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COMUNE DI BOTTICINO Provincia di Brescia C con il patrocinio U CROSS R BOTTICINO JAZZ II Centro Lucia E 30-31 Ottobre 2009 N in collaborazione con T CROSSCURRENT BOTTICINO JAZZ II Produzione: Comune di Botticino, Botticino Servizi s.r.l. e Associazione Culturale Crosscurrent Direttore Artistico: Luigi Settala Direttore Esecutivo: Mariateresa Porteri Organizzazione: Mario Fava, Cesare Magagna, Davide Lorenzon Fotografo ufficiale: Luciano Rossetti Fonica: Zanetti Audio Artwork: Carlo Majorani Progetto grafico e realizzazione: La Grafica Webmaster: Alessandro Camanini Il festival è patrocinato dal Settore Turismo di Regione Lombardia e Provincia di Brescia e dalla SIdMA - Società Italiana di Musicologia Afroamericana Biglietti: 20 e serata, 35 e abbonamento Prevendita on-line Informazioni: Ufficio Cultura Comune di Botticino tel. 0302197460 con il patrocinio COMUNE DI BOTTICINO Provincia di Brescia CROSSCURRENT BOTTICINO JAZZ II 30/31 OTTOBRE 2009 CENtro LUCIA BotticiNO (BS) I lusinghieri risultati ottenuti nella prima edizione di Botticino Jazz (dal 27 al 29 ottobre 2008) sono riassunti nel tutto esaurito che si è registrato in ognuna delle tre serate di un festival al debutto. Il quartetto del pianista e compositore Corrado Guarino, il quartetto di Amiri Baraka, il trio Burrell, Conquest e Barnes, il quartetto di improvvisazione Parker, Drake, Mateen e Wilkes, il duo Puglisi, Drake e in particolar modo l’ensemble di William Parker “The inside songs of Curtis Mayfield”, hanno riscosso da un pubblico composto prevalentemente da neofiti un successo ben oltre le aspettative. Il festival si terrà venerdì 30 e sabato 31 ottobre e da quest’anno viene chiamato Crosscurrent per sottolineare la direzione controcorrente della manifestazione e le benefiche tendenze conflittuali generatesi nella musica jazz dopo la rivoluzione del free. Anthony Davis è indiscutibilmente un nome di punta dell’avanguardia jazz degli anni Ottanta, da radicale esponente del free ha via via inserito elementi compositivi dalla musica ripetitiva, gamelan indonesiani e musica colta europea, senza mai allontanarsi definitivamente dal materiale jazzistico. Defilatosi progressivamente dall’attività concertistica, negli ultimi 20 anni si è dedicato prevalentemente all’insegnamento (presso la prestigiosa University of California) e alla scrittura di opere di grande interesse come la celeberrima “X, The Life and Times of Malcolm X”, primo esempio di opera jazz di contenuto politico contemporaneo che gli valse una nomination ai Grammy Awards per la migliore opera di musica contemporanea. L’esibizione a Botticino in solo con la nuova composizione “Letters from Lincoln”, basata sulla corrispondenza di Abraham Lincoln dal 1840 al 1863 e l’anteprima mondiale del nuovo quintetto Episteme, segna il ritorno in grande stile del pianista del New Jersey con una formazione capace di eccitare la fantasia in uno degli eventi più importanti della stagione. Il concerto sarà diffuso in diretta da RAI Radio 3. Doppia fatica anche per il chitarrista James Emery che si esibirà in solo e con il suo quartetto con il quale incise Standing on a whale fishing for minnows nel 1997. Virtuoso del suo strumento tale da essere definito il “Segovia del jazz”, si trova a proprio agio sia nell’improvvisazione che nella composizione. La caratteristica che fa di Emery un’eccezione nel jazz d’avanguardia è l’utilizzo della chitarra acustica, interpretando lo strumento con originalità e totale comprensione del linguaggio creativo. Le sue capacità di compositore sono altrettanto ragguardevoli: in esse si fondono con equilibrio il suo virtuosismo di strumentista e la modernità della scrittura sia colta che jazzistica, creando una sintesi sorprendentemente gradevole capace di attrarre un ampio pubblico. Il quartetto si presenterà a Botticino per la prima volta