DOCSLIB.ORG

Dario Cecchini

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Dario Cecchini DARIO CECCHINI Nato il 17 Ottobre 1963, inizia giovanissimo a studiare la batteria per passare a 14 anni al saxofono e al flauto traverso dedicandosi subito al jazz, passione familiare. A 20 anni entra in conservatorio nella classe di saxofono studiando parallelamente musica classica e jazz fino al Diploma in Saxofono e successivamente la Laurea in Jazz con il massimo dei voti e Lode, conseguite presso il conservatorio Cherubini di Firenze. PROGETTI PROPRI "FUNK OFF" (Band di 15 elementi) “D.C. TRIOZONE” (Guido Zorn, Bernardo Guerra) “D.C. SOUL CHECK” (Vincenzo Genovese, Luca Scorziello, Nadia Guelfi) "JAZZASONIC" (Fabio Morgera, Leonardo Pieri, Guido Zorn, Walter Paoli) ATTUALI COLLABORAZIONi STABILI “DARIO CECCHINI RICCARDO FASSI DUO” “RICCARDO FASSI FLORENTINE POCKET ORCHESTA” “REUNION BIG BAND” La musica di Marco Tamburini diretta da Roberto Rossi “NATURAL REVOLUTION ORCHESTRA” diretta da Fabio Morgera “BOTTE DI COOL” con F. Morgera, G. Zorn, A.Fabbri “JELLY FACTORY” di Luca Gelli “WHITE ORCS BIG BAND” diretta da Vincenzo Genovese PRECEDENTI COLLABORAZIONI "ITALIAN SECRET SERVICE" (Co-leader con L. Pieri) ITALIAN JAZZ ORCHESTRA E QUINTORIGO "EUMIR DEODATO EUROPE XPRESS" “GIANLUCA RENZI ALL STAR Orchestra ”NATALIE COLE BAND KENNY WHEELER HOT ELEVEN KENNY WHEELER ne “I giorni di un uomo”. Oratorio per coro e solisti Jazz. LEE KONITZ NONET MEGATONES di Maurizio Giammarco TURBULENCE" di Fabio Morgera G.O.N. Grande orchestra nazionale dell' ass. musicisti jazz diretta da B. Tommaso IF SIX WAS NINE LARES In alcuni di questi organici e con altre formazioni ha avuto modo di suonare con importanti solisti italiani e stranieri tra cui: Paolo Fresu, Marco Tamburini, Fabrizio Bosso, Enrico Pieranunzi, Stefano Bollani, Pietro Tonolo, Glauco Venier, Massimo Urbani, Gianluca Petrella, Riccardo Fassi, Emanuele Cisi, Fred Wesley, Raul Midon, Avery* Sunshine,Dee Dee Bridgewater, Bob Mintzer, J. Surman, C.Batista, L. Agudo, D. Liebnman, R. Beirach, Dave “Fuze” Fiuczynski. FESTIVALS E RASSEGNE Umbria Jazz - Siena Jazz - Pescara Jazz- Ericsson Summer Festival (Lucca) - Clusone Jazz - Gray Cat (Grosseto)- Jazz in'it (Vignola)- Jazzy (Figline Valdarno) - Reggio Emilia Jazz - Sud Jazz (Palermo)- Jezziamoci (Matera)- Jazzitalia (Verona)- Termoli Jazz - Soundz (Sanremo) - Enzimi (Roma)- Pistoia Blues - Les Traversée Tatihou (Francia)- Grenoble Jazz Festival (Francia)- Wiesen Festival (Austria)- Karlruhe Festival (Germania)- Gurten Festival (Berna CH)- Blueballs Festival (Lucerne CH)- Paleo Festival (Nyon CH)- Nice Jazz Festival (Francia)- Istanbul Jazz Festival (Turchia)- Budapest Festival (Ungheria)- Nandrin Festival (Liegi B)- Lokeren Festival (Lokeren B) - "Sete Sois Sete Luas" Festival (Spagna & Portogallo) – Melbourne jazz Festival (Australia)- Vienne (Francia) – Vitoria International Jazz Festival (Spagna) - North Sea Jazz Festival (Holland) - Wien Jazz Festival (AU) - London Jazz Festival (UK) – Liburnia Jazz Festival (CRO) - Lugano Estival (CH) – BMW