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SWR2 Musikstunde: Jazz Across the Border SWR2, 6.Oktober 2018 9.05 – 10.00 Uhr Manuskript: Günther Huesmann

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SWR2 Musikstunde: Jazz Across the Border SWR2, 6.Oktober 2018 9.05 – 10.00 Uhr Manuskript: Günther Huesmann Musikstunde Jazz across the border Von Günther Huesmann Sendung: 06. Oktober 2018 Redaktion: Martin Roth Produktion: 2018 SWR2 können Sie auch als Live-Stream hören im SWR2 Webradio unter www.SWR2.de, auf Mobilgeräten in der SWR2 App, oder als Podcast nachhören: Bitte beachten Sie: Das Manuskript ist ausschließlich zum persönlichen, privaten Gebrauch bestimmt. Jede weitere Vervielfältigung und Verbreitung bedarf der ausdrücklichen Genehmigung des Urhebers bzw. des SWR. Kennen Sie schon das Serviceangebot des Kulturradios SWR2? Mit der kostenlosen SWR2 Kulturkarte können Sie zu ermäßigten Eintrittspreisen Veranstaltungen des SWR2 und seiner vielen Kulturpartner im Sendegebiet besuchen. Mit dem Infoheft SWR2 Kulturservice sind Sie stets über SWR2 und die zahlreichen Veranstaltungen im SWR2- Kulturpartner-Netz informiert. Jetzt anmelden unter 07221/300 200 oder swr2.de Die neue SWR2 App für Android und iOS Hören Sie das SWR2 Programm, wann und wo Sie wollen. Jederzeit live oder zeitversetzt, online oder offline. Alle Sendung stehen sieben Tage lang zum Nachhören bereit. Nutzen Sie die neuen Funktionen der SWR2 App: abonnieren, offline hören, stöbern, meistgehört, Themenbereiche, Empfehlungen, Entdeckungen … Kostenlos herunterladen: www.swr2.de/app SWR2 Musikstunde: Jazz across the border SWR2, 6.Oktober 2018 9.05 – 10.00 Uhr Manuskript: Günther Huesmann Mit Günther Huesmann, guten Morgen! Willkommen zu Jazz across the border, heute mit einer Hommage an zwei kürzlich verstorbene Musiker, die auf ganz unterschiedliche Weise dem Jazz feinfühlige weltmusikalische Antennen aufgesetzt haben: der eine für die Sounds aus Afrika, der andere für die Klänge aus Lateinamerika. Wir bringen Musik von dem Pianisten Randy Weston und dem Trompeter und Perkussionisten Jerry Gonzalez. Jazzfest Berlin 1982. Auf der Bühne Jerry Gonzalez Fort Apache Band. Ich weiß noch genau, wie mir damals die Haare zu Berge standen – vor Begeisterung! Da spielten Musiker einen Latin Jazz so wie man ihn vorher noch nie gehört hatte. ‚Wie kriegen die das nur hin?‘ haben wir uns gefragt. Der Bandleader, der da auf künstlerisch hohem Niveau Goodbye sagte zu Salsa-Klischee, hieß Jerry Gonzalez. Er spielte voller Hingabe und Respekt sowohl für die Geschichte des Modern Jazz als auch für die große Tradition der afro-kubanischen Musik. Hier ist er mit einem Ausschnitt aus seinem Album „Para Monk“. Thelonious Monk: „Bye-Ya“ Jerry Gonzalez Label: Sunnyside SSC 1036 CD: Rumba Para Monk Track 2, 6:42 Thelonious Monk war berühmt dafür, dass er auf originelle Weise tanzte. Und diese Version seiner Komposition „Bae-Ya“ hätte ihm bestimmt gefallen. Jerry Gonzalez war das. Aufgewachsen ist er in der Bronx, der us-amerikanische Perkussionist und Trompeter gehörte zu den „Newyorikans“, zu den in New York geborenen Musikern mit puertorikanischen Wurzeln. Anfang der 1980er Jahre rüttelte ‚Gonzalez an den Gewissheiten des Latin-Jazz, er gehört zu den Erneuern des Genres, und er tat das so gründlich, dass heute Generationen von Musikern auf die Sounds seiner Fort Apache Band aufbauen. Jerry Gonzalez war eine Doppelbegabung: er spielte Trompete wie ein Miles-Davis, der in der Karibik geboren wurde. Und er schlug die Conga mit dem Wissen eines