Programmaboekje : Dave Burrell/Joe Mcphee

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Programmaboekje : Dave Burrell/Joe Mcphee All That Jazz Dave Burrell/Joe McPhee Duo woensdag 22 februari 2006 Cd’s Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 www.tklavervier.be Foyer deSingel enkel open bij avondvoorstellingen in Rode en/of Blauwe Zaal open vanaf 18.40 uur kleine koude of warme gerechten te bestellen vóór 19.20 uur broodjes tot net vóór aanvang van de voorstellingen en tijdens pauzes Hotel Corinthia (Desguinlei 94, achterzijde torengebouw ING) • Restaurant HUGO’s at Corinthia open van 18.30 tot 22.30 uur • Gozo-bar open van 10 uur tot 1 uur, uitgebreide snacks tot 23 uur deSingelaanbod: tweede drankje gratis bij afgifte van uw toegangsticket van deSingel voor diezelfde dag Dave Burrell/Joe McPhee Duo All That Jazz . Seizoen 2005-2006 Dave Burrell piano Joe McPhee tenor- en sopraansaxofoon, trompet Eric Watson/Christof Lauer Quartet dinsdag 27 september 2005 Frank Gratkowski Double Quartet donderdag 3 november 2005 Come Sunday: Kris Defoort Quartet 3 For Lacy . Jewells & Binoculars zondag 4 december 2005 Hank Jones/Joe Lovano Duo donderdag 12 januari 2006 Vlaams Radio Orkest . Alejo Pérez Philip Catherine/Frank Vaganée/Philippe Aerts/Mimi Verderame vrijdag 3 februari 2006 Dave Burrell/Joe McPhee Duo woensdag 22 februari 2006 Fred Frith . Marc Ribot donderdag 9 maart 2006 Monk Happening: Studenten Conservatorium Antwerpen/Michiel Braam Roswell Rudd/Duck Baker Duo Monk’s Casino begin concert 20.00 uur Ran Blake pauze omstreeks 20.50 uur Johnny Griffin Quartet einde omstreeks 22.00 uur zondag 23 april 2006 ism. New Think, Radio 1, Focus Knack Moran-Rivers-Workman Trio zaterdag 13 mei 2006 inleiding door Hugo De Craen . 19.15 uur . Foyer teksten programmaboekje Hugo De Craen deFilharmonie . Brussels Jazz Orchestra coördinatie programmaboekje deSingel Daniele Callegari zaterdag 27 mei 2006 Gelieve uw GSM uit te schakelen! Meeting in Chicago The sound begins in the silence of the morning before the morning of the day before in a vortex of dreams expanding racing to meet the dawn racing naked across a razor's edge through the frozen fog of memory The sound emerges like long shadowy fingers snaking throughout the silence collecting silence in a cocoon of silence in anticipation of the next The sound surrenders to itself and becomes the place where the meeting begins unfolding layers of mystery revealing nothing revealing all speaking in lost languages forgotten in a climate of nostalgia The sound continues in anticipation of the next Joe McPhee – September 1996 De overtuiging dat alleen tegenspraak verder brengt Jazz is de muzikale expressie van een psychisch moment waar de Dave Burrell en Joe McPhee weten op een enige wijze jazzmusicus tegelijkertijd componist en solist en dirigent is. Het improvisaties te versmelten binnen de gesloten vorm van begrip dirigent bestaat in de geïmproviseerde jazz alleen in deze het duo dat wars van sterallures musiceert, zonder, in eerste zin dat een improvisator door zijn muzikale ideeën de andere(n) instantie, individuele psychische expressie na te streven maar op sleeptouw neemt, vooruitstuwt, ondersteunt of domineert langs de muzikale compositie de simultane uitdrukking van twee tijdens het improvisatieproces. Een improvisatie creëert een fenotypen beoogt. De improvisaties danken hun perfectie aan bouwwerk dat haar fundamenten op bepaalde harmonieën de moed tot begrenzing, orde en maat, aan de juist dosering opricht, onderworpen aan grenzen: deze van de eigen psyche van dionysische en apollinische elementen. De aandachtige van de improvisator, deze van de technische mogelijkheden van luisteraar voelt dat elke realisatie van het duo te danken is aan het instrument, deze van basisharmonieën van de thema's. Maar een gecompliceerd proces, waarin berekening, intuïtie, fusie van deze grenzen leiden geenszins tot verstarring. Het inzicht van de levensopvattingen, vreugde aan collectief werk en virtuositeit improvisator in het muzikale schaakspel maakt dat wanneer een dooreen geweven worden. Dergelijk werk bouwt men niet vitaal element statisch of stereotiep dreigt te worden, legeert alleen op muzikale kennis; een gedurig zoeken naar cohesie een magisch fluïdum de improvisatie opnieuw en opnieuw en van de fenotypen, een wederzijds herkennen en erkennen, en opnieuw. De legering verleent het improvisatieproces een sterke de vriendschap zijn evenzeer essentieel. De muziek van het duo cohesie, een intense spanning, het resultaat zo subtiel - de Dave Burrell-Joe McPhee beweegt zich op een niveau waar de heroverde eenvoud - en bovendien zo eerlijk. briljante techniek mede de uitdrukking is van een genuanceerde en verfijnde sensibiliteit. Maar deze techniek is vrij van elke "Opinions about free (improvised, non-ideomatic) music are virtuositeit om de