DOCSLIB.ORG

Biography Philippe Petrucciani

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Biography Philippe Petrucciani He starts studying the guitar with his father Tony, guitarist also. He works Jazz with his two brothers Louis (doublebass) and Michel (piano) under the advice of their father and listening to musicians like Wes Montgomery, Bill Evans, Tal Farlow, Barney Kessel etc ... During a first trip to the USA for his training, he plays a duet with his brother Michael in Philadelphia and this experience, renewed a few years later at the Olympia, give him the opportunity to meet John Abercrombie which gives some courts. After this encounter, he forms his first band in 1980 to interpret his compositions and surrounds himself with musicians such as Marc Mazzillo, Bernard Santacruz, Jean Sébastien Simonoviez, Daniel Solia, Frédéric Monino, André Franco, Michel Bachevalier, Alain Couffignal, Jean Pierre Barreda, Francesco Castellani and Nathalie Blanc. In 1991, Philippe participates in duet at the Canne's Midem with his brother Louis and he records his first CD "The First" with François Quillet, Dominique Di Piazza and Victor Jones. In 1997, he performes at the Montelimar Jazz Festival for a special concert with his two brothers Louis and Michel, and his father Tony, accompanied by drummer Mahnu Roche. In August 1998, he tours in Israel and Italy with his brothers Louis and Michel. Later, he will plays also with André Villegier, Michel Zenino, Tommy Halferty, Jean Pierre Llabador, Michel Barrot, Joe Diorio, Philippe Festou, Andy Mckee, Aldo Mela, Mario Stantchev, Jérôme Regard, Yannick Chambre, Marc Verne, Bernard Margarit, Roger Nikittof, Martine Kamoun, Philippe Roche, José Caparros, Jef Gilson, Benoit Paillard, Gérard Guerin, Philippe Levan, Eddy Gaulein‐Stef, Fredéric Mennillo, Marcus Miller, Archie Shepp and Alain Jean Marie. In 2000, he sets up the "Philippe Petrucciani Group" then participates in the creation of others formations: « Trio Perfetto » with Mario Stantchev and Francesco Castellani « Bunch of Strings » with Jean Pierre Llabador and Louis Petrucciani. « Mike P Project » with seven musicians, performing the music of Michel Petrucciani « Philippe & Louis Petrucciani New Trio » with Alain Couffignal (drums) « Yellow trio » with Yannick Chambre (org) and Marc Verne (drums) « Nathalie Blanc Philippe Petrucciani Réunion » with Nathalie Blanc (piano & voice), Dominique Di Piazza (bass) and Mahnu Roche (drums). Since 1991, he teaches guitar and improvisation to I.M.F.P (Institute of Musical Training of Salon‐de‐Provence). They saiid… « Inspired composer, with seductive melodic lines, Philippe Petrucciani reveals himself as a guitarist with a solid knowledge of his instrument and able to improvise with an intense musicality and lyricism. » C. Ober (Jazz Mag) « With this album (One for Marie) the guitarist Philippe Petrucciani introduced vibrant portrait of his emotions. He was surrounded by four accomplices (the term seems more appropriate here than accompanist ): Francesco Castellani on trombone, Nathalie White keyboards and vocals, André Franco on bass and Alain Couffignal on drums and percussion. Mix consequetly various atmosphere with the ambition to be permanently locked into any and every time express the wright feeling, which is musically much more risked than it seems. The result is a very musical singing, but who can also be adventurous (The Cat on the guitar synthesizer) work on the colors and textures witch give to the disc its sunshine touch. From this angle, Three brother on the Same Way is an undeniable collective success. Alliance guitar ‐ trombone, frequently requested besides sounds remarkably (Bebop and Blues, Talia, Merry Go