Questa sera a Roma, vi propongo di compiere con me un piccolo Jazz Tour che ci porterà alle ore 19:00 alla Casa del Jazz dove potremo assistere al 9° appuntamento della rassegna Jazz Colours, il  jazz e le sue contaminazioni, ideato e condotto dl giornalista Alfredo Saitto. Ascolteremo tra gli altri progetti, Antonella Vitale Quintet, che si avvale della presenza del trombettista romano Aldo Bassi in un repertorio di brani di Burt Bacharach arrangiati da Andrea Beneventano, interpretati da una delle voci più sensuali e intense del jazz italiano.

A seguire ci sposteremo all’Alexanderplatz, dove ascolteremo il meraviglioso Paolo Recchia Trio. Bebopper veri e incalzanti! Una formazione che sta infiammando le notti più jazzose del nostro paese.

Dunque, che il nostro piccolo tour notturno per le vie del jazz abbia inizio! 

alfredo saitto  

Lun. 30|11|2009
JAZZ COLOURS    >> MORE INFO
12 incontri sul jazz e le sue contaminazioni
Conduce Alfredo Saitto
Regia multimediale di Vittorio Malpassuti
Auditorio della Casa del Jazz
Viale di Porta Ardeatina, 55 – 00153 Roma

h. 19.00 Ingresso gratuito

ANTONELLA VITALE QUINTET
Antonella Vitale, voce
Aldo Bassi, tromba e flicorno  >> http://www.aldobassi.it/
Domenico Sanna, pianoforte
Francesco Puglisi, contrabbasso
Alessandro Marzi, batteria

Il suo Quintetto, ormai ben conosciuto, da  anni si compone di una ensemble ’forte’ che segue le idee di Antonella con grande intelligenza, mettendo sempre sul piatto la propria esperienza di anni. Come quella di Andrea Beneventano, pianista con la P,  o del trombettista Aldo Bassi. Luigi Onori, stimato critico musicale dice di lei: “La Vitale ha ottimi mezzi vocali ed un carisma che discende da una voce duttile e personale sia che canti in italiano, inglese o brasiliano”. Io aggiungo che arriva a toccare punte di grande poesia e passione nell’interpretazione . Un’artista attenta alle sfumature e capace di dosare i colori nel modo più giusto, ora delicatamente, ora con grande  energia.

LuN. 30|12|2009
PAOLO RECCHIA TRIO
Alexanderplatz Jazz Club >> MORE ABOUT

h. 22:30 Ingresso con tessera

Paolo Recchia, sax
Nicola Angelucci, batteria
Nicola Muresu, contrabbasso.

I tre artisti sono considerati tra i più interessanti talenti del panorama jazz italiano. Il trio di Recchia è frutto di un progetto incentrato principalmente sugli standards della grande tradizione jazzistica, fonte di comune formazione e ispirazione, ed arricchito con l’inserimento di alcuni brani originali di Recchia ed Angelucci.

La dimensione musicale di questo trio porta i musicisti ad esplorare terreni armonici e soprattutto ritmici, arricchendo l’esecuzione degli standards con l’utilizzo di poliritmie e tempi dispari: un trio che opera precise e coraggiose scelte stilistiche proponendosi di ripercorrere, con originalità e intelligenza interpretativa, alcuni capolavori del jazz tradizionale oltre alla elaborazione di temi originali.

Il comune percorso formativo permette loro di approcciare il materiale musicale in maniera compatta e di dare una direzione univoca e diretta al suono complessivo ed il risultato è garantito dalla innegabile sintonia e dal feeling musicale ed umano che lega i tre musicisti.

[Submitted by J.D.]

[Submitted by J. D.]

Federica Baioni – Voce

Lun. 30|11|2009
JAZZ COLOURS
12 incontri sul jazz e le sue contaminazioni
Conduce Alfredo Saitto
Regia multimediale di Vittorio Malpassuti
Auditorio della Casa del Jazz
Viale di Porta Ardeatina, 55 – 00153 Roma

h. 19.00 Ingresso gratuito (SU PRENOTAZIONE tel. o mail)

Reservation:
Valentina 339.5319442 valentina@vaint.it
Giorgia 393.8707319 giorgia@vaint.it