virtuositeit. De spanningen, de contrasten, de plentiful, and are all, of course, quite different. They range from verstandelijke en sensitieve fenomenen die zij reveleert, behoren the view that free playing is the simplest thing in the world re- tot een hypergecultiveerde muziek. De briljante maar functionele quiring no explanation, to the view that it is complicated beyond techniek helpt sensibiliteit uit te drukken; meer nog, zij helpt discussion. There are those for whom free music is an activity deze sensibiliteit vormen. Er is een vorm van vrijheid die slechts requiring no instrumental skill, no musical ability and no musical opduikt doorheen en dank zij een monsterachtig vakmanschap. knowledge or experience of any kind, and others who believe it Naarmate de steen harder is voor de beeldhouwer, zal het can only be reached by employing a highly sophisticated, perso- uiteindelijk beeld meer solide zijn. nal technique of virtuosic dimensions. Some are attracted to it by its possibilities for musical togetherness, others by its possibilities Het duo-optreden Joe McPhee-Dave Burrell wordt een for individual expression". (Derek Bailey, Improvisation: its Nature dialoog met als inzet de overtuiging dat alleen tegenspraak and Practice in Music, 1980). verder brengt. Beiden hebben een relatieve soberheid in de gehanteerde middelen gemeen alsook precisie, aandacht voor klank en een groot vertrouwen in de muzikale suggestie. Joe McPhee en Dave Burrell zijn beiden ingenieurs of vivisectors rustig, een solo vanuit één noot opgebouwd en voorafschaduwing die met het materiaal willen scheppen en daarom niet aarzelen van harmonische en technische complexiteit, een heldere, krachtige het te verwoesten. Bij Joe McPhee zoals bij Dave Burrell sonoriteit, emotioneel geladen, ook in het hoog register. John vindt men onder meer daarom het procédé van de solitaire Coltrane en Joe McPhee als geniale vakmannen die telkens melodiefragmenten, afzonderlijk drijvende fragmenten op opnieuw van nul beginnen, die krassen trekken in de harde steen een zee van stilte: de onbegrijpelijke, existentiële en absolute van het muzikaal gebergte op zoek naar een primitieve, pure eenzaamheidssituatie van het fenotype. Hier begint voor lyriek. In het oeuvre van Joe McPhee is er geen spoor van delirium, ieder 'le métier', niet alleen een perfectioneren van de eigen irrationalisme of barok. Al het materiaal gaat door de filter van een persoonlijkheid, maar eveneens een proces van acclimatisering strenge, zelfkritische, evenwichtige geest, die in de hypnotiserende en nuancering, van geven en nemen, van beïnvloeden en invloed atmosfeer onder de obsederende druk van ritmen slechts zelden ondergaan. Achter hun methode woelt nulla ratione de honger toegeeft aan automatismen. Joe McPhee heeft tijd nodig om zich naar de blauwe Novalisbloem, er is berusting, inzicht van de te controleren, te ondervragen, om te oefenen, de formule van de begrenzing, maat en evenwicht. vakman. Met de sopraansaxofoon ontwerpt Joe McPhee absolute klankgehelen en de bezetenheid waarmee binnen een klein veld de De kunst van Joe McPhee is verwondbaar, teder, uiterst menselijk klank geëxploiteerd wordt, krijgt het karakter van een bezwering. door de warme sonoriteit, maar naar inhoud de obsessie van de Joe McPhee, zoals John Coltrane, is een magiër van het absoluut eenzaamheid. Obsessioneel terugkerende ideeën kenmerken sonore. Op gedempte pockettrompet krijgt Joe McPhees sound de hem die geen herhalingen zijn maar een noodzakelijk terugkeren scherpte van een graveerijzer, die op traag tempo poëzie reveleert naar de diepste en hardste lagen van de inspiratie. Begrenzing, van buitengewone harmonische verfijning en geankerd aan gesitueerde eenzaamheid, raakbaarheid: het fenotype Joe 'another kind of' bluestraditie. McPhee is een sleutel voor de universele situatie. Hij is de bewogenheid zonder kramp, slaagt in de modificatie van elk De innige relatie met de fysieke geluidsproductie van klanken thema en maakt het tot zijn persoonlijke waarde. bakent tevens Joe McPhees composities af. Meer specifiek, Joe McPhee's composities ontstaan en bestaan in de context van wat Joe McPhee combineert de souplesse van een balletdanser met Derek Bailey de vrije, niet-idiomatische improvisatie heeft genoemd. de inzet en de power van een honkbalspeler. Intens gespierde Binnen de grote (Cartesiaanse) opsplitsing van de werkelijkheid improvisaties, furieus expressionisme, muziek om bergen te in stof en geest (compositie en improvisatie), bewandelt Joe verzetten. Zijn toon wordt geprezen alsook zijn opmerkelijke McPhee standvastig het pad waar compositie en improvisatie controle van het hoogste register: even glad gepolijst als het een ondeelbaar geheel vormen, het pad waarlangs validiteit falsetto van een gospel- of soulzanger.
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