Round) and alliance guitar ‐ voice is a real freshness on Little Song. The elegance of theme and mastery's guitarist throughout the disc. » Stéphane Carini (Jazz Man) Diiscography Philippe Petrucciani Quintet « The First » (Anaïs Records) 1991 Philippe Petrucciani (guitar), François Quillet (piano), Michel Petrucciani (piano), Dominique Di Piazza (bass), Victor Jones (drums) Philippe Petrucciani Groupe « One for Marie » (RDC Records) 2003 Philippe Petrucciani (guitar), Nathalie Blanc (piano, vocals), Francesco Castellani (tromb), André Franco (bass), Alain Couffignal (drums) Trio Yellow « Hey Jude » 2007 Aviator Records Yannick Chambre (org), Philippe Petrucciani (guitar) Marc Verne (drums) Trio Petrucciani « Sarah » (Voies Nouvelles) 2007 Mosaic Music Distribution / Apoxis Productions Tony Petrucciani (guitar), Philippe Petrucciani (guitar) Louis Petrucciani (doublebass) Trio Perfetto 2008 Francesco Castellani (tromb), Mario Stantchev (piano) Philippe Petrucciani (guitar) OCTOBER 23, 2012 ‐ RELEASE OF THE NEW ALBUM « ESTE MUNDO » NNEEWW AALLBBUUMM Contacts MANAGEMENT BARRY CONSULTING Ltd Seydou Barry 244 Fifth Avenue suite B 211 New York, NY 10001 ‐ U.S.A Phone: +1 212 479 0881 ‐ USA Cell: +33 (0)6 07 75 91 40 ‐ FRANCE Fax: +1 212 479 0808 ‐ USA Mail: contact@barry‐consulting.com www.barry‐consulting.com ****************************** ACM Productions Label Jazzbook Records 33 Avenue du Maréchal Koenig 13090 Aix en Provence ‐ France Phone: +33 (0)4 88 14 63 35 Mail: info@acm‐productions.com www.acm‐productions.com PHILIPPE PETRUCCIANI 139 rue Marc Chagall 83130 La Garde Phone : +33 (0)6 82 69 73 77 Mail: [email protected] www.philippepetrucciani.com www.myspace.com/philippepetruccianinathalieblancreunion ASSOCIATION KIND OF JAZZ 141 rue Marc Chagall 83130 La Garde Phone : +33 (0)4 94 08 51 34 Mail: [email protected] .
Load more

Recommended publications
  • Stylistic Evolution of Jazz Drummer Ed Blackwell: the Cultural Intersection of New Orleans and West Africa
    STYLISTIC EVOLUTION OF JAZZ DRUMMER ED BLACKWELL: THE CULTURAL INTERSECTION OF NEW ORLEANS AND WEST AFRICA David J. Schmalenberger Research Project submitted to the College of Creative Arts at West Virginia University in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Percussion/World Music Philip Faini, Chair Russell Dean, Ph.D. David Taddie, Ph.D. Christopher Wilkinson, Ph.D. Paschal Younge, Ed.D. Division of Music Morgantown, West Virginia 2000 Keywords: Jazz, Drumset, Blackwell, New Orleans Copyright 2000 David J. Schmalenberger ABSTRACT Stylistic Evolution of Jazz Drummer Ed Blackwell: The Cultural Intersection of New Orleans and West Africa David J. Schmalenberger The two primary functions of a jazz drummer are to maintain a consistent pulse and to support the soloists within the musical group. Throughout the twentieth century, jazz drummers have found creative ways to fulfill or challenge these roles. In the case of Bebop, for example, pioneers Kenny Clarke and Max Roach forged a new drumming style in the 1940’s that was markedly more independent technically, as well as more lyrical in both time-keeping and soloing. The stylistic innovations of Clarke and Roach also helped foster a new attitude: the acceptance of drummers as thoughtful, sensitive musical artists. These developments paved the way for the next generation of jazz drummers, one that would further challenge conventional musical roles in the post-Hard Bop era. One of Max Roach’s most faithful disciples was the New Orleans-born drummer Edward Joseph “Boogie” Blackwell (1929-1992). Ed Blackwell’s playing style at the beginning of his career in the late 1940’s was predominantly influenced by Bebop and the drumming vocabulary of Max Roach.