________________________

PROGRAMMA

9° incontro: Jazz e Pop Song

A differenza di quello che accade spessissimo nel pop, nel jazz non c’è la corsa alla composizione e la cosa si spiega facilmente: sono in tanti a presumere di avere l’ispirazione per scrivere una canzone, una forma di espressione che da sempre va considerata popolare, mentre per comporre un brano jazz serve una preparazione tecnica indubbiamente più alta. Accade che, talvolta, una grande canzone riesca a superare i confini della sua tradizionale fruizione, per trasformarsi in un evergreen (sfidando lo scorrere del tempo) e, in casi molto particolari, in standard jazz (o meglio: new standar) beneficiando dell’estro, del talento e del genio espressivo di musicisti che preferiscono intervenire su quello che è accreditato come bello, invece di rischiare la propria creatività in brani originali a rischio di risultati scontati. Il jazz ed il pop si sposano spesso, si incrociano, si colorano l’un l’altro e, spesso, con risultati fantastici ed inattesi. Quasi sempre, i jazzisti che decidono di appropriarsi di una canzone pop, la prima cosa che fanno, è sacrificare il testo. Non vanno, comunque, dimenticate le canzoni pop che nascono con una certa predisposizione jazzy che rientrano in una sfera più sofisticata, molto gradita da un pubblico dal palato fino. (fonte: uff. stampa casa del jazz)

________________________

performing:

BASSVOICE PROJECT
Pippo Matino (basso elettrico)
“Silviavoce” Barba (voce)

ANTONELLA VITALE QUINTET
Antonella Vitale, voce
Aldo Bassi, tromba e flicorno  >> http://www.aldobassi.it/
Domenico Sanna, pianoforte
Francesco Puglisi, contrabbasso
Alessandro Marzi, batteria

FEDERICA BAIONI QUARTET
Federica Baioni, voce
Giuliano Valori, pianoforte
Maurizio Perrone, contrabbasso
Dario Esposito, batteria

________________________

MORE INFO on facebook:

>>> this EVENT ON FACEBOOK: link yourself !!!

>>> MORE ABOUT ALDO BASSI (jazz trumpet)

Just in time for the holidays and Black Friday! The five-minute Aunt Jemima Program: proof that in the Golden Age of Radio, “product placement” was not necessary, as the product WAS the show. Of course, since corporations are “persons,” and “persons” have SUCKY memory skills, we may see this kind of entertainment again. After all, commercial encroachment into our minds has already been established; we should be able to accept it better this time around, eh?

Playlist

Jemima1
Alleee1
Finnish Beds are Burning
Julia Fischer * Prokofiev Violin Concerto no 2 Movement 2
Jemima 2
Mills Blue Rhythm Band * Jes’ Natch’ully Lazy (I Was Born That Way)
Enoch Light and his Orchestra * Down by the Riverside
Jemima 3
C. Dean Draper * I’m the Only Hippie in Muskogee
Edvard Grieg * Anitra’s Dance
Jemima 4
Flavia and the Motonets * Hombre Tomate
The Courtly Art of the Trouvieres
Jemima 5
Zeb and Cousin Easy * Little Red Riding Hood
Knuckles O’Toole * Ta Ra Ra Boom Dee Aye
Jemima 6
Supremes * Hangin’ On
Vivaldi
Jemima 7
Tracky Birthday * Good Bye
Jose Moriche * Amour
Jemima 8
Frida * Wouldn’t it be Nice
Isao Tomita * Arabesque No. 1
Jemima 9
Arizona Colt * Main Title Song
Pérez Prado * Cerezo Rosa
Jemima 10
Alleee2

Download

How best to describe slide trumpeter Steven Bernstein’s singular quartet Sex Mob?
Maybe we should start with mercurial musical magician Bernstein himself, whose exotic career as sideman, musical director, arranger and composer has included ten years with John Lurie’s Lounge Lizards and stints alongside everyone from Bill Frisell to Sam Rivers, the Flying Karamazov Brothers and, oh yes, Bootsy Collins. Or maybe we should look at his career as bandleader, which includes the trumpet-slide guitar-tuba trio Spanish Fly and the boisterous, cataclysmic nine-piece Millennial Territory Orchestra. Or maybe we should just listen to Bernstein’s own summing up of Sex Mob (which began life in residency in 1995 at the Knitting Factory’s “late night hang” as a vehicle for Bernstein’s own compositions and quickly morphed into a band covering everything from film composer John Barry’s James Bond music to Duke Ellington to Prince): “Jazz used to be popular music. People would go out to clubs, listen to the music, go home and get laid. Simple as that. We’re bringing that spirit back.”"That spirit”—one of wailing, riotous abandon mixed with eccentric song choices, high musicianship and healthy doses of funky downtown grit—is on ample display on the group’s first live recording, Meets Medeski, waxed at Switzerland’s Willisau Jazz Festival. Less of a meeting than a reunion—groove god John Medeski is an old cohort of the band and can be found on the group’s first release, 1998’s Din of Inequity—the disc is divided into three seamless “suites,” each of which intersperses a couple of originals with covers of Ellington’s “Black and Tan Fantasy,” Count Basie’s “Blue and Sentimental,” two Prince tunes, four Barry “Bond” cuts and (I kid you not) “Down on the Farm” and “Little Liza Jane.”

