Gianna Montecalvo Voce

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Gianna Montecalvo voce Gianna Montecalvo intraprende giovanissima lo studio della musica diplomandosi in Pianoforte principale presso il Conservatorio Tito Schipa di Lecce nel 1989 e Canto Lirico nel 1996 e in Musica Jazz nel 1998 presso il Conservatorio N. Piccinni di Bari. Parallelamente agli studi classici accademici si è dedicata al Jazz studiando Canto Jazz con Fabrizia Barresi e frequentando corsi di specializzazione quali i seminari senesi di musica jazz ed il corso biennale di qualificazione professionale per strumentisti ed operatori tecnico culturali nel campo della musica Jazz e contemporanea sotto la direzione di Bruno Tommaso, a cura dell'associazione Zetema di Matera. Ha frequentato seminari con insegnanti prestigiosi quali Giorgio Gaslini, Tiziana Ghiglioni,. Bob Mover, Mark Murphy, canto armonico con Roberto Laneri. Ha perfezionato i suoi studi di canto lirico e le sua tecnica vocale con il mezzo soprano bulgaro Eugenia Dundekova frequentando un tirocinio biennale presso il conservatorio N. Piccinni di Bari. Svolge attività concertistica dal 1988; ha collaborato con le più importanti associazioni concertistiche pugliesi come la Fondazione Piccinni; il Coretto; la Camerata ed il conservatorio di Monopoli con cui ha partecipato ad una serie di concerti presso l'accademia delle Arti di Tirana (Albania). Con l'organico Zetema e l'orchestra Utopia si è esibita in importanti rassegne di jazz quali: Siena Jazz '91; Festival Jazz Italiano teatro Alpheus di Roma '92; Europa Festival Jazz di Noci '93 collaborando con musicisti come Evan Parker, Gianluigi Trovesi, Tino Tracanna, Tomaso Lama, Danilo Terenzi, Giancarlo Schiaffini. Nel 1997 ha dedicato un progetto sulla canzone di Alec Wilder insieme al musicista Roberto Ottaviano. Con la Meridiana Multijazz Orchestra e Canto General ha partecipato a importanti rassegne: Notti di Stelle 2003 e 2004, Crossroad 2003. Talos Festival 2005 collaborando con Pino Minafra, Roberto Ottaviano, Nicola Pisani, Vittorino Curci, Keith e Julie Tippetts, Loius Moholo. Ha eseguito in prima nazionale assoluta nel settembre '97 come cantante lirica per conto dell'associazione Amantea di Lecce al teatro Piasiello composizioni del musicista pugliese Francesco Casavola. Nel novembre 2005 Ha pubblicato il suo primo lavoro dal titolo Steve's Mirror edito dalla Soul Note e interamente dedicato alle musiche di Steve Lacy Questo lavoro ha riscosso consensi di critica ed è stato presentato al Festival di Orsara Musica 2006 e al Festival Mardeljazz 2006. E' docente di Canto jazz al Conservatorio Piccinni di Bari e al Conservatorio Giacomantonio di Cosenza nel Diploma Accademico di primo livello di musica jazz. E' docente di pianoforte classico e canto al Pentagramma di Bari e di tecnica vocale all'Accademia del Musical di Bari diretta da Gino Landi. Discografia: Collaborazioni Nella Sala delle Arcate – 1992 Associazione Zetema con Steve Lacy e Glenn Ferris; Zetema record Nux Erat – 1993 Orchestra Utopia diretta da Bruno Tommaso con Evan Parker, Gianluigi Trovesi, Pino Minafra; CMC Record Jazzango 1998 di Massimo Carafa; MAP Lush Tales Record; Il Pentagramma – Live Aid For Quetzal 2004; Terronia di P. Minafra con Meridiana Multi Jazz Orchestra; Enja Record Steve's Mirror 2005 di Giovanna Montecalvo con R. Ottaviano, G. Lenoci, M.Magliocchi, G.Vendola, Soul Note..

