato, ne ha incisi quasi 300. È spesso ospite di importanti orchestre come la ‘Grande Orchestra Italiana’, l’Orchestra Nazionale Francese del Jazz e la NDR della radio di Amburgo. Paolo partecipa anche a vari progetti multimediali con attori, ballerini, pittori, scultori e poeti. Scrive, inoltre, colonne sonore per film, documentari, teatro e balletto.
Evidenzierò “mare nostrum”, è logico, no?..Dopo tutto quello che ho detto. LISTEN!…
15 de noviembre de 2013 § Deja un comentario
ART FARMER… una trompeta de jazz por definición, debe ser mi debilidad pero estoy cautivado por sus soplidos. He considerado incluso si me quedaría con él antes q con Miles Davis, increíble disyuntiva sí!. Bueno, desvaríos aparte, este señor comenzó su carrera tocando en la orquesta de Lionel Hampton junto a grandes como Clifford Brown o Quincy Jones, después marchó a Nueva York para trabajar, entre otros, con Horace Silver, Gerry Mulligan y Gigi Gryce, también participó en proyectos musicales de gran calado con Oliver Nelson, Donald Byrd, Jackie McLean, George Russell, Bill Evans, Mcoy Tyner, Curtis Fuller, Art Pepper, Ray Brown, Shelly Manne… redondeó su carrera con una formación q apellidó imaginativamente: JAZZTET junto a Benny Golson. También fue especialmente brillante su estancia en Europa (Viena) con el trio q formó con Jim Hall y Steve Swallow (esa pareja) . Su prolífica producción (le cuento más de 80 discos) finalizó acompañado de talentos de la talla de Ron Blake, Carl Allen, Tommy Flanagan o Joe Chambers… buenos espadas!
Para cerrar os contaré una simpática anécdota. Art tenía un hermano gemelo idéntico a él q tocaba el bajo (Addison Farmer), en una ocasión un periodista le pregunto cómo se diferenciaban. Art respondió: “… por la mañana cuando me levanto cojo el bajo y si no puedo tocarlo, es que soy Art” JA! JA! JA!
Destacaré “fly me to the moon” de su disco LISTEN TO… así pues a LISTEN! https://app.box.com/s/hx5xzx0aznyvinxrwr60
Buen viaje y buen BOP!
Largely overlooked during his formative years, Art Farmer’s consistently inventive playing was more greatly appreciated as he continued to develop. Along with Clark Terry, Farmer helped to popularize the flügelhorn among brass players. His lyricism gave his bop-oriented style its own personality. Farmer studied piano, violin, and tuba before settling on trumpet. He worked in Los Angeles from 1945 on, performing regularly on Central Avenue and spending time in the bands of Johnny Otis, Jay McShann, Roy Porter, Benny Carter, and Gerald Wilson among others; some of the groups also included his twin brother, bassist Addison Farmer (1928-1963). After playing with Wardell Gray (1951-1952) and touring Europe with Lionel Hampton’s big band (1953), Farmer moved to New York and worked with Gigi Gryce (1954-1956), Horace Silver’s Quintet (1956-1958), and the Gerry Mulligan Quartet (1958-1959). Farmer, who made many recordings in the latter half of the ’50s (including with Quincy Jones and George Russell and on some jam-session dates for Prestige) co-led the Jazztet with Benny Golson (1959-1962) and then had a group with Jim Hall (1962-1964). He moved to Vienna in 1968 where he joined the Austrian Radio Orchestra, worked with the Kenny Clarke-Francy Boland Big Band and toured with his own units. Starting in the ’80s, Farmer visited the U.S. more often and remained greatly in demand up until his death on October 4, 1999. Farmer recorded many sessions as a leader throughout the years for Prestige, Contemporary, United Artists, Argo, Mercury, Atlantic, Columbia, CTI, Soul Note, Optimism, Concord, Enja, and Sweet Basil.
19 de junio de 2013 § Deja un comentario
RANDY BRECKER… compositor y trompetista de jazz fusion q llegó hasta mis oidos por primera vez en grupo con su hermano Michael y el resto de la formación The Brecker Brothers (David Sanborn, Sammy Figueroa, Rafael Cruz, Dennis Chambers, Dean Brown, Cris Parker… más invitados estrella como Steve Gadd, Will Lee o Eliane Elias). Después, he seguido su trayectoria musical con atención ya q siempre me han entusiasmado los artistas valientes en sus incursiones en estilos de vanguardia; hard bop, jazz-funk, brazilian jazz… Destacaré el tema “village dawn” LISTEN!