Jazz Festival Sao Paulo (Bra) – Torino Jazz Festival – Vicenza Jazz – Freiburg Jazz Festival (D) – Talos Festival Ruvo di Puglia (BA) – Ankara Jazz Festival (Turchia)– Black Sea Jazz Festival (Batumi, Georgia) – JC Festival (Shanghai, China) – Chengdu Music Week Festival (Cina). Oltre all'attività jazzistica Dario Cecchini vanta una notevole esperienza anche in altri generi musicali avendo inciso numerosi dischi e collaborato con importanti artisti fra i quali: Fred Wesley, Raul Midon, Avery Sunshine, Gino Paoli, Simone Cristicchi, Adriano Celentano, Eros Ramazzotti, Alessandra Amoroso, Jovanotti, Biagio Antonacci, Eumir Deodato, Karima, Irene Grandi, Zucchero, Giorgia, Alexia, Gege’ Telesforo, Bengi Benati, Dirotta su Cuba, Riccardo Tesi, James Taylor, Louisiana Red, Mike Turk, Charlie Wood. Ha partecipato a numerose trasmissioni televisive fra cui: D.O.C, DISCORING, TAMTAM VILLAGE, STASERA PAGO IO, FESTIVAL BAR, TOP OF THE POPS, SPECIALE PER ME di Renzo Arbore, 55° FESTIVAL DI SANREMO 2005 e 2012, SCALO 76, Barbareschi Sciock (LA7), Concerto del 1° Maggio 2010 a Roma, Sostiene Bollani (RAI3), Amici (Canale 5). Ha inoltre inciso brani per numerose colonne sonore di films, films TV e jingles pubblicitari. Da Ottobre 2013 tiene regolarmente seminari a Bronnoysund in Norvegia sulla propria musica scritta per i FUNK OFF. Stessa cosa ha fatto sempre nel 2014 a Molfetta (BA) e nel 2015 a Ruvo di Puglia all'interno del TALOS Festival. Nel 2017, proprio dal Talos Festival, gli è stata commissionata una composizione per la Banda di Ruvo, una banda costituita dalle eccellenze pugliesi. Si è classificato 3° miglior baritonista italiano nel referendum di JazzIt per l'anno 2011 e restando sempre in classifica gli altri anni. La FUNK OFF, band di cui è leader e fondatore, si era classificata 10° miglior gruppo italiano nel 2010. Nel 2008 ha fatto parte della band del primo Tour Australiano di EROS RAMAZZOTTI. Nel 2002 ha fatto parte della band di JOVANOTTI nel tour italiano ed europeo "IL QUINTO MONDO". Nel 1998 crea la FUNK OFF, gruppo tutt'ora attivissimo e con cui ha realizzato 6 CD e un DVD. E' compositore e arrangiatore di tutta la musica della band con cui ha suonato nei più importanti festivals d'Italia e del mondo e con cui ha inciso 7 CD tutti di proprie composizioni originali. Dal 1996 al 2002 ha collaborato con l'ORCHESTRA DI MUSICA LEGGERA DELLA RAI di Roma. Ha fatto parte di varie orchestre di programmi televisivi collaborando con Maestri come Gianni Ferrio (“Mille Lire Al Mese” Rai1, “Fantastico” Rai1), Piero Pintucci (tre edizioni di “Carramba che fortuna”), Fio Zanotti (“Ma il cielo è sempre più blu” Rai1, “Celentano al Festival di Sanremo 2012” Rai1), Celso Valli (“Rockpolitik” Rai1), Savino Cesario (“Vietato Funari” Rai1), Paolo Jannacci (“Zelig” Italia1), Silvano Belfiore (“Crozza Italia” La7). ATTIVITA' DIDATTICA Dal 2014 Insegna Saxofono Jazz e Ear Training al Conservatorio “Mascagni” di Livorno e dal 2015 Saxofono Jazz al Conservatorio “Venezze” di Rovigo dove tiene anche uno speciale corso di Marchin' Band. COLLABORAZIONI