    [Show full text]
  • 100 Titres Sur Le JAZZ — JUILLET 2007 SOMMAIRE
    100 TITRES SUR LE JAZZ À plusieurs époques la France, par sa curiosité et son ouverture à l’Autre, en l’occurrence les hommes et les musiques de l’Afro-Amérique, a pu être considérée, hors des États-Unis, comme une « fille aînée » du juillet 2007 / jazz. Après une phase de sensibilisation à des « musiques nègres » °10 constituant une préhistoire du jazz (minstrels, Cake-walk pour Debussy, débarquement d’orchestres militaires américains en 1918, puis tour- Hors série n nées et bientôt immigration de musiciens afro-américains…), de jeunes pionniers, suivis et encouragés par une certaine avant-garde intellectuelle et artistique (Jean Cocteau, Jean Wiener…), entrepren- / Vient de paraître / nent, dans les années 1920, avec plus de passion que d’originalité, d’imiter et adapter le « message » d’outre-Atlantique. Si les traces phonographiques de leur enthousiasme, parfois talentueux, sont qua- CULTURESFRANCE siment inexistantes, on ne saurait oublier les désormais légendaires Léon Vauchant, tromboniste et arrangeur, dont les promesses musica- les allaient finalement se diluer dans les studios américains, et les chefs d’orchestre Ray Ventura, (qui, dès 1924, réunissait une formation de « Collégiens ») et Gregor (Krikor Kelekian), à qui l’on doit d’avoir Philippe Carles Journaliste professionnel depuis 1965, rédacteur en chef de Jazz Magazine (puis directeur de la rédaction à partir de 2006) et producteur radio (pour France Musique) depuis 1971, Philippe Carles, né le 2 mars 1941 à Alger (où il a commencé en 1958 des études de médecine, interrompues à Paris en 1964), est co-auteur avec Jean-Louis Comolli de Free Jazz/Black Power (Champ Libre, 1971, rééd.
    [Show full text]
  • Iiro Rantala Iiro Rantala Lost Heroes Lost Heroes Liner Notes by Iiro Rantala
    Iiro rantala lost heroes German Release Date: February 25, 2011 ACT 9504-2 01 pekka pohjola 7:36 02 waltz for bill (for bill evans) 6:04 03 can’t get up (for jaco pastorius) 3:08 04 tears for esbjörn (for esbjörn svensson) 5:28 05 thinking of misty (for erroll garner) 6:28 06 jean and aino 7:22 07 donna lee (for art tatum) 3:36 08 one more waltz for michel petrucciani 4:08 09 bluesette (for oscar peterson) 4:04 10 intermezzo (for luciano pavarotti) 5:50 total time: 54:23 iiro rantala / piano all compositions by iiro rantala, except 7 by charlie parker and 9 by toots thielemans produced by siggi loch Liner Notes by Iiro Rantala: Pekka Pohjola My high school teacher introduced me to Pekka Pohjola's music. His great melodies and harmonies moved me deeply. Some elements of his music sound a little like Jean Sibelius but most of it is pure Pekka Pohjola. He would have some humoristic phrases here and there but at the same the music is deep and serious. Waltz for Bill I think Bill Evans is the most sophisticated jazz pianist ever. His time and taste are almost from a different world. The moment you think he´s a cool impressionist, you´ll hear him playing his ass of in Bill Evans trio at the Montreux Jazz Festival recording with Eddie Gomez and Jack de Johnette. Very wild stuff. I wrote this tune a couple weeks after I had lost a great friend in Finland. He was a true jazz, food and Evans lover.
