Annette Peacock Porta in Scena La Sua Carriera Da Outsider

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Annette Peacock Porta in Scena La Sua Carriera Da Outsider A N N E T T E PEACOCK A VOLTE RITORNANO I concerti della compositrice free jazz americana sono ormai avvenimenti più unici che rari. A Londra, Annette Peacock porta in scena la sua carriera da outsider. di Giuseppe Zevolli 034 035 musica erso la metà degli anni 70, si nar- palesa alle sue rare esibizioni dal vivo e il ra, David Bowie avvicinò Annette cronico, imperdonabile ritardo, con cui la VPeacock al termine di un suo live, critica e il pubblico si accorgono della sua proponendole di suonare per lui il sinte- arte. “Sono stufa di fare uscire dischi da tizzatore in tour. Peacock, che in coppia pioniera che vengono apprezzati solo 20, con Paul Bley fu la prima a introdurre lo 40 anni dopo”, ammette. strumento in ambito jazz, rispose: “Te lo Che sia il jazz sperimentale, furibondo di S o n o s t u f a compri e impari a suonartelo da solo”. I’m The One (ristampato solo tre anni fa), i Anni prima dell’uscita di I’m The One suoi sensuali rap ante-litteram, l’uso anti- (1972), a oggi il suo lavoro più conosciuto, convenzionale della voce o le provocazioni d i f a r e Annette si era recata di persona da Ro- dei suoi poemi in musica, la ricezione delle bert Moog con l’obiettivo di convincerlo sue opere sembra procedere a scoppio ritar- a regalarle uno dei primissimi esemplari dato. Non solo early adopter del sintetizza- u s c i r e d i s c h i del leggendario synth modulare. Annette tore, Peacock è stata riconosciuta in ambito voleva fltrare la propria voce attraverso lo hip hop come antesignana del cosiddetto strumento, ai tempi un lento pachiderma fow vocale; da artisti corsari tra cui Patti d a p i o n i e r a che la costringeva a interruzioni di venti Smith e Diamanda Galás è vista come la minuti tra un brano e l’altro durante i suoi madre, assieme a Patty Waters, del free jazz primi, leggendari concerti. Una carriera indiavolato; dalle nuove leve dell’alternative c h e v e n g o n o avviata all’insegna del pionerismo, quella impegnato viene considerata in anticipo di di Peacock, “the one”, come suggerisco- decenni sulle problematiche post-femmini- no da 50 anni a questa parte i titoli degli ste. Il suo brano My Mama Never Taught a p p r e z z a t i articoli sul suo conto, interventi occasio- Me How To Cook (da X-Dreams, 1978) o le nali che non smettono di sottolineare lo poesie apparse in dischi come The Perfect status di completa outsider della musici- Release (1979) e Abstract-Contact (1988) s o l o 2 0 , sta, produttrice, cantante e compositrice ofrono sbalorditivi esempi di un songwri- americana. L’ultimo di questi pezzi le è ting in cui piacere e femminilità diventano stato dedicato lo scorso novembre da THE punto di partenza per una politica del sé 4 0 a n n i WIRE, che ha messo Annette, classe 1941, (“Hey tu, il mio destino non è servire / Sono in copertina, spalle al lettore. una donna/ È creare…”, ammiccava sardo- Quando il 20 novembre arriva in scena a nica nel 1978). dopo. Cafe OTO, in ritardo di mezzora, Annet- Eppure lo sguardo arcigno di Annette, im- te, fliforme, il capo impellicciato, siede al pettita dietro al suo piano e a una tastie- pianoforte e dice: “No photos, no photos, ra vintage, sembra tanto parte del perso- please”. Il silenzio è di tomba, le aspetta- naggio quanto una sorta di ostacolo. “Chi tive del pubblico indecifrabili. Al termine è causa del suo mal…”, verrebbe da dirle della prima tirata con un pizzico di ci- jazz a tema bucoli- nismo: la sua rilut- Heart (2000), un album di ballate jazz per co, Annette sfodera tanza a ristampare piano, voce e archi. un raggelante “Non capolavori dimen- Eppure, dopo mezzora, qualcosa cambia. dovete applaudire”. ticati, come l’intro- Annette, che sembra scegliere i brani se- “Ma siamo noi a vo- vabile Sky-Skating guendo una traiettoria estemporanea, ri- ler applaudire!” urla (1982), in anticipo trova per strada la melodiosa This Almost qualcuno dal fondo di almeno dieci anni Spring, da I Have No Feelings (1986), e della sala. Nessuna sull’estetica bed- sorride, estatica, ricambiando uno sguar- reazione. Annette room pop con il suo do di riconoscenza con gli spettatori. Se non ama suonare inverosimile incon- fno a quel momento il concerto, come dal vivo, ma tutto tro di jazz, drum i suoi dischi, era sembrato una faticosa lascia intendere che, machine e feld re- caccia al tesoro, ora Annette sembra a suo oltre a un certo im- cordings, è in parte agio durante gli applausi e, sull’onda di barazzo, il suo sta- la causa di questa un’escalation fatta di riscoperte e improv- tus di outsider porti nostra “fame” da visazioni, a 74 anni, voce arzilla come 40 con sé una certa nerd e il motivo per anni prima, “osa” una provocante, sensua- dose di… risentimento. La sua apparente cui il ruolo di “pubblico invisibile” che lei le The Succubus, con tanto di coda cantata ostilità non è banale divismo. Al contra- vorrebbe per noi questa sera proprio non ci in italiano: “Non voglio manette d’acciaio rio Peacock ha fatto di sé l’antidiva per calza a pennello. La voce di Annette scorre per eccitarti / Non voglio maschere, né eccellenza. Il suo risentimento, come ha rapida tra i silenzi delle sue lunghe, scar- fruste, né stivali da sera / Ma solo toc- spiegato a “The Wire”, nasce piuttosto dal- ne composizioni pianistiche, sulla scia del cami e prendimi / Questo fore, amore”. la contraddizione tra la devozione di chi si semirecente (e reperibile!) An Acrobat’s Nonostante tutto, lei è ancora “the one”. ×.
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