TEATRALI “PORTRAITS” Aringa e Verdurini "THE BEATLES SONG BOOK " Aringa e Verdurini “SHAMPOO” Aringa e Verdurini "AMORI" di Sergio Staino con Vittorio Bonetti e Paolo Hendel Compone e suona in scena le musiche in " CUOR LEGGERO" di e con Ornella Marini "MAGIE " Chille della Balanza DISCOGRAFIA COME LEADER FUNK OFF “It's Ok” 2018 Hippo Trippo Music 018 DARIO CECCHINI TRIOZONE “Talking Pictures” 2017 Hippo Trippo Music 017 FUNK OFF “Things Change” 2015 Jando Music VVJ099 FUNK OFF “Funk Off the Story – Live a Umbria Jazz13 ” 2014 DVD Allegato Giugno Musica Jazz FUNK OFF “Power to the Music” 2013 Universal 0602537336401 DARIO CECCHINI JAZZSONIC “Jazzasonic” 2011 My Favorite 81065 FUNK OFF “Una banda così” 2010 My Favorite 80028 ITALIAN SECRET SERVICE 2009 " Not the Same " IRMA La Douce FUNK OFF 2007 “Jazz On” Blue Note ITALIAN SECRET SERVICE 2004 “Control Yourself " Rai Trade RTP 0047 FUNK OFF 2003 “Little beat” BCJ 001 FUNK OFF 2001 “Uh Yeah!” FMIV 017 ITALIAN SECRET SERVICE 2001 “Id Super " IRMA La Douce 503175- 2 BALLROOM DANCE BAND 1998 "Ballroom Dance Band" BDB009 Brani degli “Italian Secret Service” sono presenti in oltre 100 compilations per etichette di tutto il mondo. PRINCIPALE DISCOGRAFIA JAZZISTICA NATURAL REVOLUTION ORCHESTRA di FABIO MORGERA“Climate Blues” Dry Castle Records FRANCESCO GIUSTINI ORGAN TRIO “Phonema” Alpha Music AFPCD185 BOTTE DI COOL “Speak Low” Dry Castle Records THE JELLY FACTORY “First Second” Kaleido MASSIMILIANO CALDERAI “Frame” Dry Castle Records 055 THE JELLY FACTORY “The Jelly Factory” Dry Castle Records 045 GERARDO DI LELLA JAZZ ORCHESTRA Napoli & Jazz EmArcy 06025 370 6675 9 FABIO MORGERA QUARTET “Live at the loft 01” Dry Castle Records LEONARDO PIERI SESTETTO “Telesio sessions” Cult Cube GIANLUCA RENZI ALL STAR ORCHESTRA “Charles & Joe” Wide Sound WD172 TRIP SAXOPHONE QUARTET “ Mozart in Jazz” Z Best Music MJ 06 MAURIZIO GIAMMARCO & MEGATONES “ Punkromatic ” BRAVE ART MAURIZIO GIAMMARCO & MEGATONES “ Mega meets Microtones” BRAVE ART FESTA GROUP " Strings " NUEVA LARES " Non ce ne volere Mandela se così poco " GVP MUSIC IF SIX WAS NINE " Le musiche di Jimi Hendrix per jazz ensemble " SPLASCH R. IF SIX WAS NINE " Andante Allegro (con testo a fronte)” SPLASCH R. C.D.H.663.2 MAURO GROSSI " Bitter cake walk " SPLASCH R ROCCO ZIFARELLI “ Lyndon ” VIA VENETO JAZZ VVJ011 ALTRE COLLABORAZIONI DISCOGRAFICHE THE DI MAGGIO CONNECTION “Rowdy” Thunderball 04 SERGIO SYLVESTRE “Big Christmas” Warner WHITE ORCS BIG BAND “Koinonia” LORENZO CHERUBINI JOVANOTTI LORENZO 2015 CC GAZZARA “Gazzara plays Genesis Play me my song” Irma Records 2012 GAZZARA “The Bossa Lounge Experience” Irma Records 1010 EROS RAMAZZOTTI “Noi” Universal Music GAZZARA “My Cup Of Tea” RTM 0109 IRENE GRANDI “Canzoni per Natale” BIAGIO ANTONACCI “Il Cielo ha una porta sola” JOVANOTTI “Buon Sangue” UNIVERSAL 9871546 COLLETTIVO SOLELUNA “Roma” SOLELUNA 9808039 HIPNODANCE "Hipnodance" CONTEMPO R. MASSIMO ALTOMARE " Un'ora di libertà " RCA URBAN FUNK "Urban Funk " MULTIPROMO URBAN FUNK " Endosimbiosi" MULTIPROMO FREE VIBES “Cous cous & Tandoori" EMA REC.