Musikers, der den Modern Jazz in der Großstadt aufgesogen hat. Auch in geographischer Hinsicht schien Jerry Gonzalez zwei Leben zu haben. Seine Karriere lässt sich ziemlich genau in eine amerikanische und eine europäische Periode einteilen. Seit dem Jahre 2000 lebte er in Madrid, und dort bereicherte er den Flamenco genauso konsequent mit den Rhythmen von Son, Rumba und Guanguanco wie er das zuvor in New York im Jazz getan hatte. Vergangenen Montag ist Jerry Gonzalez in Madrid durch eine Rauchvergiftung gestorben. Er wurde 69 Jahre alt. Hier kommt er mit dem spanischen Gitarristen Nino Joselle und dem Sänger Cigalla in einem Stück von dem Grammy-nominierten Album „Jerry Gonzalez Y Sus Piratas Flamencos“. Pedro Flores: „Obsesion“ Jerry Gonzalez Y Los Piratas Del Flamenco Label: Lola Records LLR 1003 CD: Jerry Gonzalez Y Los Piratas Del Flamenco Track 9, 9:05 Der Trompeter und Perkussionist Jerry Gonzalez in der SWR2 Musikstunde und „Jazz across the border“. Wir hörten den Titel „Obsesion“. Und obsessiv war in einer bestimmten Hinsicht auch unser nächster Pianist. Kaum ein anderer Jazzmusiker hat sich so konsequent mit den rhythmischen und 3 melodischen Traditionen Afrikas auseinandergesetzt wie der Anfang September verstorbene Randy Weston. Den „Weltbürger aus Afro-Amerika“ hat ihn die Neue Zürcher Zeitung genannt. Geboren wurde Randy Weston 1926 in New York. Sein Vater besaß vier Restaurant in Brooklyn. Und eines davon – es hieß „Franks“ - war ein beliebter Musiker- Treffpunkt; ein Ort, der die wichtigsten Protagonisten des Bebop anzog. Dizzy Gillespie, Bud Powell, Miles Davis, Max Roach waren regelmäßige Gäste, aßen Hamburger oder schluckten zwischen zwei Gigs einen Becher Kaffee herunter. „Wir hatten die hippeste Jukebox in New York“, erinnerte sich Weston. Wenn man ein paar Cents deinwarf, konnte man die Singles von Igor Strawinsky und Charlie Parker hören. Der junge Pianist Weston freundete sich mit Max Roach an, er jammte mit Charlie Parker, er diskutierte mit dem Pianisten Thelonious Monk, blieb aber zunächst Gastronom. Erst Ende der 1940er Jahre wusste er, dass die Musik es ist. Seine ersten Jazz-Gigs hatte er mit dem Schlagzeuger Art Blakey. Im nächsten Stück „African Village Bedford Stuyvesant One“ kreiert Randy Weston das musikalische Portrait seines Viertels. Es war eine Neigbourhood mit ungewöhnlich vielen Clubs und Ballrooms. Das Stück schildert die Black Community, die dort lebte – Menschen aus der Karibik, aus dem amerikanischen Süden, aus dem Westen. Randy Weston sagte: „Obwohl es in Brooklyn, New York lag, war es für mich wie ein afrikanisches Dorf.“ Randy Weston: „African Village Bedford-Stuyvesant 1“ Randy Weston Label: Verve 511 857-2 CD: The Spirit Of Our Ancestors 3:21 Randy Weston mit „African Village Bedford Stuyvesant 1“. Bereits Ende der 1950er Jahre hob Randy Weston in seiner Klaviermusik die afrikanischen Elemente des Jazz hervor. Damit widersprach er dem damaligen 4 Narrativ. Zu dieser Zeit war der us-amerikanische Jazz noch stark an den Ideen der westlichen Welt orientiert. Randy Weston war fasziniert von der Kultur und Geschichte des Schwarzen Kontinents. “Ob es nun Jazz oder Blues oder Bossa Nova oder Samba oder Salsa ist – all diese Stile sind Afrikas Beitrag zur westlichen Hemisphäre.“, sagte er. „Wenn man die afrikanischen Elemente aus unserer Musik herausnähme, bliebe nichts übrig.