    [Show full text]
  • Recorded Jazz in the 20Th Century
    Recorded Jazz in the 20th Century: A (Haphazard and Woefully Incomplete) Consumer Guide by Tom Hull Copyright © 2016 Tom Hull - 2 Table of Contents Introduction................................................................................................................................................1 Individuals..................................................................................................................................................2 Groups....................................................................................................................................................121 Introduction - 1 Introduction write something here Work and Release Notes write some more here Acknowledgments Some of this is already written above: Robert Christgau, Chuck Eddy, Rob Harvilla, Michael Tatum. Add a blanket thanks to all of the many publicists and musicians who sent me CDs. End with Laura Tillem, of course. Individuals - 2 Individuals Ahmed Abdul-Malik Ahmed Abdul-Malik: Jazz Sahara (1958, OJC) Originally Sam Gill, an American but with roots in Sudan, he played bass with Monk but mostly plays oud on this date. Middle-eastern rhythm and tone, topped with the irrepressible Johnny Griffin on tenor sax. An interesting piece of hybrid music. [+] John Abercrombie John Abercrombie: Animato (1989, ECM -90) Mild mannered guitar record, with Vince Mendoza writing most of the pieces and playing synthesizer, while Jon Christensen adds some percussion. [+] John Abercrombie/Jarek Smietana: Speak Easy (1999, PAO) Smietana
    [Show full text]
  • Joe Henderson: a Biographical Study of His Life and Career Joel Geoffrey Harris
    University of Northern Colorado Scholarship & Creative Works @ Digital UNC Dissertations Student Research 12-5-2016 Joe Henderson: A Biographical Study of His Life and Career Joel Geoffrey Harris Follow this and additional works at: http://digscholarship.unco.edu/dissertations © 2016 JOEL GEOFFREY HARRIS ALL RIGHTS RESERVED UNIVERSITY OF NORTHERN COLORADO Greeley, Colorado The Graduate School JOE HENDERSON: A BIOGRAPHICAL STUDY OF HIS LIFE AND CAREER A Dissertation Submitted in Partial Fulfillment of the Requirements for the Degree of Doctor of Arts Joel Geoffrey Harris College of Performing and Visual Arts School of Music Jazz Studies December 2016 This Dissertation by: Joel Geoffrey Harris Entitled: Joe Henderson: A Biographical Study of His Life and Career has been approved as meeting the requirement for the Degree of Doctor of Arts in the College of Performing and Visual Arts in the School of Music, Program of Jazz Studies Accepted by the Doctoral Committee __________________________________________________ H. David Caffey, M.M., Research Advisor __________________________________________________ Jim White, M.M., Committee Member __________________________________________________ Socrates Garcia, D.A., Committee Member __________________________________________________ Stephen Luttmann, M.L.S., M.A., Faculty Representative Date of Dissertation Defense ________________________________________ Accepted by the Graduate School _______________________________________________________ Linda L. Black, Ed.D. Associate Provost and Dean Graduate School and International Admissions ABSTRACT Harris, Joel. Joe Henderson: A Biographical Study of His Life and Career. Published Doctor of Arts dissertation, University of Northern Colorado, December 2016. This study provides an overview of the life and career of Joe Henderson, who was a unique presence within the jazz musical landscape. It provides detailed biographical information, as well as discographical information and the appropriate context for Henderson’s two-hundred sixty-seven recordings.