Load more

Recommended publications
  • Immigrant Musicians on the New York Jazz Scene by Ofer Gazit A
    Sounds Like Home: Immigrant Musicians on the New York Jazz Scene By Ofer Gazit A dissertation submitted in partial satisfaction of the requirements for the degree of Doctor of Philosophy in Music in the Graduate Division of the University of California, Berkeley Committee in charge: Professor Benjamin Brinner, Chair Professor Jocelyne Guilbault Professor George Lewis Professor Scott Saul Summer 2016 Abstract Sounds Like Home: Immigrant Musicians On the New York Jazz Scene By Ofer Gazit Doctor of Philosophy in Music University of California, Berkeley Professor Benjamin Brinner, Chair At a time of mass migration and growing xenophobia, what can we learn about the reception, incorporation, and alienation of immigrants in American society from listening to the ways they perform jazz, the ‘national music’ of their new host country? Ethnographies of contemporary migrations emphasize the palpable presence of national borders and social boundaries in the everyday life of immigrants. Ethnomusicological literature on migrant and border musics has focused primarily on the role of music in evoking a sense of home and expressing group identity and solidarity in the face of assimilation. In jazz scholarship, the articulation and crossing of genre boundaries has been tied to jazz as a symbol of national cultural identity, both in the U.S and in jazz scenes around the world. While these works cover important aspects of the relationship between nationalism, immigration and music, the role of jazz in facilitating the crossing of national borders and blurring social boundaries between immigrant and native-born musicians in the U.S. has received relatively little attention to date.
    [Show full text]
  • Nr. Crt Nume Prenume Pseudonim Artistic Grup 1 Abaribi Diego Diego Abaribi 2 Abatangelo Giulio Klune 3 ABATANTUONO DIEGO 4 ABATE
    LISTA MEMBRI UNART Nr. Crt Nume Prenume Pseudonim Artistic Grup 1 Abaribi Diego Diego Abaribi 2 Abatangelo Giulio Klune 3 ABATANTUONO DIEGO 4 ABATEGIOVANNI FRANCA 5 Abbado Claudio 6 Abbiati Giovanni 7 ABBONDATI MANOLO CRISTIAN 8 Abbott Vincent Vinnie Abbott 9 Abbott (Estate) Darrell Dimebag Darrell, Diamond Darrell 10 ABDALLA SAID CAROLA 11 Abeille Riccardo Ronnie Dancing Crap 12 Abela Laura L'Aura 13 Abels Zachary Zachary Abels 14 Abeni Maurizio 15 Abossolo Mbossoro Fabien Sisi / Logobit Gt 16 Abriani Emanuela Orchestra Teatro alla Scala, Filarmonica della Scala 17 Abur Ioana Ioana Abur 18 ACAMPA MARIO 19 Accademia Bizantina 20 Accardo Salvatore 21 Accolla Giuseppe Coro del Teatro La Fenice di Venezia 22 Achenza Paolo 23 Achermann Jerome Jerome Achermann 24 Achiaua Andrei-Marian 25 ACHILLI GIULIA 26 Achoun Sofia Samaha 27 Acierno Salvatore Orchestra Teatro San Carlo di Napoli 28 ACQUAROLI FRANCESCO 29 Acquaviva Battista Battista Acquaviva, 30 Acquaviva Jean-Claude Jean-Claude Acquaviva 31 Acquaviva John John Acquaviva 32 Adamo Cristian Christian Adamo 33 Adamo Ivano New Disorder 34 Addabbo Matteo 35 Addea Alessandro Addal 36 ADEZIO GIULIANA 37 Adiele Eric Sporting Life 38 Adisson Gaelle Gaelle Adisson 39 ADORNI LORENZO 40 ADRIANI LAURA 41 Afanasieff Walter Walter Afanasieff 42 Affilastro Giuseppe Orchestra Fondazione Arturo Toscanini 43 Agache Alexandrina Dida Agache 44 Agache Iulian 45 Agate Girolamo Antonio 46 Agebjorn Johan Johan Agebjorn 47 Agebjorn Hanna Sally Shapiro 48 Agliardi Niccolò 49 Agosti Riccardo Orchestra Teatro Carlo
    [Show full text]
  • Italian-Australian Musicians, ‘Argentino’ Tango Bands and the Australian Tango Band Era
    2011 © John Whiteoak, Context 35/36 (2010/2011): 93–110. Italian-Australian Musicians, ‘Argentino’ Tango Bands and the Australian Tango Band Era John Whiteoak For more than two decades from the commencement of Italian mass migration to Australia post-World War II, Italian-Australian affinity with Hispanic music was dynamically expressed through the immense popularity of Latin-American inflected dance music within the Italian communities, and the formation of numerous ‘Italian-Latin’ bands with names like Duo Moreno, El Bajon, El Combo Tropicale, Estrellita, Mambo, Los Amigos, Los Muchachos, Mokambo, Sombrero, Tequila and so forth. For venue proprietors wanting to offer live ‘Latin- American’ music, the obvious choice was to hire an Italian band. Even today, if one attends an Italian community gala night or club dinner-dance, the first or second dance number is likely to be a cha-cha-cha, mambo, tango, or else a Latinised Italian hit song played and sung in a way that is unmistakably Italian-Latin—to a packed dance floor. This article is the fifteenth in a series of publications relating to a major monograph project, The Tango Touch: ‘Latin’ and ‘Continental’ Influences on Music and Dance before Australian ‘Multiculturalism.’1 The present article explains how the Italian affinity for Hispanic music was first manifested in Australian popular culture in the form of Italian-led ‘Argentino tango,’ ‘gaucho-tango,’ ‘Gypsy-tango,’ ‘rumba,’ ‘cosmopolitan’ or ‘all-nations’ bands, and through individual talented and entrepreneurial Italian-Australians who were noted for their expertise in Hispanic and related musics. It describes how a real or perceived Italian affinity with Hispanic and other so-called ‘tango band music’ opened a gateway to professional opportunity for various Italian-Australians, piano accordionists in particular.