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1 ANDREA TOFANELLI Resumè/Biography (UPDATED TO
ANDREA TOFANELLI http://www.andreatofanelli.it https://en.wikipedia.org/wiki/Andrea_Tofanelli https://es.wikipedia.org/wiki/Andrea_Tofanelli https://it.wikipedia.org/wiki/Andrea_Tofanelli https://no.wikipedia.org/wiki/Andrea_Tofanelli https://ja.wikipedia.org/wiki/アンドレア・トファネッリ http://www.vecchi-tonelli.it/studiare-in-istituto/docenti/andrea-tofanelli.html https://scuolamusicafiesole.it/it/didattica/corsi-di-perfezionamento/214-didattica/corsi-di- base/it/didattica/docenti/809-andrea-tofanelli https://www.facebook.com/AndreaTofanelliTrumpet Resumè/Biography (UPDATED TO January, 2018) Andrea was born in Viareggio (Lucca, Italy) on July 26, 1965. Mentioned on Wikipe- dia in 5 languages and in many other music books and encyclopedias, he began to study music and trumpet in 1975 in the wind ensemble of his village Torre del Lago Puccini with some musicians close to Dean Benedetti, the famous italo-american jazz saxophonist mentioned in all official Charlie Parker biographies. In 1979, at the age of 14, Andrea started working locally with some professional big bands and commercial music groups, and in 1981 he began performing professionally in the classical music field too, while simultaneously attending the Conservatory at the "Istituto Musicale Pareggiato L. Boccherini" in Lucca (Italy). In 1987 Andrea finished his Conservatory studies with highest full marks, graduating cum laude. That same year he studied with Armando Ghitalla (soloist trumpet with the Boston Symphony Orchestra and teacher at the University of Michigan) and consolidated
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Maye.Pdf), Version Vom 20.09.2007
Samples Online-Publikationen des Arbeitskreis Studium Populärer Musik. 6. 2007. (www.aspm-samples.de/Samples6/maye.pdf), Version vom 20.09.2007 ERIC DOLPHYS ITALIENISCHES ERBE: DAS BASSKLARINETTENSPIEL DES JAZZMUSIKERS GIANLUIGI TROVESI Annette Maye Eric Dolphy verhalf der Bassklarinette, die seit den 1920er Jahren im Jazz nahezu in Vergessenheit geraten war, in den späten 1950er und 1960er Jahren zu neuem Ansehen. Mit ungeheurer physischer Kraft und wild- emotionalem Ausdruck holte er sie heraus aus ihrem Schattendasein und ließ die Zuhörer glauben, sie würden ein völlig neues Instrument hören. Seine größten Erfolge feierte Dolphy zu Lebzeiten in Europa. Das euro- päische Publikum wie auch die hiesigen Musikerkollegen zeigten sich offen für seine Musik. Beispielhaft nachvollziehbar ist dies an der holländischen Rhythmusgruppe mit Misha Mengelberg (Klavier), Jacques Schol (Bass) und Han Bennink (Schlagzeug), die Dolphy 1964 auf seiner letzten Konzertauf- nahme (LP Last Date) in Hilversum begleitete; sie fügen sich mühelos seinen Ideen, sind offen für Neuerungen und agieren dennoch als gleichberechtigte Mitspieler. Bert Noglik (2003: 14) schreibt über Dolphys Einfluss auf die europäischen Zeitgenossen: »Die Begegnung mit Eric Dolphy ― sei es im gemeinsamen Spiel oder als Zuhörer ― beeindruckt und beeinflusst eine ganze Generation europäischer Jazzmusiker und Jazzfans.« Und Joachim- Ernst Berendt (2001: 293) bekräftigt: »Dolphys Bassklarinetten-Spielweise hat schnell Schule gemacht, stärker als in den USA noch in Europa, wo viele Musiker - meist Saxophonisten - außer- dem noch Bassklarinette blasen. So haben der Holländer Willem Breuker, der Engländer John Surman, die Deutschen Gunter Hampel, Bernd Konrad und Wollie Kaiser und der Italiener Gianluigi Trovesi das Dolphy-Erbe in eigener Weise weiterentwickelt.« Unabhängig von der Stilistik steht noch heute jeder, der im Jazz Bassklari- nette spielt, unter dem Einfluss Dolphys.
