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Ladies! Jazz À La Philharmonie» Renee

2016 20:00 06.03.Grand Auditorium Dimanche / Sonntag / Sunday & beyond

«Ladies! Jazz à la Philharmonie»

Renee Rosnes musical direction, Cécile McLorin Salvant vocals drums Linda Oh Melissa Aldana Anat Cohen clarinet, soprano saxophone

~ 90’ sans entracte / ohne Pause / without intermission Un JATP en format XY Têtes d’affiches du jazz… à la Philharmonie Guillaume Bregeras

C’est probablement l’acronyme le plus célèbre de l’histoire du jazz. Avec ces quatre lettres, le producteur Norman Granz a ré- ussi à faire admettre dans les plus prestigieuses salles de la planète un pan entier d’une musique jusque-là calfeutrée dans les clubs enfumés à l’acoustique souvent approximative. Nous sommes alors au cœur du 20e siècle, à et à quelques mois de la fin de la Seconde Guerre mondiale. Le jazz est clairement scin- dé en deux courants de plus en plus distincts, aussi bien stylisti- quement que dans les foules qu’ils attirent, lorsque le saxopho- niste ténor entre en scène. Ses solos, scandés comme des chants de Rhythm & Blues, transcendent les foules. En une seule représentation, le pari du producteur est réussi. Cette approche plus populaire du jazz qui, comme à son habitu- de dans l’histoire de cette musique, fera grincer des dents les plus rétrogrades et faussement puristes, lui offre un second souf- fle. Dans la foulée, les tournées américaines s’enchaînent et ras- semblent tour à tour toutes les stars du moment sur des plateaux à peine croyable… , , et un soir de 1949, , et quelques années plus tard. Des enregistrements audio, vidéo même, attestent de l’énergie qui se dégage de ces rencontres que l’on ne pouvait espérer entendre que lors de jam sessions très tardives dans les clubs new-yorkais. Et à condition que le planning de l’ensemble de ces musiciens d’exception concorde pour leur permettre de converger au même endroit au bon moment. Autant dire que les témoignages de ce type de ren- contres ne se dénichent plus facilement aujourd’hui…

2 Un acte politique C’est pourquoi le retour de ce concept qui réunit des stars du jazz dans une salle de concert classique pour un concert comme ce fut le cas il y a un an habite encore en ces murs.

Une nouvelle fois, la pluralité des origines de chaque membre reflète aussi l’une des conditions majeures du JATP originel: mélanger musiciens afro-américains et blancs et participer ain- si au long combat de la fin de la ségrégation raciale aux États-Unis. Un combat qui ne finira officiellement que 23 années après le premier concert du , et le jugement de la cour suprême américaine rendant inconstitutionnel les derniè- res lois interdisant les mariages mixtes.

Un tout petit demi-siècle nous sépare de ce tournant majeur de l’histoire moderne, mais les résurgences de ce passé ne sont ja- mais bien loin… En 2015, l’initiative de relancer ce programme ambitieux apparaissait donc sur ce point être dans le bon tempo. En lui donnant un nouvel écho aujourd’hui avec uniquement des femmes prolonge encore un peu plus cet engagement. Car il faut bien comprendre qu’avec la question raciale, celle de la place des musiciennes dans l’histoire du jazz est l’une des plus impor- tantes. Éludée au mieux, elle fut le plus souvent tronquée. Qui se souvient de Sweet Emma Barrett ou Lovie Austin, respective- ment pianistes dans des groupes de La Nouvelle-Orléans et de Chicago dans les années 1920? À l’époque pourtant, quelques chanteuses de blues arrivent à se faire un nom, Bessie Smith en tête. Mais la plupart des instrumentistes peinent à trouver leur place dans les livres d’histoire, à l’image de Dyer et Dolly Jones, mère et fille trompettistes. Et leurs consœurs doivent le plus souvent se contenter de jouer dans des orchestres unique- ment composés de femmes. Un documentaire illustre ce vide. La mini-série documentaire Jazz de Ken Burns, déjà largement cri- tiquée pour son manque de vision et d’audace, ne consacre que deux minutes sur dix-neuf heures de vidéo à la contribution des femmes instrumentistes à l’histoire de cette musique…