in Europa. Il trio di Mary Halvorson, Jessica Pavone e Taylor Ho Bynum è un progetto originale della rassegna e pertanto si esibirà per la prima volta a Botticino in un concerto di musica totalmente improvvisata. I tre giovanissimi musicisti sono la crema della nuova scena creativa newyorchese e si stanno imponendo prepotentemente come stelle nascenti del firmamento jazzistico internazionale. Accomunati dai preziosi insegnamenti di Anthony Braxton ed esposti al grande pubblico internazionale per aver iniziato la carriera in formazioni del maestro, si sono prontamente rivelati la forza trainante della nuova interessante scena avant-jazz di Brooklyn. Il trio di chitarra elettrica, viola e cornetta non mancherà di affascinare il pubblico e non solo grazie all’estremamente insolito melange di colore. Dinamitri Jazz Folklore è una formazione con base a Livorno, capitanata dal sassofonista Dimitri Grechi Espinoza. Presenteranno una selezione delle composizioni realizzate nella loro storia decennale ed, in particolare, il loro ultimo lavoro Akendengue Suite che ha costituito la prova della definitiva maturazione di una delle migliori band italiane, composta da alcune delle più fulgide promesse del panorama creativo nostrano. ANTHONY Davis: “Letters from LINcolN” Anthony Davis piano Anteprima europea Anthony Davis è nato nel 1951 a Paterson nel New Jersey. Iniziò a studiare il pianoforte in tenera età e proseguì la sua formazione al Wesleyan Institute ed a Yale, dove ottenne la laurea nel 1975. Nel 1977 si trasferì a New York dove divenne in breve tempo uno dei principali pianisti della scena d’avanguardia, collaborando con Oliver Lake, Anthony Braxton, Chico Freeman, George Lewis, Leroy Jenkins, James Newton e Abdul Wadud, solo per citarne i più significativi. Oltre all’attività propriamente di carattere jazz, nel corso della sua carriera di musicista si è imposto tra i maggiori compositori contemporanei, realizzando un opus che include musica sinfonica, musica da camera, musica corale e opera lirica contemporanea. I lavori in solo di Anthony Davis sono una costante che ha caratterizzato tutto il corso della sua attività di compositore. In effetti, la sua prima incisione discografica è Past Lives, pubblicata nel 1978 ed è considerata da molti critici il migliore esempio del suo solismo pianistico. Nel 1980 incide Lady of the mirrors che consolida la sua posizione tra i più complessi ed affascinanti interpreti dello strumento, tributando la splendida composizione Man on a turquoise cloud ad una delle sue principali influenze stilistiche: Duke Ellington. Il suo terzo lavoro in solo è Middle Passage del 1984 che introduce elementi di musica elettronica. Letters from Lincoln è la sua ultima composizione pianistica. L’opera è ispirata alla corrispondenza del XVI presidente degli Stati Uniti d’America Abraham Lincoln, ed è divisa in quattro movimenti, corrispondenti ad altrettante fasi della sua esistenza negli anni dal 1840 al 1863. E’ stata eseguita per la prima volta nel febbraio - 19.00 30 ottobre Venerdì di quest’anno a Seattle nel corso dei festeggiamenti per il bicentenario di Lincoln. JAMES EMERY solo James Emery chitarra acustica James Emery è nato nel 1951 a Youngstown in Ohio. All’età di 6 anni inizia a prendere lezioni di organo ed a 10 passa definitivamente alla chitarra. Prosegue la formazione alla Cleveland State University e la completa al City College di New York, dove si trasferisce nel 1974. Studia chitarra classica, composizione, orchestrazione e teoria della musica. La sua attività di musicista jazz e contemporaneo inizia nel 1975 a New York entrando in contatto con la comunità free e musicisti del calibro di Billy Bang e John Lindberg, con i quali costituisce il primissimo nucleo dello storico String Trio of New York, tuttora la sua formazione più conosciuta. Negli anni ha costituito diverse formazioni quali il trio, il