    [Show full text]
  • JUAN ANTONIO GIL SEXTETO Special Guest
    Conciertos del mes de Noviembre Viernes 9 de noviembre a las 20.30 hs. Teatre Xesc Forteza (20€) NOCHE DE LATIN JAZZ DE CUBA Y MALLORCA con JUAN ANTONIO GIL SEXTETO Special Guest Con Alain Pérez en bajo eléctrico Juan Antonio Gil, Guitarra y Voz - Humberto Gonzales, Guitarra eléctrica y Coros - Julio Miguel Hernández, Bateria - Ivan St-Ives, Trompeta y percusión - - Rodrigo Vásquez en Set de percusión. JUAN ANTONIO GIL. El espectador que asiste a un concierto de este cantautor-guitarrista-humorista-urbano-cubano (el orden de los factores no altera el Producto) sale de la sala con la sensación de haber disfrutado de algo más que un simple concierto, pues se trata de todo un espectáculo para recordar, sonreír, reflexionar y por supuesto disfrutar de la buena música cubana, filtrada y reinventada en las composiciones de este heredero de la mejor trova cubana. En sus temas, algunos de los cuales se incluyen en su nuevo disco en solitario “CURBANo”, cooproducido con Alain Pérez (también en calidad de Bajista y arreglista) , Juan Antonio fusiona con originalidad géneros como el Son, el Cha cha chá, la Canción o la Guaracha, con sonoridades más universales tomadas del Jazz, Blues, el Reggae, el Funk y “World music”. La sonoridad del grupo está basada, partiendo del estilo propio de JAGG como cantautor y de los originales acompañamientos y melodías de guitarra en las respectivas composiciones con el siguiente formato: 1 Voz líder/Guitarra 2 Bajo Eléctrico 3 Set de percusión o Bateria 4 Guitarra eléctrica 5 trompeta/Perc. menor La mayoria de los integrantes apoyan en coros y segundas voces.
    [Show full text]
  • The Fourth Way, the Counterculture, and Capitol Records
    CHAPTER 9 The Sun and Moon Have Come Together: The Fourth Way, the Counterculture, and Capitol Records Kevin Fellezs ormed in 1968, musical group The Fourth Way was among the first bands to merge rock, jazz, and non-Western musical approaches in a way that mir- rored the mixed-race membership of the band—white New Zealander pianist FMike Nock, black American violinist Michael White, white American bassist Ron McClure, and black American drummer Eddie Marshall—a notable feature at the time. The band’s eponymous debut and their second release, a live recording titled The Sun and Moon Have Come Together , were recorded in the fall of 1969. Their final recording, Werwolf , was a live recording of their appearance in the 1970 Montreux Jazz Festival in Switzerland. However, with the exception of a small number of dates clustered around the band’s appearance in Montreux, The Fourth Way rarely per- formed outside of the San Francisco Bay Area, limiting their exposure. My focus in this chapter is to think through the ways in which The Fourth Way, a relatively unknown band working in the same geographic area and within the same countercultural milieu as more famous bands associated with the hippie sub- culture such as the Grateful Dead, enacted these countercultural ideals even more forcefully than their more visible peers. I am interested especially with the ways in which the band dealt with inclusive notions of belonging and an interest in hetero- dox spiritual practices that were articulated through their genre mixtures that would bear fruit in the following decades in musical styles that would come to be known as fusion (jazz-rock/funk), world music, and new age.
    [Show full text]
  • All-Jazz Real Book
    All-Jazz Real Book Title Composer / As Played By Page 2 Degrees East, 3 Degrees West John Lewis 1 2 Down, 1 Across Kenny Garrett 2 A Cor Do Por-Do-Sol Ivan Lins & Celso Viafora 4 Adoracion Eddie Palmieri & Ishmael Quintana 6 Afternoon In Paris John Lewis 11 All Is Quiet Bob Mintzer & Kurt Elling 12 Amanda Duke Pearson 14 Antigua Antonio Carlos Jobim 16 April Mist Tom Harrell 18 At Night Marc Copland 20 At The Close Of The Day Fred Hersch 22 Ayer Y Hoy Dario Eskenazi 24 Azule Serape Victor Feldman 32 Beatrice Sam Rivers 35 The Beauty Of All Things Laurence Hobgood & Kurt Elling 36 Beauty Secrets Kenny Werner 40 Bebe Hermeto Pascoal 42 Being Cool (Aviao) Djavan 44 Beiral Djavan 46 Big J John Scofield 49 Blue Matter John Scofield 50 Blue Seven Sonny Rollins 53 Blues For Pablo Gil Evans 54 Bohemia After Dark Oscar Pettiford 58 Borzeguim Antonio Carlos Jobim 60 Brazilian Suite Michel Petrucciani 68 Broken Wing Richie Beirach 71 Butterfly Dreams Stanley Clarke & Neville Potter 72 Can't Take You Nowhere Tiny Kahn, Al Cohn & Dave Frishberg 74 Cantaloupe Island Herbie Hancock 76 Caprice Eddie Gomez 78 Chitlins Con Carne Kenny Burrell 79 Choro Das Aguas Ivan Lins & Vitor Martins 80 Chris Craft Alan Broadbent 82 Circle Dance Eddie Daniels 84 Congri Rebeca Mauleon 86 Continuacion Orlando "Maraca" Valle 94 Coralie Enrico Pieranunzi 102 Countdown John Coltrane 104 Crazeology Charlie Parker 105 Dance Of Denial Michael Philip Mossman 106 Dare The Moon Darmon Meader, Sara Krieger & Caprice Fox 114 1 All-Jazz Real Book Title Composer / As Played By Page Dark Territory Marc Copland 120 Desalento Chico Buarque 124 Don't Let It Go Vincent Herring 126 Down Miles Davis 128 Dr.