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Gianluigi Trovesi, Gianni Coscia Round About Weill
ECM Gianluigi Trovesi, Gianni Coscia Round about Weill Gianluigi Trovesi: piccolo and alto clarinets; Gianni Coscia: accordion ECM 1907 CD 6024 982 4131 (8) Release: March 7, 2005 More “knowingly provocative” music (to quote Umberto Eco, once more providing the liner notes) from the great Italian duo that delighted many with its 1999 recording “In cerca di cibo”, “always shifting to some point where the listener doesn’t expect to find them.” “In cerca” had included improvisations on sources as diverse as the Modern Jazz Quartet and music from an old Italian TV film about Pinocchio. This new recording finds them taking a tangential or round about approach to one of the most creative composers of the 20th century, still misunderstood after all these years: Kurt Weill (1900-1950). Eco expresses surprise at this choice, but there’s a clear enough logic to it. Weill scholars still talk about the “problem of the ‘two Weills’”, the composer of the German years, once ranked alongside Hindemith, and the Broadway songwriter of the American years working inside the traditions of the musical, popular theatre, the cinema. For Trovesi/Coscia this ‘problem’ is no problem at all, since the Italian improvisers from Nembro and Alessandria share a similar disdain for artificial distinctions between supposedly highbrow and lowbrow art, know (like Weill) that great music can as easily be found on the street as in the conservatory and that all forms are valid vehicles to carry an argument or, simply, to have fun with. Factor in Weill’s status as a leftwing Jewish troublemaker and one of the very first composers to acknowledge the creative potential of jazz, and he stands as a natural anarcho-spiritual forebear.
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Gianluigi Trovesi / Gianluca Petrin / Fulvio Maras Vaghissimo Ritratto
ECM Gianluigi Trovesi / Gianluca Petrin / Fulvio Maras Vaghissimo ritratto Gianluigi Trovesi: alto clarinet; Umberto Petrin: piano; Fulvio Maras: percussion, electronics ECM 1983 CD 6025 170 9774 (2) Release: March 2, 2007 “Vaghissimo ritratto” means, among other things, “a beautiful picture”, “a vague impression”, “a lifelike image”. This ‘chamber improvisation’ project initiated by Italian reedman Gianluigi Trovesi introduces a new trio and pulls together graceful melodies and musical portraits from all manner of sources: Palestrina, Orlando di Lasso, Monteverdi, Josquin Des Prés, Jacques Brel, Italian pop singer Luigi Tenco, as well as pieces by the group members individually, and spontaneous collective compositions. It is an exceptionally broad spectrum covered here, amounting to a journey through melody in Western art music, as well as an examination of the craft of the songwriter in a wide context. The seeds for the project were sown in 2001 when Gianluigi Trovesi and pianist Umberto Petrin were invited to play at concerts to mark the 100th anniversary of the death of Alfredo Piatti, the Bergamo cellist-composer beloved of Liszt and Mendelssohn. Their deconstructions of his melodies opened up ideas for a fresh ECM project – especially after drums/electronics/sampling man Fulvio Maras was drafted into the group. With his experience in theatre music as well as his history of working with Trovesi in his Ottetto (“Fugace”), Maras is able to envelop atmospherically the interaction of clarinet and piano and to imply connections between the wide ranging repertoire. ‘Meetings’ with the ghost of Piatti – sometimes only fleetingly glimpsed through the prism of their improvising - comprise a red thread through an album which contains some of Trovesi’s most captivating playing and marks an impressive ECM debut for pianist Petrin.
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Gianluigi Trovesi – Gianni Coscia
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Carol Sloane Marc Cary Gianluigi Trovesi Willie Smith
JULY 2016—ISSUE 171 YOUR FREE GUIDE TO THE NYC JAZZ SCENE NYCJAZZRECORD.COM CYRO BAPTISTA PERCUSSION TRAVELER SPECIAL FEATURE HOLLYWOOD JAZZ WILLIE CAROL MARC GIANLUIGI “THE LION” SLOANE CARY TROVESI SMITH Managing Editor: Laurence Donohue-Greene Editorial Director & Production Manager: Andrey Henkin To Contact: The New York City Jazz Record 66 Mt. Airy Road East JULY 2016—ISSUE 171 Croton-on-Hudson, NY 10520 United States Phone/Fax: 212-568-9628 New York@Night 4 Laurence Donohue-Greene: Interview : Carol Sloane 6 by andrew vélez [email protected] Andrey Henkin: [email protected] Artist Feature : Marc Cary 7 by donald elfman General Inquiries: [email protected] On The Cover : Cyro Baptista 8 by john pietaro Advertising: [email protected] Encore : Gianluigi Trovesi by ken waxman Calendar: 10 [email protected] VOXNews: Lest We Forget : Willie “the lion” Smith 10 by scott yanow [email protected] LAbel Spotlight : Gearbox by eric wendell US Subscription rates: 12 issues, $40 11 Canada Subscription rates: 12 issues, $45 International Subscription rates: 12 issues, $50 For subscription assistance, send check, cash or VOXNEWS 11 by suzanne lorge money order to the address above or email [email protected] In Memoriam by andrey henkin Staff Writers 12 David R. Adler, Clifford Allen, Duck Baker, Fred Bouchard, Festival Report Stuart Broomer, Thomas Conrad, 13 Ken Dryden, Donald Elfman, Philip Freeman, Kurt Gottschalk, Tom Greenland, Anders Griffen, Special Feature : Hollywood Jazz 14 by andrey henkin Alex Henderson, Marcia Hillman, Terrell Holmes, Robert Iannapollo, Suzanne Lorge, Marc Medwin, CD Reviews 16 Ken Micallef, Russ Musto, John Pietaro, Joel Roberts, John Sharpe, Elliott Simon, Miscellany 37 Andrew Vélez, Ken Waxman Contributing Writers Event Calendar 38 Tyran Grillo, George Kanzler, Matthew Kassel, Mark Keresman, Wilbur MacKenzie, Mentorship is a powerful thing and can happen with years of collaboration or a single, chance Eric Wendell, Scott Yanow encounter.
