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Milano Maratona Jazz Teatro Smeraldo Domenica 20.IX.09 Le fiabe del jazz ore 15 Roberto Piumini, Claudio Comini voci narranti Corrado Guarino pianoforte Guido Bombardieri clarinetto basso, sassofono contralto Tito Mangialajo Rantzer contrabbasso 57° Stefano Bertoli batteria Torino Milano Festival Internazionale della Musica 03_24.IX.2009 Terza edizione SettembreMusica Maratona Jazz ore 15 Le fiabe del jazz Duke Ellington It Don’t Mean a Thing (If It Ain’t Got That Swing) Satin Doll In a Sentimental Mood C Jam Blues Happy-Go-Lucky Local Stalkin’ Monster John Coltrane Naima Central Park West Mr. P.C. Stellar Regions Roberto Piumini, Claudio Comini, voci narranti Corrado Guarino, pianoforte Guido Bombardieri, clarinetto basso, sassofono contralto Tito Mangialajo Rantzer, contrabbasso Stefano Bertoli, batteria Il progetto si propone di avvicinare i bambini alla musica jazz attraverso l’ascolto di una fiaba. Ogni racconto è ispirato ad un grande musicista della storia del jazz. La personalità e lo stile di quest’ultimo non emergono attraverso un racconto didascalico, ma tramite una narrazione ricca di metafore, di riferimenti d’ambiente e di stile. La storia è costruita in modo da risultare gradevole e comprensibile indipen- dentemente dai riferimenti alla musica jazz. Vi è quindi un primo livello di fruizione che consiste nel semplice ascolto della fiaba. C’è poi un secondo livello di lettura, facilitato dalla musica e dalle immagini, che rimanda ai grandi protagonisti della musica afro-americana. Questi riferimenti alla musica jazz - che l’adulto può cogliere appieno e costi- tuiscono per il bambino un’introduzione all’ascolto - sono di tipo metaforico e d’ambiente. Nella fiaba classica l’azione si svolge in un tempo indeterminato. Anche se alcuni elementi sono tali da far pensare ad una cornice medievale, è indubbio che a prevalere sono le caratteristiche astoriche della narrazione. Così, anche nelle fiabe del jazz, le vicende possono essere d’ambientazione metropolitana oppure svolgersi nell’atmosfera rarefatta del profondo sud, ma fatti e perso- naggi sono collocati in uno spazio temporale irreale. Le fiabe del jazz conservano, per dirla con le parole di Luigi Radassao su Il giornale della musica (marzo 2009), «la straordinaria capacità di metaforiz- zare, in poche righe, l’intera parabola, umana e musicale, di un musicista, cogliendone, nelle pagine più riuscite il carattere fondamentale. È così che l’ombroso gigante Monk fa risuonare gli spigoli della propria musica percuo- tendo la tastiera delle strisce pedonali, accompagnato da tre cappellini colo- rati, mentre il fanciullo Ellington raduna la sua prima orchestra coinvolgendo gli abitanti del suo quartiere. Addirittura commovente il viaggio di Coltrane, che col suo sax porta in paradiso tutti coloro che lo sanno ascoltare». La musica di Monk con il suo gusto per l’imperfezione, le dissonanze, le pause imprevedibili fa scaturire una storia dove (per usare un linguaggio comprensibile ai bambini) i suoni storti, intermittenti e pieni di spigoli sono rappresentati da un lampione sbilenco che manda una luce incerta «che va e viene, come un albero di Natale». Il Treno per Paradise rappresenta, invece, la parabola artistica di Coltrane la cui ricerca musicale è caratterizzata da una costante tensione verso l’alto. Lo sforzo di trovare qualcosa che “non è stato ancora suonato”, di trasformare gli schemi tradizionali - testimoniato anche dai titoli di alcuni brani come Giant Step, Meditation, Ascension - si concretizza in un disco che è considerato un capolavoro della storia del jazz: A Love Supreme. Dall’enorme contributo che Edward Kennedy Ellington, detto il Duca, ha dato alla storia della musica jazz cogliere gli aspetti salienti è cosa alquanto ardua. La fiaba a lui dedicata ha scelto di evidenziare due caratteristiche che indiscutibilmente gli furono proprie ai massimi livelli: la capacità di scrivere musica in modo da esaltare le doti individuali dei membri dell’orchestra e la scrittura a tema. La spiegazione di quest’ultimo aspetto, tipico della musica