    [Show full text]
  • “Notes on Sprezzatura: Current Influences on Italian Jazz.” Irene
    “Notes on Sprezzatura: Current Influences on Italian Jazz.” Irene Monteverde, December 2015 Abstract: Italians have a certain “Sprezzatura” when it comes to art, and jazz in particular - “an effortlessness mastery, a discreet modesty, accomplishment mixed with unaffectedness.” This paper examines the accomplishments of some of today’s top Italian jazz musicians and uses some personal accounts to try to extrapolate the exact recipe for the “Sprezzatura” in jazz. Stefano Battaglia, Franco Santarnecchi, Enrico Rava, and Alessio Riccio are just a few Italian jazz musicians that embody the “effortless, unaffected modesty,” whether on stage, in a classroom or during an interview. At the same time, Italians maintain a hallowed respect for the American-born tradition; Enrico Rava recently performed an entire concert of arranged Michael Jackson songs, while Stefano Battaglia produced a CD of Alec Wilder compositions. Italy is a country dividend geographically, socially, ideologically, and familially, a factor that seems to drives groups to carry-out business underground. It may be an attitude long-ingrained in Italian culture, but could this be why the jazz scene seems to thrive in underground circles? Could the “discreetness” be attributed to a country divided? According to Francesco Martinelli, jazz writer and festival coordinator, “Italian government has little influence on Italian life.” If anything, the government makes it harder for good music to shine through to the public. Independent jazz schools struggle to stay afloat while unqualified
    [Show full text]
  • Date Sapore Al Sapere
    Anno XXVI 24 settembre Δ Tema Δ Lavoro 33 2011 La catechesi nel tempo Guai ai vinti della secolarizzazione Cosa succede quando il lavoro Soc. Coop. Massimo Rinaldi smette di essere soggetto politico Reg. Trib. di Rieti Comunicare la fede, oggi, n.° 1/91 del 16/3/1991 implica che la Chiesa e viene ridotto ad essere un Direttore Responsabile: Carlo Cammoranesi comprenda il cuore problema come un altro tra quelli UNA COPIA € 1 Sped. in a.p. – 45% – Art.2 Comma 20/b Legge 662/96 – Filiale di Rieti dell’uomo moderno π 2-3 della contemporaneità? π 5 INCHIESTA: Le immagini, si dice, parlano da sole. Ma noi ascoltiamo anche le parole, quelle dei cittadini e quelle degli amministratori locali, per capire, cercare, dare l’idea π 6-8 Δ www.frontierarieti.com RIETI CITTÀ SPORCA Δ Editoriale Ma quale dolce vita... Che ne è della “way of life” all’italiana, fatt a di modesto, ma diff uso benessere, di fronte alla crisi att uale? Ritel: qualcosa si muove Messaggio del Vescovo alle Lo scorso 15 settembre si è tenuto un di Carlo Cammoranesi scrittore inglese, sregolato e disperato al studentesse e agli studenti incontro presso Palazzo Chigi per [email protected] pari del suo celeberrimo protagonista, raf- delle Scuole Reatine presentare il piano industriale che fi gura il nostro mondo (una civiltà?) che dovrebbe riportare alla ripresa delle on si può danzare troppo a lungo alla fi ne viene divorato dal fuoco con il ai bordi del vulcano. Può essere quale si illudeva di poter giocare a piaci- Date sapore attività produttive presso lo stabili- anche inebriante, ma giorno dopo mento.