It is, in short, an absolute gas. And it works, thanks to Bernstein’s impeccable taste and leadership. For all his mischievous rambunctiousness, Bernstein is both a rigorous designer of musical soundscapes and an exacting conductor; no matter how loose the band seemingly hangs, he keeps it under a watchful eye and the music stays concise and true. (Case in point: the longest tune on the CD clocks in at just over six minutes, a somewhat astonishing achievement for a live jazz disc.) As with any Sex Mob show, the Bond tunes are a highlight: both the calamitous “Oddjob,” with Bernstein’s ragged trumpet soaring atop Medeski’s alternately delicate and bombastic Hammond B3, and Barry’s gorgeous “You Only Live Twice,” done as boozy, woozy, soul-inflected ’60s scream, are sublime. Medeski, as expected, sounds terrific in this context (check out his brusque, rampaging solo over Kenny Wollesen’s tumbling drums on “Down on the Farm”).

Sex Mob at All About Jazz.
Visit Sex Mob on the web.
Track listing: Mob Rule Invocation; Mob Rule 1; Black and Tan Fantasy; Mob Rule 2/Little Liza Jane; Sign O The Times; Down On The Farm; This Never Happened to the Other Guy; Mob Rule 3; This Never Happened Part 2; Blue and Sentimental; Kenny Supreme; Darling Nikki; Odd Job; You Only Live Twice; Mob Rule 4; Artie Shaw.

Personnel: Steven Bernstein: slide trumpet; Briggan Krauss: alto saxophone; John Medeski: organ; Tony Scherr: bass; Kenny Wollesen: drums, percussion.

As I always say, I don’t seriously believe in the Ghost of Hillborough House, lurking – in defiance of logic – around the attic and Room 17. Nevertheless, I can’t help but shiver when, halfway through the second run of a Mozart quartet, I hear someone I can’t see, humming sadly along.

Photo by C. Neil Scott

Tonight at 8:30 and 10:00 p.m., Firehouse 12’s fifth annual Fall Jazz Series will present the New Haven debut of The Peter Evans Quartet.

The group, which recorded its highly acclaimed eponymous debut for Firehouse 12 Records in 2007, is led by trumpeter/composer Peter Evans, who critics have called “a new jazz star” (Brian Morton, Jazz Review) with “the kind of mad chops and conceptual smarts that surface just a few times in every lifetime” (Peter Margasak, DownBeat).

The current version of the ensemble, his main outlet as a bandleader, features pianist Ricardo Gallo, bassist Tom Blancarte and drummer Kevin Shea.

Every Light That Shines At Christmas CD Cover

Every Light That Shines At Christmas is the second Christmas project to be released by Ernie Haase & Signature Sound.

I really do enjoy a good Christmas project, be it secular or Gospel, but when you combine rich, sterling 4 – part harmony to Christmas classics, novelty songs and new songs, it really makes for a unique and enjoyable combination. On this particular project we have 16 tracks of Christmas cheer and fun.