del Duca, è reso ancora più esplicito nella parte didattica dove il Corrado Guarino Quartetto esegue un brano di Ellington poco noto. Si intitola Stalkin’ Monster, è la sto- ria di un mostro che avanza minaccioso nella notte: l’esempio ideale per far capire ai bambini cosa si intende per scrittura a tema. La scelta dei brani operata dal maestro Corrado Guarino è stata funzionale ad esaltare al massimo l’aspetto metaforico del racconto. Nel repertorio di Monk sono stati scelti brani adatti a mostrare il gusto per la dissonanza e caratteriz- zati da una forte impronta poliritmica. Straight No Chaser e I Mean You sono il contrappunto ideale per una storia storta, intermittente e piena di spigoli. Per quanto riguarda l’albo dedicato a Coltrane, Guarino ha proposto brani che rendessero l’atmosfera rarefatta dell’ambientazione, nonché dell’ascesa verso 2 Paradise: Stellar Regions, Naima. Laddove, invece, serviva rendere lo stupore per il modo in cui il giovane protagonista della storia suona il sax (talmente bene da guadagnarsi il biglietto per il paradiso), irrompe sulla scena un brano di grande foga dove lo strumento di Trane viene spinto a livelli virtuosistici: Mr P.C. Per la storia dedicata ad Ellington prevalgono brani di grande gradevolezza come Satin Doll e la celeberrima In a Sentimental Mood. Pare quasi che sia lo stesso Swing di It Don’t Mean a Thing, a mettere in moto il carretto che, nel giro di Eddy, si trasforma in un palcoscenico per un’orchestra di quartiere. La parte divulgativa si snoda in un dialogo tra la voce narrante e l’accompa- gnamento musicale. Il narratore spiega in modo molto semplice quali sono le caratteristiche princi- pali della musica jazz, mentre il quartetto l’accompagna con semplici esempi. La poliritmia, l’improvvisazione, la musica d’insieme, melodia e armonia sono solo alcuni dei concetti musicali che vengono esposti in modo interattivo e giocoso. È così che per spiegare l’improvvisazione sul chorus si ricorre all’esempio, al tempo spesso visivo ed esperienziale, di un giro nel parchetto con la bici, dove i cambi di paesaggio sono altrettanti cambi di accordo mentre la traccia della bici nel parco è la linea melodica. Claudio Comini 3 Claudio Comini, voce narrante Vive sul Lago d’Iseo e si occupa di biblioteche di pubblica lettura dal 1989. È autore di libri per bambini e ragazzi. Nel 2002 vince il Premio Bancarellino con il romanzo comico Le ventisette valigie di Ennesimo Quaranta. È ideato- re e autore della serie di romanzi giallo-umoristici Le avventure di Philippe Gratin ed è stato direttore artistico di Grangibus (Festival della letteratura per ragazzi), promosso dal Comune di Manerbio (Brescia). Nel 2008 pubblica il romanzo parodistico Herry Sotter e la maledizione vege- tale per la casa editrice Lapis. Oggi è direttore artistico di Oblomov, il Festival dei narratori che si svolge a Gardone Val Trompia. Roberto Piumini, voce narrante Roberto Piumini è nato a Edolo, in provincia di Brescia, il 14 marzo 1947. Nel 1970 si è laureato in Pedagogia all’Università Cattolica di Milano, con una tesi su La persona del poeta in Emmanuel Mounier. Dal 1967 al 1973 è stato insegnante di lettere in scuole medie e superiori della provincia di Varese. Ha condotto numerosi corsi di dinamica espressiva, espressione corporea, scrittura poetica e teatrale. Dal 1978 ha pubblicato moltissimi libri di fiabe, racconti corti e lunghi, romanzi, filastrocche, poesie, poemi, testi teatrali, testi di canzoni, testi per teatro musicale e cori, traduzioni, adattamenti, testi parascolastici, presso circa settanta diversi editori italiani. Ha scritto una trentina di testi poetici (poesie, ballate, poemi narrativi, canzo- ni) su materiali di ricerca e memoria di gruppi di bambini, ragazzi e adulti, in varie località, fra cui Omegna, Alessandria, Scandiano, Milano, Imola, Reggio Emilia, Roma, Modena, Castel del Rio, Torino, Mestre, Lugano (Svizzera). Ha all’attivo una cinquantina di traduzioni all’estero. Dal 1990 ha pubbli- cato per adulti quattro romanzi, cinque raccolte di racconti, testi di paro- dia letteraria, canzonieri, poemi narrativi, presso una dozzina di editori. È stato fra gli autori e ideatori della trasmissione televisiva RAI L’Albero Azzurro e ha scritto e condotto le trasmissioni radiofoniche Radicchio e I l Mattino di Zucchero. Insieme a Giovanni Caviezel propone spettacoli interat- tivi per piccoli e spettacoli di poesia, narrazione e canzoni per adulti, insieme a laboratori - sempre per adulti - sulle dinamica tra immagine e parola. Con gruppi corali, strumentisti, cantanti e attori, propone spettacoli di lettura e recitazione di propri testi, per bambini, ragazzi e adulti, e spettacoli di ani- mazione teatrale e musicale. 