    [Show full text]
  • CHARLES LLOYD Biography
    CHARLES LLOYD Biography “Charles Lloyd is an international treasure.” Carlos Santana “Follow the career of Charles Lloyd, and you see a map of great jazz across half a century. His shows, full of momentum and intuition, perfectly represent the idea that the best jazz needs to be experienced live.” The New York Times “He's expansive in his musical discourse yet without a wasted note.” Wall Street Journal “Jazz improvisation as complex and far-reaching as the Lloyd quartet had to offer can be a daunting listening experience. … The listener is taken on a journey through gravity-less improvisational space. To the credit of Lloyd and his players, that journey was illuminated by one musical enlightenment after another.” Los Angeles Times "Lloyd is one of the greats, rather like Joan Miro in modern art, he has no peer save himself. Music of total transport and delight." Jazzwise Recent honors: 2012 Brass Note on Beale Street 2013 Montreal International Jazz Festival Miles Davis Award 2014 Laureate Alfa Jazz International Music Award 2014 Monterey Jazz Festival Jazz Legend Award 2015 NEA Jazz Master Fellow 2015 Honorary Doctorate Berklee School of Music 2016 Lobero Ghostlight Society Artist Luminary Award 2016 JJA Tenor Saxophonist of the year 2016 Bohemia Jazz Award (Czechoslovakia) 2016 Memphis Music Hall of Fame 2016 Downbeat Critics Poll Group of the Year “Charles Lloyd New Quartet” 2017 Lifetime Achievement Award, Jazz Gallery 2017 JJA Tenor Saxophonist of the year 2017 JJA Medium Group, Charles Lloyd & the Marvels 2017 San Sebastian Jazz Festival Lifetime Achievement Award The critical consensus is that Charles Lloyd has never sounded better.