1. He Started The Whole World Singing/O Come, All Ye Faithful - Ernie Haase opens this soft and gentle opening cut on the album. I enjoy how the song gradually picks up more and more momentum until the climatic finish. The Voices of Lee feature in this song as well as a children’s choir, which gives it a real Christmas feel. Once the track moves into the second song, O Come All Ye Faithful, there is full orchestration and gives the track a real punchy feel. The vocals are well mixed with the Voices of Lee, sometimes on songs that features choirs, it is easy for the choir to drown out the quartet, but not in this instance.
2. Marshmallow World – A lively and bouncy tune which features the whole group on the opening lines. The best feature of this song is on certain lines the whole group sings the lead, there is no harmony, so when they revert back to the harmony it makes it more pronounced and noticable. Wonderfully arranged and sung.
3. Every Light That Shines At Christmas – The title track is an up tempo and country flavoured gem. On the first few spins of the CD, it reminded me of Glory To God In The Highest of their first Christmas album. Punctuated with horns and other orchestration it makes for a great cut. All the group members are featured on different parts with a collective element shown on the second half of the song, driving it to the big finish. This would be sure to get you up on your feet at live concerts.
4. Redeeming Love - A slower, reflective portrait of why Jesus Christ came to earth, to seek and save. The song starts out featuring Ryan Seaton. I have already covered that Ryan is developing and becoming more and more asserted in his performances, particularly in the live setting.  The song is then taken up by Ernie Haase and he takes it through to the chorus. A great song that is already became a favourite on my list. Some nice high notes and a big ballad finish to this song make it for me. I’d also like to see this live.
5. Changed By A Baby Boy- Another great little gem from this CD. Changed By A Baby Boy features Ryan Seaton with the quartet adding in an echo type backing vocal. It goes over very well live, especially the chorus, it’s a very catchy and simple lyric to sing. Jeff Foster described this tune as having “a decidedly Reggae/Caribbean sound and beat to it”, which i agree with completely. It makes the tune different and very accessible to potential listeners from outside the southern gospel genre.
6. Mr Heat Miser – Arguably the most novel and fun song on the project! A great little tune with some great vocal arrangements and tricks. The most notable aspect would be the trade-off between Ernie and Tim portraying different characters of the song. Tim delivers his very well, stepping well into the “gruff old man” idea.
7. Thank God For Kids – Worth the entire price of the album if i’m honest.  It is beautiful. Doug Anderson has a great voice, and to see it on an iconic country anthem like “Thank God For Kids” was a great decision. Maybe what makes this song is the simplicity in the arrangement and the light accompaniment. I particularly like the way Doug injects his own little stamp on the song with his unique delivery. The harmony parts with Ernie on the verses are also lovely. A brilliant cut and gives this old classic new life.
8. Christmas Is Christmas (Wherever You Are) - A slow and reflective song about those who can’t be together in person at Christmas, yet in spirit we are all together. A children’s choir adds their contribution to the song with some stellar vocals from the quartet.
9. God Rest Ye Merry Gentlemen – A Cappella features on this song and the arrangement is fabulous. Think the delicate and complex arrangements from the Gaither Vocal Band’s a capella project and you get my drift. I love a good bass singer and on this song you can clearly hear Tim’s deep vocals in the mix, possible they have been pushed out a little more, which makes for a great bass undercurrent throughout the song. Tim and Doug sing together at one stage, cascading down the notes together, which is a lovely moment. They build up the finish and take it home by having Ernie reach for the stars vocally and Tim dropping down nice and low.
10. What Child Is This? – A lovely big ballad, which starts of softly and ends softly with big orchestration and high notes throughout the majority of the song. This track has some well arranged vocals and features Doug and Ernie throughout its duration.
11. If It Doesn’t Snow On Christmas – Another fun number from the project. The track opens up with Tim Duncan on vocals which sets off the track with me! it definitely appears to be marketed towards children, their is a noticable clarity and distinction to Doug and Ryan’s diction feature on the later verses.  The whole song just radiates with the one question that many children will have, If it doesn’t snow on Christmas how will Santa use his sleigh?! But Ernie will let him use their bus. According to the lyrics anyway!
12. All I Want Is You - A further a cappella number from the group. It has a great arrangement and feels just right at that part of the CD. I would love the group to do a whole a cappella CD. With these arrangements and talent that they possess, it would be a truly great project.
13. Christmas In Indiana – A mid tempo tune from the pen of Gloria and Benjamin Gaither. This was the first time i had ever heard this tune and it was a pleasant experience. It paints a beautiful picture of family being reunited for Christmas and spending Christmas with a loved one. This is the type of tune i can imagine being on in the background whilst decorating the Christmas Tree or whilst having family over to celebrate.
14. Silent Night – The last a cappella piece on the project. Boy did they leave the best til last. They make it sound so easy yet i’m sure the complex vocal arrangements are hard to do. It sounds great. My favourite part is at the end on the “sleep in heavenly peace” line. Ernie sings softly yet in a really high note, it could be falsetto, more musically aware people can step in and correct me if im wrong! But whatever it is…..it’s sublime!!
15. Light A Candle – This is a song is somewhat similar to “We Need Each Other” of the Dream On album in its collective and “reaching out” nature. It highlights the need to remember that not everyone gets to enjoy Christmas in the way we maybe do. Emphasis is placed upon the need to love, care and respect each other.
16. Amen – Elvis fans may recognise this track. It uses the same basic structure of the song that Elvis used to feature J.D Sumner most nights. It is widely known that Ernie is a big Elvis fan so maybe that is where the influence was derived from.  It goes over well in a live setting. The crowd all become backing vocalists and sing the under current “Amen, Amen, Amen” part whilst the featured vocalist does their part on top. A great way to close out the album.

Easily the best of their two Christmas projects. It is a fun project, with elements of sincerity thrown in. It is a very uplifting and enjoyable CD. A friend of mine who works in a premier menswear shop, commented that they would have no problem playing the CD over the PA system for customers to enjoy. This exemplifies just how flexible Ernie Haase & Signature Sound can be with their music. It has something for everyone, yet it is uniquely EHSS in its musical stylings and delivery.

Vocally they have never sounded better. Bold statement yes, but give the CD a listen and let me know if you agree. I think it’s only natural to get better and better vocally as time goes on with the same group. Ernie Haase and Ryan Seaton in particular sound very good on this album. A fun album for a fun time of year!