4 Corrado Guarino, pianoforte Prevalentemente autodidatta, ha conseguito il diploma di strumentazione per banda presso il Conservatorio di Verona, frequentando i seminari estivi “Siena jazz” e studiando pianoforte con Franco D’Andrea, arrangiamento e composizione con Gazzani e Tommaso. Le sue composizioni per banda e per orchestra jazz hanno ottenuto premi in vari concorsi internazionali. Dal 1990 collabora stabilmente come compositore-arrangiatore con l’Ensem- ble Mobile, orchestra jazz della Jam-Associazione Musicisti di Bergamo, di cui attualmente è direttore artistico, e per la quale ha realizzato un gran numero di arrangiamenti e composizioni originali. Con l’Ensemble Mobile e Franco D’Andrea ha realizzato un Concerto per pianoforte e orchestra jazz. Collabora da anni con Tino Tracanna nella rea- lizzazione di progetti “di confine” tra jazz e musica colta europea, tra i quali ricordiamo Gesualdo, su madrigali di Gesualdo da Venosa. Ha realizzato arrangiamenti in vari progetti orchestrali con Gianluigi Trovesi, tra i quali il CD Dedalo, premiato nella categoria Best Jazz Album Of The Year con il German Critics Award 2002. Ha collaborato con l’Orchestra Nazionale Jazz, la Civica Jazz Band di Milano, l’Orchestra Enea Salmeggia di Nembro (Bergamo), la Big Band Musikè di Gazzaniga (Bergamo), la WDR Big Band di Colonia, la Blast Unit Orchestra di Mi-lano.
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  • DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library

    DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library

    DMA Option 2 Thesis and Option 3 Scholarly Essay DEPOSIT COVERSHEET University of Illinois Music and Performing Arts Library Date: DMA Option (circle): 2 [thesis] or 3 [scholarly essay] Your full name: Full title of Thesis or Essay: Keywords (4-8 recommended) Please supply a minimum of 4 keywords. Keywords are broad terms that relate to your thesis and allow readers to find your work through search engines. When choosing keywords consider: composer names, performers, composition names, instruments, era of study (Baroque, Classical, Romantic, etc.), theory, analysis. You can use important words from the title of your paper or abstract, but use additional terms as needed. 1. _________________________________ 2. _________________________________ 3. _________________________________ 4. _________________________________ 5. _________________________________ 6. _________________________________ 7. _________________________________ 8. _________________________________ If you need help constructing your keywords, please contact Dr. Bashford, Director of Graduate Studies. Information about your advisors, department, and your abstract will be taken from the thesis/essay and the departmental coversheet. THE JAZZ BASS PERFORMANCE CHARACTERISTICS OF JIMMY GARRISON ON THE 1962 RECORDING COLTRANE BY MIKEL ALANN COMBS SCHOLARLY ESSAY Submitted in partial fulfillment of the requirements for the degree of Doctor of Musical Arts in Jazz in the Graduate College of the University of Illinois at Urbana-Champaign, 2018 Urbana, Illinois Doctoral Committee: Associate Professor Larry Gray, Chair and Research Director Professor Charles McNeill Assistant Professor Joel Spencer Professor Heinrich Taube ABSTRACT Jimmy Garrison was a composer and jazz bassist known best for his contributions to John Coltrane’s seminal quartet with Elvin Jones and McCoy Tyner. The collective innovation of this group overshadowed Garrison’s significant expansion of jazz bass playing.