“ Eine vom State Department organisierte Tournee führte ihn 1968 nach Nigeria und Nordafrika. Dort begegnete er der afrikanischen Musik nicht nur mit Respekt und Neugierde, er blieb auch. Fünf Jahre lang lebte er in Marokko in Tanger, wo er den Jazzclub „African Rhythms“ leitete und ein Jazzfestival zur Plattform für den Austausch von nordafrikanischen und amerikanischen Musikern machte. Vor allem aber entwickelte Randy Weston eine enge Zusammenarbeit mit den Spielern der Gnawa-Musik. Die Gnawa sind Nachfahren westafrikanischer Sklaven, die in Nordafrika islamisiert wurden und die eine Musik machen, die sie in lang Heilungs-Zeremonien – „Leilas“ genannt – feiern. Eine magische, rituelle Musik voller Grooves und Trance. Jeder Mensch habe eine bestimmte Farbe und einen besonderen Klang, glauben die Gnawa. Elemente der Gnawa-Musik holt Randy Weston in das nächste Stück hinein „The Healers“. Randy Weston / arr. Melba Liston: „The Healers“ Randy Weston Label: Verve 511 857-2 CD: The Spirit Of Our Ancestors 10:48 Der Pianist Randy Weston. Mit der Posaunistin und Komponistin Melba Liston verband ihn eine lebenslange Freundschaft. 5 So eine fruchtbare Zusammenarbeit zwischen einer Komponistin und einem Solisten hat es im Jazz vielleicht nur noch bei Mary Lou Williams und Andy Kirk gegeben. Randy Weston und Melba Liston mit “The Healers”, von dem Doppel-Album “The Spirit of Our Ancestors”. Als Pianist war Randy Weston ein Spätzünder. Er war schon Dreißig als er Mitte der 1950er Jahre seine ersten Aufnahmen machte. Für seine LP “Uhuru Africa” 1960 steuerte der Schriftsteller Langston Hughes die Texte bei. Das weiße Apartheids- Regime in Südafrika hielt diese Platte für so gefährlich, dass es den Verkauf verbieten ließ. Einige wenige Exemplare, die den Weg nach Johannesburg und Kapstadt fanden, wurden beschlagnahmt und eingestampft. „Der Blues ist etwas Universales.“ sagte Randy Weston, „Du kannst ihn in allen Kulturen der Welt finden.“ Für ihn ist der Blues deshalb auch ein Schlüssel, um Brücken zur nordafrikanischen Musik zu bauen. Randy Weston: „Marakesh Blues“ Randy Weston Label: Comet Records COM028 CD: Randy Weston’s African Rhythms Track 4, 6:14 Der „Marakesh Blues“ mit dem Pianisten Randy Weston. Das Kontrabass-Solo kam von Henri Texier. Und Perkussion spielte Rebop Kwaku Baah. Randy Weston war ein humorvoller und freundlicher Mensch, ein Musiker zu dem Kollegen buchstäblich aufschauten: ein Hüne, 2 Meter und eins lang. Dabei trug er edle, wallende Gewänder aus Nord- und Westafrika. Er war der erste Pianist, der Thelonious Monk wirklich verstanden hat. Wenn er die Wahl zwischen dem Rhythmus und der Melodie hätte, dann würde er immer den Rhythmus wählen. Er fühlte sich den perkussiven Klaviersprachen des Jazz besonders nahe und war stark von dem beeinflusst, was er die „Duke-Monk-Schule“ nannte. 6 Trotz seiner langen Freundschaft mit Thelonious Monk, oder vielleicht gerade deswegen, hat Randy Weston selten Monk-Kompositionen eingespielt. Lieber schuf er selbst zwei Themen, die Jazz-Standards wurden: „Little Niles“ und - besonders häufig von anderen Musikern gespielt - „Hi-Fly“. Wie Monk hat Randy Weston das Klavier afrikanisiert. „Mir geht es darum, das Instrument daran zu erinnern, was es einmal war, bevor es zum Piano wurde.“ erzählte er. „Es besteht aus Holz, aus Metall, früher auch aus Elfenbein, und im Inneren liegt eine riesige afrikanische Harfe.“ Mit seinem Stück „Blue Moses“ endet die heutige Ausgabe der SWR2 Musikstunde und Jazz across the border. Mein Name ist Günther Huesmann. Ich wünsche Ihnen ein schönes Wochenende! Randy Weston: „Blue Moses“ Randy Weston Label: Random Chance RCD27 CD: Zep Tepi Track 1 9:00 7 .
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