Verdict – A must have.  :)

This project is available from www.ehssq.com



As my first post, I think I’d like to go over what happened the last few days.

The most memorable portion of this week had to be yesterday, Friday. A string quartet from Saratoga High School was invited to play at the 25th anniversary celebration of the Saratoga-Muko sister city affiliation. This quartet included Cindy C. and Carolyn C. (Violin I and II), Kevin H. (Viola), and Walter Hsiang (Cello). Playing the cello in this quartet was great-since the other plays are among the top in California. It was a great morning, warm and fresh. We got to the Foothill Clubhouse at 9:30 am…so we got to skip some of school! Mr. Boitz took us in a big blue school owned van-pretty cool. But anyways, we played about 45 min of background music until the ceremony started. Then Cindy, Carolyn, Kevin, and I played the Star Spangled Banner and Japan’s national anthem (whose anthem is quite boring I must say).

The ceremony was long and boring, needless to say. The 4 of us, Mr. Boitz, and Mrs. Hasegawa had to sit through eight speakers that essentially said the same thing over and over again. Even worse, they had to say everything in English and Japanese…making the whole ceremony twice as long. But it was bearable; at the end, we got to perform a piece for the 60 people there. We played Dvorak’s “American” String Quartet Op. 96 – IV. Finale.

http://www.youtube.com/watch?v=8gfYV6AlIZw&feature=related

What a great piece! It’s exciting, fast, and beautiful at the same time. After that, we got paid $50 each, so that was pretty nice.

The next musical thing happened on Saturday (today). At 2:30, a group of friends and I from the Tri-M club at our school went as volunteers to the Saratoga Retirement Center to play for senior citizens. Cindy, Carolyn, Dorothy, David W., David and Darly, Natalie, and I went…which included 3 violins, 3 pianos, 1 viola, and 1 cello (me ). Playing for senior citizens is always interesting. Some of them seem to glare at you, others don’t seem like they know that we are even there, but others are really warm and welcoming. I enjoyed it.

Hopefully I’ll get a lot more music filled weekends in the future! It’s a great way to relax and earn money at the same time.

>>> POST di Presentazione

da Flickr Roberto Gatto 4tet al Room26

Inserito originariamente da cristiana.piraino

Foto di Roberto Panucci www.robertopanucci.it

Ultravox són un dels grups més importants dels anys 80, un grup que va marcar tendència en el tecno i la new wave, i que va gravar àlbums increibles com Vienna, Rage in Eden o Lament, i cançons tant conegudes com Vienna o The Voice.

La darrera actuació de la seva formació clàssica (Midge Ure, Chris Cross, Billy Currie i Warren Cann) va tenir lloc el 1985, poc després Warren Cann deixava el grup i la resta de membres gravàven un nou disc i es separaven també dos anys després, acabada una poc exitosa gira de presentació.

La sorpresa ens l’han donat el 2.008 quan anunciaven un inesperat retorn, amb una gira que ja ha viscut vàries dates a la Gran Bretanya durant aquest any, i que seguirà a partir de l’abril del 2.010 amb gira europea, que esperem que els porti al nostre país. De moment estan confirmats 6 concerts a Alemanya, 1 a Holanda i 1 a Suïssa.

Un dels temes que no pot faltar en aquesta gira és Hymn, pot ser menys conegut que els altres esmentats, però en absolut de menys qualitat, compareu la versió original, amb una en directe en la gira de presentació de Quartet, l’àlbum on la podem trobar, i una (malhauradament de no gran qualitat) gravada en la gira actual.

====================================================

Ultravox son uno de los grupos más importantes de los años 80, un grupo que marcó tendencia en el tecno y la New Wave, y que grabó álbumes tan increibles como Vienna, Rage in Eden o Lament, y canciones tan conocidas como Vienna o The Voice.

La última actuación de su formación clásica (Midge Ure, Chris Cross, Billy Currie y Warren Cann) tuvo lugar en 1.985, poco después Warren Cann dejaba el grupo y el resto del miembros gravaban un nuevo disco y se separaban también dos años después, terminada una poco exitosa gira de presentación.

La sorpresa nos la han dado en el 2.008 cuando anuncian un inesperado retorno, con una gira que ya ha vivido varias fechas en Gran Bretaña durante este año, y que seguirá a partir del mes de abril del 2.010 con una gira europea, que esperemos que les traiga hasta nuestro pais. De momento están confirmados 6 conciertos en Alemania, 1 en Holanda y 1 en Suiza.

Uno de los temas que no puede faltar en esta gira es Hymn, quizás menos conocido que los anteriormente mencionados, pero en absoluto de menos calidad, comparad la versión original, con una en directo en la gira de presentació de Quartet, el álbum al que pertenece, y una (desgraciadamente de no gran calidad) grabada en la gira actual.

