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Marc Ribot Trio Wo 29 Okt 2008 Tickets@Desingel.Be T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 2008-2009 architectuur theater dans muziek 2008-2009 BLAUWE ZAAL deSingel Desguinlei 25 / B-2018 Antwerpen ma vr 10 19 uur / za 16 19 uur MARC RIBOT TRIO www.desingel.be WO 29 OKT 2008 [email protected] T +32 (0)3 248 28 28 F +32 (0)3 248 28 00 deSingel is een kunstinstelling van de Vlaamse Gemeenschap en geniet de steun van hoofdsponsor mediasponsors 2008-2009 / JAZZ ZA 6 SEP 2008 OPENINGSCONCERT FREE MUSIC FESTIVAL WO 22 OKT 2008 DAVE DOUGLAS 3 WO 29 OKT 2008 MARC RIBOT TRIO do 20 NOV 2008 BRUSSELS JAZZ ORCHESTRA & RICHARD GALLIANO VR 6 MRT 2009 DUO RAVA - BOLLANI WO 18 MRT 2009 TRIO MAHANTHAPPA-DRESSER-HEMINGWAY WO 27 MEI 2009 FLY inleiding door Hugo De Craen, 19.15 uur, foyer de kunsthaven begin 20.00 uur pauze omstreeks 20.45 uur einde omstreeks 21.50 uur teksten programmaboekje Didier Wijnants coördinatie programmaboekje deSingel MARC RIBOT TRIO MARC RIBOT gitaar HENRY GRIMES contrabas ChAD TAYLOR drums gelieve uw GSM uit te schakelen De inleidingen kan u achteraf beluisteren via www.desingel.be Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Op www.desingel.be kan u uw visie, opinie, commentaar, appreciatie, … REAGEER betreffende het programma van deSingel met andere toeschouwers delen. & WIN Selecteer hiervoor voorstelling/concert/tentoonstelling van uw keuze. Neemt u deel aan dit forum, dan maakt u meteen kans om tickets te winnen. Bij elk concert worden cd’s te koop aangeboden door ’t KLAverVIER, Kasteeldreef 6, Schilde, 03 384 29 70 > www.tklavervier.be foyer de kunsthaven 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 Ramada Plaza Antwerp (Desguinlei 94, achterzijde torengebouw ING) Restaurant HUGO’s at Ramada Plaza Antwerp 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 Marc Ribot, Henry Grimes, Chad Taylor MARC RIBOT: AMERICANA REVISITED In het begin van de jaren tachtig schreef Joachim Ernst Berendt een opmerkelijke passage over de gitaar in de jazz: “Psychologists have pointed to the phallic image of the flute and the similarity of the guitar to the female body. Like a lover, the guitarist must woo the body of his mistress, stroke and caress it, so that she not only receives love, but also returns it.” Het citaat komt uit de toonaangevende bestseller ‘The Jazz Book’ waarin Berendt de essentie van de jazz wilde verklaren en verspreiden. De passage komt vandaag nogal lachwekkend over, maar we moeten goed beseffen welke voorbeelden Berendt in het achterhoofd had. Hij dacht wellicht aan een Pat Metheny, Lee Ritenour of Mick Goodrick, misschien zelfs aan een Philip Catherine of John Scofield. Hij vergat te denken aan een Derek Bailey en voor een Bill Fri- sell, Robert Quine, Christy Doran of Marc Ribot was het simpelweg te vroeg: die maakten pas later in dat decennium hun entree, een periode waarin de jazzwereld snel van gedaante veranderde. Het kan ook zonder elegantie Als het ideaal dat Berendt schetste zou hebben standgehouden, zouden we nu niet over Marc Ribot spreken. Hij is een autodidact en als gitarist ze- ker niet de geboren elegantie waar Berendt het over had. Wie hem al ooit aan het werk zag begrijpt het meteen: Ribot speelt soms als een kreupele, hoekig, krassend, een beetje lomp of onbehouwen soms, in elk geval niet soepel of glansrijk. Zijn gitaar struikelt over deuntjes met deukjes. Elegan- tie? Hij heeft er geen boodschap aan. Hij maakte zijn entree wel vanuit een onverwachte hoek. Ribot maakte een tijdlang het mooie weer bij Tom Waits waar hij mee aan de wieg stond van platen zoals ‘Rain Dogs’ en ‘Franks Wild Years’. Later dook hij zelfs op aan de zijde van Elvis Costello (‘Spike’, ‘Mighty like a Rose’, ‘Kojak Variety’). Maar intussen bloeide hij open als experimenteel muzikant in de gestadig groeiende downtown scene in New York City. Die scene huisde toen in de Knitting Factory, een morsig pandje in Houston Street in de Lower East- side. Mannen als Wayne Horvitz en John Zorn verzamelden er troepen en zetten zotte performances op poten. In dat broeinest voelde Marc Ribot zich pas echt thuis, daar kon hij als gitarist gedijen, daar leerde hij dat muziek ook zonder elegantie boeiend kan zijn en dat je er zelfs mee kan rondkomen. Marc Ribot Ayler en The Beatles alweer failliet en Zorn heeft The Stone opgericht, een nieuwe club in East Zijn carrière steunt eigenlijk op een gezonde combinatie van lucratief Village, gesponsord vanuit de opbrengsten van Zorns Tzadik-label. Ribot werk voor commerciële bazen (het brede rockcircuit), compromisloos vindt dat een verontrustende evolutie. De oude Knitting Factory en The experimenteerwerk en ook minder radicale muzikale ontdekkingstochten. Tonic creëerden een tijdlang de illusie dat er een stabiele markt was voor Op zijn debuutplaat met The Rootless Cosmopolitans speelde hij eigen experimentele muziek. Maar de clubs overleefden niet zelden dankzij