Su primer disco
Su último trabajo
Randy Brecker is essentially a fine hard bop trumpet soloist, but one versatile enough to fit into nearly any setting, including in the pop world, funk bands, and jazz fusion. He studied classical trumpet and attended Indiana University. Brecker was with Blood, Sweat & Tears in 1967, and spent 1968-1969 playing with Horace Silver’s quintet. He also appeared with the big bands of Clark Terry, Duke Pearson,Frank Foster, and the Thad Jones/Mel Lewis Orchestra. After playing with the early fusion group Dreams in 1969, he worked with Larry Coryell’s Eleventh House and Billy Cobham, in addition to keeping very busy with studio work. He teamed up with his brother, the late Michael Brecker (1949-2007), in the popular funk-oriented Brecker Brothers (1974-1979); in the ’80s he often collaborated with his wife, pianist/vocalist Eliane Elias; and in the ’90s he toured with the reunited Brecker Brothers. But Randy Brecker still sounds best when in a freewheeling bebop combo, and fortunately he occasionally records in that type of spontaneous setting. As a solo artist, Brecker has released numerous outstanding albums, including his 1969 debut Score, 1987’s In the Idiom with saxophonist Joe Henderson and bassist Ron Carter, 1995’s contemporary and Brazilian jazz-infused Into the Sun, 2003’s ode to Manhattan 34th N Lex, and 2008’s Randy in Brasil. In 2011, Breckerwas featured with the DR Big Band and the Danish National Chamber Orchestra on the album The Jazz Ballad Songbook. Also that year,Brecker appeared on saxophonist Richard Cole’s Inner Mission album. In 2013, Brecker released The Brecker Brothers Band Reunion, which featured various players who performed with the Brecker Brothers over the years. http://www.allmusic.com
14 de febrero de 2013 § Deja un comentario
Chris Botti… trompeta de jazz y compositor estadounidense nominado varias veces para los Grammy. Comenzó su carrera acompañando a Sinatra y Buddy Rich, vaya forma de empezar! Después una carrera de éxitos en colaboración con grandes como Paul Simon, Sting, The Brecker Brothers o Joni Mitchel por citar algunos. Botti añade un punto extremo de fusión y vanguardia rozando con el breack. Destacaré “back into my heart” con Abe Laboriel y Lenny Castro. LISTEN!
Though best known as a contemporary jazz performer, trumpeter Chris Botti made his initial splash on the pop music scene. A native of Oregon, he started playing at the age of ten, and began performing professionally while still in high school. After studying in the prestigious Indiana University music program under noted jazz educator David Baker, Botti relocated to New York, where he served with saxophonist George Coleman and trumpet great Woody Shaw. In 1990, Botti was asked to join Paul Simon’s band, where he remained for the next five years. Finally, in 1995, he recorded his solo debut, First Wish, a record combining the sounds of contemporary pop-jazz with the textures of art rock. After scoring the 1996 film Caught, Botti resurfaced in 1997 with his second LP, Midnight Without You, which was followed by Slowing Down the World in 1999.
Two years later, he was a featured soloist on Sting’s Brand New Dayworld tour, and that time allowed Botti to rediscover old musical passions and create new ones. Recorded in Los Angeles, 2001’s Night Sessions captured such jazzy pop. That muse was explored further in 2003 with A Thousand Kisses Deep, and to a lesser extent on the more traditional orchestral jazz of 2004’s When I Fall in Love. That record was his first Top 40 entry, and it was followed by the number 18 hit To Love Again: The Duets in 2005. Another Top 40 placement, Italia, followed in 2007, with the live album Chris Botti in Boston following in 2009. In 2012, Botti returned with the studio album Impressions. Focusing on his love of melody, Impressions features Botti collaborating with such artists as jazz pianistHerbie Hancock, guitarist Mark Knopfler, country singer Vince Gill, composer/pianist/producer David Foster, and more.
6 de febrero de 2013 § Deja un comentario
Erik Truffaz… trompeta suiza de fusion de la cosecha del 60 (buena, buena); eléctrico con formación clásica y tocado de la influencia de Miles, aspecto q me condiciona y enloquece. Esta noche actúa en Espai Rambleta de Valencia, por eso se ha colado aquí, por eso y porq lo sigo de cerca desde su primer album del 97 out of a dream. Su formación habitual con Marcello Giuliani, Marc Erbeta y Patrick Muller. Destacaré “wilfried“, LISTEN!
Erik Truffaz received an early introduction into the world of a professional musician, thanks to his saxophone-playing dad. When he was ten years old, the French trumpeter began performing in his father’s dance band. As he grew older, Truffaz performed with other bands in the region until he was 16 and heard Kind of Blue by Miles Davis. The great jazz trumpeter’s music inspired him to learn more, and he set off for Switzerland’s Geneva Conservatoire, where he became a student. Truffaz’s repertoire expanded to works by Mozart and Verdi, and he performed as part of L’Orchestre de Suisse Romande. He also played in cover bands before establishing a group called Orange. The band concentrated on Truffaz’s compositions. Among its members was Marc Erbetta, a drummer who continued to play with Truffaz as the trumpeter evolved.