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GIANLUIGI TROVESI Clarinettista, Sassofonista E Compositore
GIANLUIGI TROVESI Clarinettista, sassofonista e compositore Gianluigi Trovesi ha raggiunto con la sua musica il più difficile degli obiettivi, non solo per un jazzman, o un musicista in generale, ma per un artista in qualsiasi disciplina. E’ infatti riuscito a creare un mondo musicale che è immediatamente riconoscibile ed allo stesso tempo completamente originale. Ispirandosi a una diversità di fonti del tutto personale, e attraverso un processo di maturazione in cui i più comuni passaggi della carriera di un artista sono stati affrontati in ordine inverso, Trovesi ha raggiunto la propria maturità espressiva relativamente tardi. Ma oggi il suo stile di compositore e la sua voce strumentale lo collocano al livello dei musicisti che hanno praticamente definito il concetto di un “jazz europeo” ispirato alla tradizione americana senza esserne una sua pedissequa imitazione: tra essi possiamo citare come esempi non italiani Michel Portal, Misha Mengelberg, Evan Parker, John Surman. Nato nel 1944 in una famiglia popolare di Nembro, un paese nella parte montuosa della provincia di Bergamo, da bambino è stato circondato dalla musica eseguita negli spazi di vita comunitaria, e ben presto anche da quella ascoltata attraverso i dischi e la radio: il coro per i tradizionali canti di montagna e il coro della chiesa, il trio di chitarra, clarinetto e fisarmonica che accompagnava il ballo, poi la musica delle nuove danze sul fonografo e la musica classica eseguita alla radio. La musica era così naturalmente parte della vita di tutti i giorni, suonata da muratori e contadini con quello che avevano a disposizione, che il giovane Trovesi non aveva ancora realizzato che se ne poteva fare una professione esclusiva.
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Enrico Rava the Words and the Days
ECM Enrico Rava The Words and the Days Enrico Rava: trumpet; Gianluca Petrella: trombone; Andrea Pozza: piano; Rosario Bonaccorso: double-bass; Roberto Gatto: drums ECM 1982 CD 6025 170 9773 (5) Release: January 2007 “Italy has yet to produce a more accomplished jazz musician than the trumpeter Enrico Rava. Since the late 1960s, when he was a presence on New York’s thriving avant-garde scene, Mr Rava has earned a reputation for incisive instincts and an appealingly burnished tone. Somewhere along the line, he became both a part of Italian popular culture and, more meaningfully, a mentor to many of his country’s best aspiring players.” Nate Chinen, New York Times “The Words and the Days”, the new quintet album by Enrico Rava, picks up where “Easy Living” left off. Rava’s widely acclaimed return to ECM in 2003 was not only a reintroduction to one of European jazz’s most elegantly inventive players, it was also a significant showcase for a real band. This is no less striking on “The Words and the Days”: with team-spirited pianist Andrea Pozza replacing virtuosic soloist Stefano Bollani, the group’s sense of purpose is redoubled. Securely anchored in the tradition, rhythmically- assured and flexible, the quintet is able to react instantly to Rava’s changing moods. One of the particular pleasures is Enrico’s creative rapport with trombonist Gianluca Petrella – arguably Rava’s most compatible frontline partner since the days when Rava and Roswell Rudd pooled personnel for their respective bands, but the whole group is in fine form throughout.
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Newsletter Jazz Department - October / November 2011
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Paolo Damiani
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We Are Proud to Present the Results of the 67Th Annual Downbeat
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