    [Show full text]
  • Roberto Dainotto Department of Romance Studies Duke University Durham, NC 27708 [email protected]
    Roberto Dainotto Department of Romance Studies Duke University Durham, NC 27708 http://www.duke.edu/~dainotto [email protected] EDUCATION PhD, New York University — 1995 With Distinction. Comparative Literature. Dissertation: “All the Regions Do Smilingly Revolt”; co-directors, Professors Margaret Cohen, Timothy Reiss, Richard Sieburth, and Barbara Spackman. Major fields of concentration: 18th-, 19th- and 20th-century, translation studies, theory of genres, nationalism and regionalism. MA, New York University — 1990 Comparative Literature. Thesis: “The Question of the Origin of Language in the Eighteenth and Nineteenth Century,” directed by Prof. Michael Hays (Cornell University). Laurea, Università degli Studi di Catania, Italy — 1986 Cum laude. Foreign languages and literatures. Thesis: “Robert Coover’s Pricksongs & Descants,” directed by Prof. Maria Vittoria D’Amico. Major fields of concentration: Anglo-American literature and literary theory. HONORS & AWARDS Laura Shannon Prize for Best Book in European Studies (2010); Franklin Humanities Seminar Fellow 2004-2005; Andrew W. Mellon Assistant Professor 2004-2005; National Endowment for the Humanities Summer Stipend (2003); Arts & Science Research Funds, Duke University (2003-04; 2002-03); Oceans Connect Travel Award, Duke University (2001); Center for European Studies Faculty Travel Award, Duke University (2000); Oceans Connect Course Development Grant, Duke University (1999-2000); Center for European Studies Course Development Grant, Duke University (1998-1999); Dean’s Dissertation Fellowship, New York University (1994-1995); Fulbright Grant (1988-92); Italian Association for North-American Studies Scholarship (1986); Centro Studi Nord-Americani di Roma Scholarship (1985). Page 1 ACADEMIC POSITIONS HELD Professor of Romance Studies. Duke University. 2009-present. Professor of Literature. 2009-present. Docente esterno di Analisi, Pianificazione e Gestione Integrata del Territorio, Department of Architecture, Università di Catania, Italy.
    [Show full text]
  • A Música Livre De Giancarlo Schiaffini: Free Jazz, Free Music E Música Contemporânea Em Roma Nos Anos 1960 E 1970
    A MÚSICA LIVRE DE GIANCARLO SCHIAFFINI: FREE JAZZ, FREE MUSIC E MÚSICA CONTEMPORÂNEA EM ROMA NOS ANOS 1960 E 1970 Alípio Carvalho Neto1 Giancarlo Schiaffini em ação - Palazzo delle Esposizioni, Roma 2014 (Foto de Rachele Gigli) Condizionata a una presa di potere che non era il mio entravo in piazza e vedevo il sole bruciare, le donne stagliare erbe su della piazza che ardeva di malizia: la milizia. Il sol fa mi do di tutte le tue battaglie. Amelia Rosselli, Variazioni La Substance est un Être capable d’Action. Leibniz, La Monadologie A literatura dedicada aos estudos de música improvisada tem alargado os horizontes para a compreensão do fenômeno musical de modo mais abrangente, transformando cada vez mais os 1 Alípio Carvalho Neto é PhD em musicologia pela Università di Roma 2 “Tor Vergata”. estudos musicológicos em uma área do conhecimento orientada para modelos mais inclusivos que exclusivos de análise. Neste sentido, a contribuição de músicos, compositores, improvisadores ao lado da figura do especialista tem servido para enriquecer o universo dos novos paradigmas dos estudos musicais, aumentando quantitativamente e, principalmente, qualitativamente, a bibliografia disponível sobre os mais variados aspectos temáticos. Nos últimos anos na Itália, nota-se um positivo incremento destes contributos e um maior interesse em tentar compreender o fenômeno da música improvisada e seus mecanismos poéticos. As fronteiras entre composição e improvisação estreitam-se e, independentemente da pluralidade dogmática das várias correntes de interpretação, surge uma visão mais complementar do fazer musical, nos casos aqui em questão o free jazz e a free music em diálogo com as novas estéticas e técnicas da música contemporânea.