quartetto, il sestetto, il settetto, per le quali ha scritto appositi materiali, adattandoli alle caratteristiche dei singoli musicisti utilizzati. È solito esibirsi anche in solo, alternando improvvisazione a composizioni realizzate per la chitarra acustica. In questa veste solistica, negli anni ottanta incise due registrazioni, Artlife ed Exo Eso, che pochi hanno avuto la fortuna di ascoltare essendo state pubblicate in quantità limitata. Motivo in più per non perdere la sua esibizione a Botticino ed assaporare la sua strabiliante tecnica strumentale nella forma meno diluita. Discografia James Emery solo: Artlife (Lumina, 1983) Exo Eso (FMP, 1987) Venerdì 30 ottobre - 21.15 30 ottobre Venerdì ANTHONY Davis: “Letters from LINcolN” JAMES EMERY solo ANTHONY Davis QUINtet “EPISTEME” Anthony Davis piano J.D. Parran clarinetto, clarinetto basso e flauto Mark Feldman violino Lisle Ellis contrabbasso Gerry Hemingway - batteria Anteprima mondiale trasmesso in diretta da Episteme è il marchio di fabbrica dell’Anthony Davis più legato a modalità e strutture tipiche del jazz contemporaneo. L’ensemble è costituito nel 1981, inizialmente con il proposito di sperimentare collettivamente con differenti generi musicali. Ben presto Episteme si è esclusivamente dedicato all’esecuzione delle composizioni di Davis che con il sapiente utilizzo di parti improvvisate all’interno di forme annotate e lo spregiudicato uso di materiali eterogenei, quali jazz, musica gamelan indonesiana, musica ripetitiva americana e classica contemporanea, si è imposto come uno dei più importanti compositori degli ultimi trent’anni. Con questa formazione sono stati pubblicati diversi lavori a partire dall’omonimo Episteme del 1981 e molti dei nomi di spicco dell’avanguardia vi hanno partecipato. Pheeroan AkLaff, Abdul Wadud, Rick Rozie, Mark Helias, Dave Samuels,
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  • Cuban Jazz in the United States in the Late 1940S Was Closely Interrelated with Bebop’S Speak Popularization

    Cuban Jazz in the United States in the Late 1940S Was Closely Interrelated with Bebop’S Speak Popularization

    Institute for Studies InConservatory American of Music, Brooklyn College of the City Music University of New York NEWSLETTER Volume XXXVII, No. 1 Fall 2007 “We Both The emergence of Afro-Cuban jazz in the United States in the late 1940s was closely interrelated with bebop’s Speak popularization. Musically, bebop represented for many mid-century observers the next stage in jazz’s evolu- African”: tion toward a technical and compositional complexity Gillespie, on par with European art music. Socially, it demon- strated the contribution that African American jazz Pozo, and musicians made in elevating a unique American music the Making to the level of high culture. Many African American jazz musicians contributed to these developments, but of Afro- none were more important than Charlie Parker and John Birks “Dizzy” Gillespie. And it was Gillespie, Cuban Jazz in collaboration with black Cuban musician Luciano by David F. Garcia “Chano” Pozo, who also played a central role in the development of Afro-Cuban jazz, a seminal moment in the history of the African diaspora. Pozo, according to Gillespie, articulated this sentiment when he explained that the inability of the two musicians to communicate with each other in their native Spanish and English did Inside not matter because “we both speak African.”1 This Issue Scholars of jazz and African American culture and history have rightly characterized bebop and, to a Dizzy Gillespie with conguero Chano Pozo and Reprising Gershwin, much lesser degree, Afro-Cuban jazz as powerful artistic tenor saxophonist James Moody, 1948 book review by and social statements that challenged the status quo in Photo courtesy of Frank Driggs Ray Allen..............4 American racial politics following World War II.