tal- werk naast een Ellington-standard en gekreukte rockklassiekers van loze benefietoptredens, inspanningen van de muzikanten om hun biotoop Jimi Hendrix en George Harrison. Later toonde hij veel interesse voor de in stand te houden. Volgens Ribot wordt die ongemakkelijke situatie in muziek van Albert Ayler. ‘Spiritual Unity’ met Roy Campbell, Henry Grimes The Stone nu geïnstitutionaliseerd: lucratieve plaatopnamen houden een en Chad Taylor is volledig op Ayler-werk gebaseerd, maar op de soloplaat verlieslatende club in leven. ‘Saints’ duiken naast Ayler-werk ook bekende songs op, zoals de Beatles- culthit ‘Happiness is a Warm Gun’ en de standard ‘I’m Getting Sentimental Alleen dankzij Europa Over You’. Op de recente plaat ‘Party Intellectuals’ van zijn nieuwe sextet Volgens Ribot verdoezelt dat de realiteit. Volgens hem is er eigenlijk geen Ceramic Dog komen The Doors even om de hoek kijken, zij het weer in leefbare markt voor experimentele muziek: “European touring, heavily een getormenteerde gedaante. Tegelijk zet Ribot graag zijn tanden in com- state subsidized, has been the real economic motor of experimental jazz/ posities van John Zorn, zoals ‘The Book of Heads’ en het Masada-oeuvre new music for decades, the light at the end of the tunnel of months of ‘The Book of Angels’. Maar hij is ook niet vies van vrolijke dansmuziek: met scarce and/or poorly paid NYC gigs. The fact that access to Europe was zijn groep Los Cubanos Postizos maakte hij twee platen rond de Latijns- easier and cheaper for NYC musicians than for their LA counterparts is an Amerikaanse muziek van Arsenio Rodriguez. important factor in the historical productivity of the NYC new music scene as compared with the West Coast.” Met andere woorden: Europese over- Gedeukte schoonheid heidssubsidie heeft de New Yorkse muziekscene ademruimte gegeven. Het lijkt een bewust grillig en zelfs wat inconsequent parcours, moeilijk om En die steun is helemaal niet vanzelfsprekend, wel integendeel: “European er een lijn in te trekken. Ribot cultiveert zijn status van anti-held trouwens. public subsidies (...) have been a part of the landscape for so long that Let op de titel van die andere recente plaat: ‘Exercises in Futility’, een ver- US musicians have come to take them entirely for granted, seeing them zameling schetsjes bedoeld voor doelloze gitaarimprovisatie. Het is een as natural a part of Europe as the Alps or snotty waiters. Unfortunately, wereld van verschil met de klassieke gitaarhelden. they’re neither natural nor guaranteed. They were created by people Die gitaarhelden (die nog altijd de boventoon voeren in het populaire through struggle and they are in the process of being challenged and to jazzcircuit) cultiveren in hun muziek nog altijd een onbeschadigd opti- some extend dismantled by European neo-liberals.” misme. Ribot houdt ze een spiegel vol vlekjes voor. Zijn muziek heeft diepe Amerikaanse wortels, maar het is een Americana met kneuzingen Actie of terugkeer en schaafwonden. Hij vindt gedeukte schoonheid mooier dan een vel- Ribots conclusie is hard voor Amerika: “Experimental jazz/new music letje van satijnglans. Hij heeft het voor die grauwe kantjes, een essentieel people once occupied a margin delimited and fed by both market and onderdeel van zijn Americana. European state funding. As both of these sources contract, we’re facing the consequences of a lack of US public funding. As the expressed will of Er loopt iets fout the American political majority, this radical market liberalism seems hard to Maar er loopt iets grondig fout in zijn Amerika. In 2005 publiceerde Marc oppose. Nationally, “we’ve” made our choice, “we” will live with the results: Ribot een opmerkelijk artikel in een Sloveens politiek tijdschrift over de America will finally get the culture it’s paid for.” Misschien wordt het visioen conditie van de experimentele muziekscene in New York. Vorig jaar is dat van Joachim Ernst Berendt dan weer werkelijkheid en krijgen we straks op- artikel in een geactualiseerde versie verschenen op www.allaboutjazz. nieuw alleen gitaristen die uitsluitend op elegantie spelen. Ribot pleit alvast com onder de titel ‘The Care and Feeding of a Musical Margin’. Ribot voor politieke actie in eigen land. “To state the obvious, the current national trekt er aan de alarmbel omdat de voedingsbodem van de experimentele government will not be sympathetic to arguments for increased NYC arts muziek in New York verschrompelt. De tijden van de bloeiende Knitting subsidy. But if the popular support existed to raise over $90,000 to keep Factory liggen ver achter ons. Na de verhuis van de club naar Leonard one club open for a while (verwijzend naar een reddingsoperatie voor The Street is de commercialisering ingezet en zijn de creatieve muzikanten Tonic), the possibility exists for a serious political fight at the city or state op aangeven van John Zorn verhuisd naar The Tonic.
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