    [Show full text]
  • Danilo Rea Flavio Boltro
    Danilo Rea Flavio Boltro Opera ACT 9508-2 German Release Date: June 24, 2011 The world would be a more monotonous place if it weren’t for regional specialties, as exemplified by the Italians and their love for opera. The Roman pianist Danilo Rea seems predestined for this national passion, having studied classical piano at the music academy Santa Cecilia in his home town of Rome. Moreover, even after having devoted himself to jazz, he didn’t focus exclusively on American standards like so many musicians do, but concentrated more on merging the musical tradition of his native country with the vocabulary of jazz. This can be heard clearly on his ACT debut “A Tribute to Fabrizio de André” (ACT 9759-2) last year, on which he played music by this famous Italian singer-songwriter. According to Kulturnews the album is the highlight of ACT’s Piano Works series and it was even chosen as “Best Piano Album 2010” by the Italian jazz magazine “Musica Jazz”. Nevertheless, it took quite some time before Rea discovered opera music: “If you start off as a classical pianist like I did, you usually don’t work together with singers. Only later did I discover how soulful my favourite composer Puccini’s music is and began to improvise with it. That is how I found my way to opera.” On his solo album “Lirico“ he had already found his personal way of transferring opera melodies into jazz. Thanks to a suggestion of his producer Siggi Loch, the new album “Opera” (his second on ACT) is fully dedicated to Italian opera.
    [Show full text]
  • JOHN GENNARI Professor of English and Critical Race and Ethnic Studies University of Vermont
    JOHN GENNARI Professor of English and Critical Race and Ethnic Studies University of Vermont Office address: Old Mill 425 Burlington, VT 05405 e-mail: [email protected] EDUCATION Ph.D. University of Pennsylvania, 1993. American Civilization. M.A. University of Pennsylvania, 1986. American Civilization. B.A. Harvard College, 1982. Social Studies. PROFESSIONAL EXPERIENCE Professor of English and Critical Race and Ethnic Studies, University of Vermont, 2017- Interim Director, Critical Race and Ethnic Studies Program, University of Vermont, 2016. Associate Professor of English and ALANA U.S. Ethnic Studies, University of Vermont, 2007-2017 Visiting Research Scholar, American Studies Department, Yale University, 2008-09 Director, ALANA U.S. Ethnic Studies Program, University of Vermont, 2004-2009 Interim Director, ALANA U.S. Ethnic Studies Program, University of Vermont, 2003-04. Assistant Professor of English and ALANA U.S. Ethnic Studies, University of Vermont, 2001-2005 Assistant Professor of American Studies and History, Penn State-Harrisburg, 1999-2001. Instructor, African American Studies Program, University of Virginia, 1998-99. Instructor, Division of Technology, Culture, and Communication, University of Virginia, 1999. Instructor, Sewall Residential Program in American Studies, University of Colorado-Boulder, 1994-1997. Visiting Assistant Professor of History, Wabash College, 1993-94. Adjunct Instructor, Department of History, Pace University, 1989-91. Adjunct Instructor, Department of History, Fordham University, 1990-91. Adjunct Instructor, Division of Humanities, Philadelphia College of Pharmacy, 1988-89. FELLOWSHIPS Carter G. Woodson Institute, University of Virginia, Visiting Scholar, 1997-98. National Endowment for the Humanities Fellowship, 1996. American Council of Learned Societies Fellowship, 1996-97 (declined). W.E.B. Du Bois Institute, Harvard University, Visiting Scholar, 1996.
    [Show full text]
  • BAROQUE TARANTELLA Paul Dyer Artistic Director and Harpsichord
    Australian Brandenburg Orchestra BAROQUE TARANTELLA Paul Dyer Artistic Director and harpsichord A concert by the Australian Brandenburg Orchestra with Ensemble L’Arpeggiata - direction Christina Pluhar Supported by the DRAC Ile-de-France Christina Pluhar theorbo Lucilla Galeazzi voice Gianluigi Trovesi clarinet Margit Übellacker psaltery Anna Dego theatrical dancer PROGRAM Around thirty deliciously entertaining songs and dances from renaissance and baroque Italy. For the full program please refer to page 4. The concert will last approximately 90 minutes. There will be NO INTERVAL. SYDNEY City Recital Hall Angel Place Friday 10, Saturday 11 Wednesday 15, Friday 17, Saturday 18 September 2010 all at 7pm Saturday 18 September 2010 at 2pm MELBOURNE Melbourne Recital Centre Sunday 12 September at 5pm, Monday 13 September at 7.30pm Cameras, tape recorders, pagers, video recorders and mobile phones must not be operated during the performance. This concert will be recorded for broadcast. The Australian Brandenburg Orchestra is assisted The Australian Brandenburg by the Australian Government through the Australia Orchestra is assisted by the NSW Council, its arts funding and advisory body. Government through Arts NSW. PRINCIPAL PARTNER TARANTELLA PROGRAM_PRESS.indd 1 1/09/10 7:17 PM Artistic Director's Message Tonight is a night of wonderful surprises, a night of Baroque Tarantella featuring our dear friends Ensemble L’Arpeggiata under the visionary direction of Christina Pluhar. Together we will bring to life baroque beats inspired by both the old and the new - the earthy joyous music-making of sixteenth and seventeenth century Italy with a modern twist. What you’ll find amidst the gorgeous sound of period instruments, including theorbo, psaltery, harpsichord and lirone, is a wonderful jazz clarinettist.