Truffaz’s jazz fusion artistry led France’s Jury du Concours National de la Defense to bestow upon him the 1991 Prix Special, that country’s coveted jazz award. Within three years, he became a leader with the release of Nina Valeria. In 1991, he made the first of his three appearances on the stage of the Montreux Jazz Festival. For two years beginning in 1994, he toured Europe, Russia, and Brazil, thanks to funds bestowed by the ProHelvetia Foundation. In 2000, Truffaz signed with Blue Note Records and released The Mask, a straight-ahead jazz session with Miles Davis similarities. By his second Revisité and thirdMantis discs, however, Truffaz began to stretch the boundaries of contemporary jazz by incorporating drum’n’bass and hip-hop rhythms, establishing himself as a cutting-edge artist in his own right. In 2003, both Walk of the Giant Turtle and Bending New Corners were issued on Blue Note. Saloua from 2005 expanded his interest in hip-hop by adding some rap.
2 de febrero de 2013 § 1 comentario
Terence Blanchard… una trompeta de primer nivel al q Miles ya puso muy buena nota. Está considerado referente del neo bop y ha grabado BSOs de gran éxito. Destacaré “flow” de su disco del mismo título producido por Herbie Hancock. LISTEN!
In the post-Wynton Marsalis era, jazz trumpeter Terence Blanchard has become a most prominent brass player, bandleader, recording artist, orchestrator of film scores, and leader in the mainstream post-bop community. Born on March 13, 1962 in New Orleans, Louisiana, Terence Oliver Blanchard was an only child to parents Wilhelmina and Joseph Oliver Blanchard. He began playing piano by the age of five, switched to trumpet three years later, and played alongside childhood friend Marsalis in summer band camps. While in high school, he took extracurricular classes at the New Orleans Center for Creative Arts with Roger Dickerson and Ellis Marsalis. From 1980 to 1982, Blanchard studied under Paul Jeffrey andBill Fielder at Rutgers University in New Jersey while touring with Lionel Hampton’s orchestra. In 1982 Blanchard replaced Wynton Marsalis under his recommendation in Art Blakey’s Jazz Messengers, working in that band up to 1986 as lead soloist and musical director. He then co-led a prominent quintet with saxophonist Donald Harrison, recording seven albums for the Concord, Columbia, and Evidence record labels in five years, including a stirring in-concert tribute to the Eric Dolphy/Booker Littleensemble.
In the ’90s, Blanchard became a leader in his own right, recording for the Columbia label, performing on the soundtracks to Spike Lee’s Do the Right Thing and Mo’ Better Blues, and composing the music forLee’s film Jungle Fever. In fact, Blanchard has written the score for every Spike Lee film since 1991, including Malcolm X, Clockers,Summer of Sam, 25th Hour, Inside Man, and the Hurricane Katrina documentary When the Levees Broke for HBO. With over 40 scores to his credit, Blanchard and Mark Isham are the most sought-after jazz musicians to ever compose for film. In the fall of 2000, Blanchard was named artistic director of the Thelonious Monk Institute of Jazz at the University of Southern California in Los Angeles. Keeping up with his love of live performance and touring, Blanchard also maintains a regular studio presence, recording his own original music for the Columbia, Sony Classical, and Blue Note labels. Albums include The Billie Holiday Songbook (1994),Romantic Defiance (1995), The Heart Speaks (1996), the acclaimed Wandering Moon (2000), Let’s Get Lost (2001), Bounce (2003), and especially Flow (2005), which was produced by pianist Herbie Hancockand received two Grammy nominations. Blanchard has been nominated for 11 Grammys and has won four in total, including awards for New York Scene with Blakey (1984) and the soundtrack A Tale of God’s Will in 2007. In 2005, Blanchard was part of McCoy Tyner’s ensemble that won the Grammy in the Best Jazz Instrumental Album category for Illuminations.
A quintessential sideman as well as leader, he has worked with prominent jazz players including Cedar Walton, Abbey Lincoln, Joanne Brackeen, Jay McShann, Ralph Peterson, Ed Thigpen, J.J. Johnson,Toots Thielemans, the Olympia Brass Band, Stevie Wonder, Bill Lee,Ray Brown, Poncho Sanchez, Dr. Billy Taylor, Dr. John, Lionel Loueke,Jeff Watts, and many others. Scarecrow Press published his autobiography, Contemporary Cat. By April of 2007, the Monk Institute announced its Commitment to New Orleans initiative, which included the relocation of the program to the campus of Loyola University in New Orleans, spearheaded by Blanchard. During 2007, the Monterey Jazz Festival named Blanchard Artist-in-Residence, and the festival formed a 50th Anniversary All-Stars ensemble featuring trumpeter James Moody, Benny Green, Derrick Hodge,Kendrick Scott, and Nnenna Freelon. In 2008, Blanchard helped scored the hit film Cadillac Records. Signing with Concord Jazz in 2009, he released Choices — recorded at the Ogden Museum of Art inBlanchard’s hometown of New Orleans — at the end of that summer. In 2011, he paid tribute to the innovative Afro-Cuban recordings of Dizzy Gillespie and Chano Pozo by teaming up with Latin jazz percussionist Poncho Sanchez for the studio album Chano y Dizzy! In 2012, Blanchard returned to his film work by scoring the soundtrack to director George Lucas’ WWII action/drama Red Tails.