=====================================================

ANY 1.982 – Versió original en estudi

ANY 1983 – En directe al Westfalenhalle de Dortmund

ANY 2009 – En directe al Edinburgh Playhouse

Give us this day all that you showed me.
The power and the glory 'til thy kingdom come.

Chorus:

Give us this day all that you showed me,
The power and the glory 'til thy kingdom come.
Give me all the story book told me,
The faith and the glory 'til thy kingdom comes.

And they said that in our time,
All that's good will fall from grace.
Even saints would turn their face,
In our time.

And they told us that in our days,
Different words said in different ways,
Have other meaning from he who says,
In our time.

(Chorus)

And they said that in our time,
We would reap from their legacy,
We would learn from what they had seen,
In our time.

And they told us that in our days,
We would know what was high on high,
We would follow and not defy,
In our time.

(Chorus)

Faithless in faith.
We must behold the things we see.

(Chorus - Repeat 4 times and fade)

8-30|11|2009
ROMA JAZZ FESTIVAL ‘09  – 33a ed.
JAZZ LABELS
Auditorium Parco della Musica
h. 21:00  da 10 €

Roma Jazz Festival 2009, rassegna giunta alla 33 edizione, sarà dedicata alle Jazz Labels, le case discografiche jazzs storiche e le nuove etichette, in virtù delle tante ricorrenze che proprio in questo 2009 ricordiamo. Primo fra tutti l’anniversario dei 50 anni dalla pubblicazione di Kind of  Blue il capolavoro di Miles Davis,  o come i 90 anni dalla prima incisione jazz in Italia.

Tutto questo verrà ricordato e festeggiato con un cartellone di artisti di fama internazionale che si alterneranno  per presentare le anteprime dei loso progetti.

Programma

Dom. 08/11/2009
Stefano Bollani Trio
Sala Santa Cecilia
h. 21:00 da 20 a 25 €

Lun. 09/11/2009
Kind of Blue Anniversary at 50
So What Band: J.Cobb, W.Roney, J.Jackson, V.Harring, L.Willis, B.Williams
Sala Sinopoli
h. 21:00 da 15 a 20 €

Mar. 10/11/2009
Javier Girotto & Aires Tango “10/15″
Sala Sinopoli
h. 21:00 15 €  >> evento su Facebook

Merc. 11/11/2009
Sonny Rollins Quintet
Sala Santa Cecilia
h. 21:00 da 40 a 80 €

Giov. 12/11/2009
Roberto Fonseca Quintet
in apertura Livio Minafra
Sala Petrassi
h. 21:00 15 €

Ven. 13/11/2009
Gabriele Mirabassi Trio, Cristina Zavalloni, Mario Brunello, Marco Zurzolo Band
Sala Petrassi
h. 21:00 15 €

Sab. 14/11/2009
Brad Mehldau Trio
Sala Sinopoli
h. 21:00 da 20 a 25 €

Dom. 15/11/2009
Diana Krall Trio
Quiet Nights World Tour 2009
Sala Sinopoli
h. 21:00 da 50 a 90 €

Lun. 16/11/2009
SOL6
Teatro Studio
h. 21:00 12€

Mar. 17/11/2009
Showcase di Jamie Cullum
Sala Sinopoli
h. 21:00 10 €

Mar. 17/11/2009
3Quietmen Stefano Battaglia – Downtown Trio
Teatro Studio
h. 21:00 15 €

Merc. 18/11/2009
Antonio Placer Trio
Atlantiterraneo
Teatro Studio
h. 21:00 12 €

Giov. 19/11/2009
Nicola Conte Combo, Luciano Cantone
Sala Sinopoli
h. 21:00 da 20 a 25 €

Ven. 20/11/2009
Alboran Trio
Teatro Studio
h. 21:00 € 12,00

Mar. 24/11/2009
Paolo Fresu, Uri Caine
with Alborada String Quartet
Sala Sinopoli
h. 21:00 da 20 a 25 €

Dom. 29/11/2009
David Murray Black Saint Quartet
Sala Sinopoli
h. 21:00 da 15 a 20 €

Lun. 30/11/2009
Richard Galliano “Solo”
Sala Sinopoli
h. 21:00 da 20 a 25 €

Whilst attending the Gaither Homecoming Concert in Glasgow, Scotland last month, we were greeted with the news that Ernie Haase & Signature Sound would be returning to the UK in February 2010. I had been informed of this by a good friend who had attended the Belfast concert a few nights previous. Exciting stuff to say the least.