    [Show full text]
  • Downbeat.Com January 2016 U.K. £3.50
    JANUARY 2016 U.K. £3.50 DOWNBEAT.COM DOWNBEAT LIZZ WRIGHT • CHARLES LLOYD • KIRK KNUFFKE • BEST ALBUMS OF 2015 • JAZZ SCHOOL JANUARY 2016 january 2016 VOLUME 83 / NUMBER 1 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Associate Editor Brian Zimmerman Contributing Editor Ed Enright Art Director LoriAnne Nelson Contributing Designer ŽanetaÎuntová Circulation Manager Kevin R. Maher Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes Bookkeeper Emeritus Margaret Stevens Editorial Assistant Baxter Barrowcliff ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile 630-941-2030 [email protected] Musical Instruments & East Coast Schools Ritche Deraney 201-445-6260 [email protected] Classified Advertising Sales Sam Horn 630-941-2030 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Austin: Kevin Whitehead; Boston: Fred Bouchard, Frank- John Hadley; Chicago: John Corbett, Alain Drouot, Michael Jackson, Peter Margasak, Bill Meyer, Mitch Myers, Paul Natkin, Howard Reich; Denver: Norman Provizer; Indiana: Mark Sheldon; Iowa: Will Smith; Los Angeles: Earl Gibson, Todd Jenkins, Kirk Silsbee, Chris Walker, Joe Woodard; Michigan: John Ephland; Minneapolis: Robin James; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, David Kunian, Jennifer Odell; New York:
    [Show full text]
  • Keith Jarrett, Gary Peacock & Jack Dejohnette
    Cal Performances Presents About the Artists Saturday, March 14, 2009, 8pm eith jarrett and jack dejohnette first In October 1991, exactly two weeks after the Zellerbach Hall K played together from 1966–1968 as members death of Miles Davis, the trio went into New of the Charles Lloyd Quartet, then for one year in York’s Power Station studio and recorded Bye Bye 1970 with Miles Davis. All three musicians first Blackbird, their deeply felt tribute to the jazz giant Keith Jarrett, Gary Peacock & played together in 1977, when Messrs. Jarrett and that all three had played with in their early years. DeJohnette played on Gary Peacock’s first ECM The trio’s video releases include: Standards I Records recording, Tales of Another. (1985), Standards II (1986), Live at Open Theatre Jack DeJohnette They came together as a permanent trio in East (1993) and Tokyo Concert ’96 (1996)—all January 1983, when Mr. Jarrett invited the other featuring full concert performances. In fall 2008, two men to join him in New York for a recording ECM re-released all four concerts on two special session dedicated to playing “standards”—the rich two-DVD sets. body of American popular songs from the 1930s, In the past 25 years, the trio has been nominat- ’40s and ’50s. At the time, it was considered passé ed for many international awards, including five for top players to concentrate on playing standards American Grammy Award nominations, plus doz- rather than original material, but Keith Jarrett ens of Record of the Year and Critics Prize awards thought it was important to show that, “Music from the U.S., European and Japanese music press, wasn’t about material, but what the player brings including the Gold Disc Award (2000, 2003) from to the material.” Swing Journal (Japan) and the Choc des Chocs The January 1983 sessions produced the trio’s Award (2000, 2001, 2003) from Jazzman magazine first three ECM releases: Standards Vol.
    [Show full text]
  • A BRIEF INTRODUCTION to the HISTORY of EUROPEAN JAZZ by Andrea Polinelli Jazz History Teacher at “Casa Del Jazz” for State Music Conservatory, Rome Italy
    A BRIEF INTRODUCTION TO THE HISTORY OF EUROPEAN JAZZ by Andrea Polinelli Jazz History teacher at “Casa del Jazz” for State Music Conservatory, Rome Italy. Formerly teacher at the Conservatories of Venice, Monopoly and Latina, Italy; saxophone performer in the US, Brazil and Africa; author of the dvd: A Step Ahead, the Italian career of dancer Roberta Escamilla Garrison, wife of the late Jimmy Garrison; Lazio region representative for MIDJ (Italian Jazz Musicians National Association) “European Jazz has now become an enormous world of idioms and a synthesis of styles that represent an effectively strong alternative to the US jazz scene. A new appreciation of popular roots and local traditions, the cross-cultural styles and freshness of instrumental expression unique in sound (for example: the sax of Jan Garbarek, the trumpet of Arve Henriksen, the horn of Michel Godard or Gianliugi Trovesi’s clarinet) have made of European Jazz an ambient of elaboration, an open laboratory of languages and dialects of the future to be. Some dare indicate Europe as the beating heart of future Jazz or at least its most productive and stimulating setting.” (Vincenzo Martorella, Jazz historian, introduction to the Italian edition of Alyn Shipton’s “A New History of Jazz”) Jazz Histories Jazz blossomed in Europe during the 20th century not only as entertainment, but also as a generalised form of art. Today European Jazz is an active and vivid container full of all sorts of creative, expressive and original music. A History of European Jazz though, is something that many believe doesn’t exist. We should more correctly indicate what we are searching for as: Histories of European Jazz.
    [Show full text]