    [Show full text]
  • Italian Festival in Thailand 2016
    With the kind cooperation of PARTNERS: ITALIAN FESTIVAL MAIN SPONSORS: IN THAILAND 2016 11th EDITION www.ambbangkok.esteri.it Italian Festival Thailand SPONSORS: @AmbBangkok 02 2504970 [email protected] G FOUR FINE WINES ADMISSION TO ALL EVENTS IS FREE URBAN ART WORLD MUSIC 21st January – 31st January 2016 Thursday, 18th February 2016 BUKRUK II Urban Arts Festival by Sten & Lex “Around the world in 90 minutes on a violin” Venue: Bangkok Riverside Olen Cesari accompanied by Michael Rodi and Lavinia Mancusi Venue: Bangkok Art and Culture Centre, Auditorium Time: 7.00PM “Sten & Lex” is an Italian duo of internation- al reputation. Operating as stencil-makers since 2000/2001, their work is most appreci- ated for halftone stencil technique, in which thousands of lines compose the greater part Fusion of classic, Balkan and jazz music of their images. perfomed by Maestro Cesari accompanied by an exceptional Michael Rodi on piano BANGKOK INTERNATIONAL PIANO FESTIVAL and by the extraordinary voice of Lavinia Mancusi. Saturday, 6th February 2016 Pietro Bonfilio Venue: Siam Ratchada Auditorium Time: 7.30PM The Bangkok International Piano Festival JAZZ MUSIC has been established by IKA - International Keyboard Academy, under the artistic direc- Tuesday, 1st March 2016 tion of Alberto Firrincieli and in cooperation “Wild Dance” with Yamaha Music School Ratchadapisek. Enrico Rava New 4et This 4th Edition, under the patronage of the Venue: Chulalongkorn University Auditorium Embassy of Italy in Bangkok, will host many Time: 7:00PM Italian pianists and a special recital by the winners of the Ibla Grand Prize competition, Italian jazz musician Enrico Rava is a world- now at its XXV year.
    [Show full text]
  • The Be-Bop Language and the Dominant Seventh Chords
    Art and Design Review, 2017, 5, 181-188 http://www.scirp.org/journal/adr ISSN Online: 2332-2004 ISSN Print: 2332-1997 The Art of Improvising: The Be-Bop Language and the Dominant Seventh Chords Carmine Cataldo Mechanical Engineering, Battipaglia, Italy How to cite this paper: Cataldo, C. (2017). Abstract The Art of Improvising: The Be-Bop Lan- guage and the Dominant Seventh Chords. The aim of this article lies fundamentally in illustrating the first part of a sim- Art and Design Review, 5, 181-188. ple and intuitive method, finalized to “speaking” the Be-Bop language imme- https://doi.org/10.4236/adr.2017.53014 diately, without possessing any jazz background whatsoever. The main pecu- liarity of the method consists in the fact that the attention of the improviser is Received: July 24, 2017 Accepted: August 11, 2017 always focused on Triads. We herein exclusively discuss the improvisation Published: August 14, 2017 techniques regarding the dominant seventh chords. Starting from a specific extended “sentence”, built around the Major Triad, we show how to instantly Copyright © 2017 by author and deduce further sentences, how to modify them, by cutting and adding Scientific Research Publishing Inc. “words”, and how to effectively combine them. This work is licensed under the Creative Commons Attribution International License (CC BY 4.0). Keywords http://creativecommons.org/licenses/by/4.0/ Jazz Improvisation, Be-Bop, Fast Learning, Triads, Dominant Seventh Chords Open Access 1. Introduction We herein exclusively deal with the dominant seventh chords, starting from a fundamental extended “sentence”, built around the major triad that immediately gives birth to three further sentences.
    [Show full text]