For the benefit of any UK readers of this blog here is the UK Tour breakdown of venues and tickets -

1. First up is my home country of Northern Ireland. On Friday 19th February 2010 at Assembly Buildings, Belfast, you can catch Ernie and the boys live. Tickets are only £19 and this represents fabulous value for money! Tickets are available from Faith Mission Belfast or Portadown. Tickets are also available from www.erniehaasetour.co.uk
2. The next destination of the tour is in Scotland. The venue is a Church called Findlay Memorial in Glasgow. Tickets are also available from www.erniehaasetour.co.uk and from the Wesley Owen bookshop at their Glasgow branch.
3. Finishing off the tour is a lovely location in London, namely City Temple, Old Hoburn. Again the tickets are available from www.erniehaasetour.co.uk

This is fabulous news for Southern Gospel fans and for fans of Ernie Haase & Signature Sound from within the UK. What it demonstrates for me is the sort of growth and success that Signature Sound have managed to achieve. To undertake a tour of this magnitude is a big challenge. I have only covered the UK segment of the tour, the entire European Tour looks likely to spread over the 11th  to the 21st of February.

From a personal perspective, i am delighted about the prospect of having an EHSS solo concert. Whilst i thoroughly enjoyed the Gaither Homecoming Concerts, i always have hoped and wished that one day EHSS would come back on their own and we would get to experience a full length concert. At last, it seems, i will have another experience to remember and cherish! I plan to attend at least one, most likely two of the concerts, so you can expect a concert review or two in February 2010!

All tickets available from www.erniehaasetour.co.uk, just click on the relevant icon for the venue where you wish to attend. I would book as soon as one can, i would doubt that tickets for these events will hang around. Book now and tick off the days!

]]> http://dorianhawkins.wordpress.com/2009/11/03/program-notes-chimerical-creatures-part-1-revised/ Tue, 03 Nov 2009 15:59:42 +0000 Dorian Hawkins http://dorianhawkins.wordpress.com/2009/11/03/program-notes-chimerical-creatures-part-1-revised/

For the fall concert I am going to have the following:

Chimerical Creatures – Part 1
Mvt. I – The Ogre’s Lair
Mvt. II – March of the Pixies
Mvt. III – Home of the Dwarfs

Flute – Luis Bin
Violin – Jamiel Arth
Cello – Joshua Dent
Piano – Dorian Hawkins

The piece is about 7 to 8 minutes in length, and the program notes to accompany it are as follows:

Composers are not always fortunate enough to compose pieces that truly inspire them. For me, “Chimerical Creatures” did just that: It allowed me to combine my love for fantasy and the imagination with music in a way I had not been able to before. The piece, written for Mixed Quartet, is separated into three fairly short movements, each portraying a different fantasy creature.

The first movement, “The Ogre’s Lair” embodies the suspense and dark mood associated with descending into the lair of an ogre. This movement is also responsible for setting up the main motif of the piece as well as a few other musical ideas that come back again and again throughout the piece.

The second movement, “March of the Pixies” depicts a group of pixies marching along to nowhere in particular. The main essence of this piece comes from the fact that pixies are cute from the outside, but their inherent desire for mischief often overtakes them. This disparity is primarily reflected by the fact that the movement is in a strange and off-kilter variant of B Major, and by the somewhat frantic section in the middle of the movement wherein the pixies swarm and attack before resuming their ‘marching’.

The last movement, “Home of the Dwarfs”, conveys the roughness associated with dwarfs via chords that are much thicker than those in the previous two movements and an overall thickening in the texture. Historically, dwarfs are often shown to have a complete disregard for danger: In accordance with this, there are many times throughout the movement that something strange or bombastic will occur and the dwarfs will resume their usual routine (reflected through the main melodies and theme) immediately afterward, or even while the madness is still ensuing.

foto di robertopanucci.it

Mar.  3|11|2009  JAZZ 
ROBERTO GATTO QUARTET
ROOM26
Piazza G. Marconi 31
h. 22.30  Ingresso € 10.00

>>> more about ROOM26
>>> music clubs in Rome

Roberto Gatto – batteria
Luca Mannutza – piano
Daniele Tittarelli – sax
Luca Bulgarelli – contrabbasso

Il locale numero uno per acustica di Roma accoglie una delle formazioni jazzistiche più interessanti in Europa. Per Roberto Gatto, musicista raffinatissimo più attento alle idee che agli stili, essere dalle parte giusta della strada ha sempre significato esplorare, con infinita modestia, percorsi alternativi, che magari allungano la strada, ma rendono lo spostamento, il viaggio, il movimento più importanti della destinazione.

Il 3 novembre sale sul palco del Room26 il quartetto di Roberto Gatto, che alla batteria guida Luca Mannutza al pianoforte, Daniele Tittarelli al sax alto e soprano, e Luca Bulgarelli al contrabbasso. Una ensemble di grandi musicisti che Roberto con mano leggera e mai prevaricante porta avanti in un percorso variegato e sempre piacevole attraverso i diversi linguaggi della musica senza perdere mai di vista la grande tradizione jazzistica e sopratutto lo swing, parametro indispensabile anche in altri generi musicali. Roberto Gatto Quartet presenta un repertorio di brani di diversi autori e molti pezzi originali del batterista romano.

Gli esordi di Gatto risalgono al 1975 con il Trio di Roma, una formazione incredibile che vedeva la presenza di Danilo Rea al piano e Enzo Pietropaoli al contrabbasso. Vi invito a visitare il sito web di quest’ultimo per scoprire interessantissime foto d’epoca del Jazz italiano.

   
Photo by robertopanucci.it

PER INFO E PRENOTAZIONI CENA:

Room26, piazza Guglielmo Marconi, 31 00144 Roma
info@room26.it Tel. +390654649512

Excerpts from recent blog reviews of the Joe Morris Quartet’s Today On Earth (AUM Fidelity):

“The music, performed by Morris (guitar), Jim Hobbs (alto saxophone), Timo Shanko (bass) and Luther Gray (drums), holds up quite impressively under repeated listenings. The tracks are fairly long (4 over 10 minutes and only 1 under 7), but several of them move so gracefully (‘Observer’, ‘Ashes’) it’s easy to get lost in the sonic world the quartet creates. It’s been over 3 decades since Joe Morris first came to critical notice and he continues to grow as a composer and musician, creating challenging music for open minds.”
—Richard Kamins, Hartford Courant’s See! Hear!

“Joe Morris is having one of them crazy years. Nothing can seem to stop him, as he is releasing one CD after another. The latest—and best!—one is this studio session with his quartet. One of the best jazz albums of 2009.”
—François Couture, Monsieur Delire

“Four of the seven tracks on Today On Earth clock in at 10 or 11 minutes, and all of that time is well spent. Of his recent releases, this album is one of the best place to start (behind the Flow Trio), since its places his adventurous improvisational chops in a setting that makes them stand out even more.”
—Mike Shanley, shanleyonmusic

“…the main strength of the album is the truly wonderful compositions, which are refined, carefully structured, compelling and beautifully performed…here [Morris’] playing is much closer to the traditional jazz guitar, and I must say, it suits him well. And the band is absolutely stunning, in its pretenseless, unassuming playing, yet delivering a rare level of combined accuracy of tone and interaction, giving space, dialoguing well, giving the right emphasis at the right time, and adding loads of emotional depth: truly great. But as said, the real treat are the compositions, with themes like ‘Animal’ or ‘Observer’ that will keep ringing in your head long after you’ve stopped listening to the music.”
—Stef Gijssels, Free Jazz

Verdi’s String Quartet is a remarkable work; his only piece of chamber music,  composed in the spring of 1873 during an imposed hiatus in the production of his opera ‘Aida’. It will be the central work on the next program of the Quatuor Saint-Germain, in the two inaugural concerts of the 2009-2010 season in residence at the Musée régional de Rimouski. The concert also features two contrasting chamber music gems; Crisantemi of Giacomo Puccini,(poignant, heartbreaking) and the Italian Serenade of Hugo Wolf (sprightly, unravelling…bordering on chromatic dementia at certain moments…). Rounding out the program is the lesser known quartet of Nino Rota – somewhere between a film score and a serenade, it’s an easy listen, with a few very pleasant surprises…

The theme of the concert, L’Italia: Opulence et amour, is meant to draw allusion to the possible connections of this musique to the luxurious and sensual exhibit of  photo-artist Elianne Excoffier. Each night, the concert itself (8 pm) is preceded at 7:30 by an introduction to the work of the artist by museum curator Bernard Lamarche in the room of the exhibit. As well, the concert is followed by a moment that the public can revisit the exhibition…with sounds still resonating in head and heart…

We love the potential for this kind of mix – one medium necessarily being influenced and influencing the other…and want to recognize the openness of the museum to this project ! We’re convinced that there are only winners in this collaboration – the friends of the quartet, the friends of the museum, and obviously the quartet and museum as well…!

Hope to see you there !

L’Italia: Opulence et amour Quatuor Saint-Germain en concert au Musée régional de Rimouski                                                                12, 13 novembre 20h                     présentation du curateur  19h30

Reading, Pennsylvania’s Hardcore Punk quartet are looking for someone to make them a quintet!:
“Do you wanna be in Common Enemy?

That’s right we’re looking for a 2nd guitar player!

If interested and want more information email us at satantrooper@aol.com or thru myspace email please.”

If you’re a guitarist in the Pennsylvania area or can relocate there, drop these guys a line!

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