3 Virage historique , à la manette ce soir, est probablement étrangère au traitement subi par les «jazz women» durant le siècle dernier. Sa place dans l’histoire lui est déjà réservée, bien au chaud. Elle ne risque plus de vivre cette période où le monde entier a bas- culé dans la grande dépression. Le début des années 1930 tourne alors le dos aux années folles, la mode se reboutonne, l’art, ou ce qui en émerge commercialement, se raidit. Tout se crispe et les rares musiciennes sont simplement virées pour laisser la place aux hommes. L’économie sous-terraine prend le relais et ses pla- ces emblématiques comme Chicago développent des scènes en dehors des circuits officiels. Ici, les hommes leur redonnent une place. Le plus souvent comme pianiste ou chanteuse, et de temps à autre comme instrumentiste, notamment si elles peuvent dé- montrer des capacités de chant ou de danse, à l’image de Valaida Snow, trompettiste, chanteuse et danseuse que l’on surnommait «Little Louie» pour la similarité de son arsenal avec celui de . Quelques groupes entièrement féminisés comme le JATP ce soir, accrochent de temps à autre le haut de l’affiche. C’est le cas de Harlem Playgirls qui tourne à travers les États-Unis et finit par se confronter à des orchestres d’hommes comme en 1938 au Savoy Ballroom de Chicago. En parallèle, un autre mou- vement, plus conservateur, prend son envol. Et c’est Ina Ray Hutton, performeuse blonde et plantureuse dont les spectateurs raffolent, qui l’incarne. Son grand orchestre rencontre le succès et entraîne dans son sillage d’autres groupes, aussi bien «noirs» que «blancs». Mais c’est une autre femme qui marque cette dé- cennie et restera, elle, dans tous les manuels: Mary-Lou Williams. Compositrice raffinée, ses morceaux seront repris par ses contem- porains comme et Dizzy Gillespie, comme par les générations suivantes, Cecil Taylor par exemple, qui n’auront de cesse de lui rendre hommage.

L’âge d’or en trompe-l’œil Arrive la Seconde Guerre mondiale et les centaines de milliers de jeunes Américains appelés au front. Des postes sont à pourvoir dans les cabarets et les orchestres à travers tout le pays, d’autant que la demande pour une musique de danse se fait plus intense.

4 Le besoin de s’évader probablement… Qu’elles remplacent des hommes ou répondent à cette demande croissante, elles sont partout. La trompettiste Billie Rogers et la vibraphoniste Marjo- rie Hyams sont ainsi «réquisionnées» par , tandis que le célèbre saxophoniste fait appel à la trompet- tiste Jean Strarr. Cette période sombre constitue donc paradoxa- lement le pinacle de la place des femmes dans l’histoire du jazz. De quoi laisser présager un avenir plus équilibré une fois le re- tour des soldats musiciens entamé. Mary-Lou Williams, elle, en- courage le mouvement et milite pour un rapprochement sans heurts. Dans un livre qui lui est consacré, son auteur rapporte une citation incantatoire dans laquelle elle s’adresse à ses paires: «Vous n’avez qu’à jouer, c’est tout. Ils (les hommes) ne vous verront pas en tant que femme si vous savez vraiment jouer. Je pense que certaines femmes entretiennent un complexe d’infériorité et que cela les empêche d’avancer. Mais si elles ont réellement du talent, les hommes seront très heureux de les aider à se développer. Et en plus, travailler avec des hommes vous pousse à penser comme un homme lorsque vous jouez. Vous en de- venez automatiquement plus forte, même si cela ne signifie pas pour au- tant que vous perdez toute trace de féminité…». Pas sûr que les neuf musiciennes du JATP ce soir partage cette vision, mais il ne faut pas oublier le contexte d’une telle déclaration. Si plus de 800 femmes étaient enregistrées au syndicat des musiciens de jazz, rares sont celles qui tenaient le haut de l’affiche.

Une douloureuse transition Surtout que la fin de la guerre coïncide avec le retour des musi- ciens qui réclament leur job abandonné quelques années plus tôt. Un terrible vent de sexisme souffle alors aux États-Unis où l’on attend des épouses qu’elles rejoignent leur foyer, et des célibatai- res qu’elles fondent des familles. Les instrumentistes, plus tou- chées que les vocalistes sur ce point et contraintes de quitter leur siège dans les grands groupes, se tournent vers des profes- sions annexes… Pour devenir professeur de musique pour celles qui veulent rester dans le circuit. Quand d’autres abandonnent leur instrument pour se tourner vers le piano, seul poste encore toléré. Dans la même biographie citée plus haut, la trompettiste Norma Carson garde un goût amer de cette période: «Je n’ai ja-

7 mais trouvé qu’être une femme était un avantage. Si j’étais recommandée pour un engagement, ils me rejetaient avant même m’avoir entendue… Je ne veux pas être considérée comme une musicienne. Je veux simplement être un musicien». Une transition d’autant plus brutale que la mode des tend à s’estomper pour laisser place à de plus petits combos, plus rentables pour les promoteurs. Ina Ray Hutton pro- fite, quant à elle, de l’essor de la télévision. Sa blondeur convainc les diffuseurs de l’engager et devient le visage d’une Amérique qui veut se relever.

Nécessaire rébellion Il faut attendre le début des années 1960 et la bataille pour les droits civiques avant de voir émerger une nouvelle génération de musiciennes de jazz. Alice McLeod, qui rejoint le groupe de John Coltrane pour remplacer le pianiste McCoy Tyner, et qui deviendra aussi son épouse, incarne cette nouvelle vague. Tout comme Amina Claudine Myers, autre pianiste, ou comme les chanteuses Abbey Lincoln et Nina Simone, qui portent en éten- dard cette rébellion. Terri Lyne Carrington, est probablement celle qui entretient le lien le plus direct avec ces combattantes ce soir. Exister en tant que musicienne est une chose, mais en tant que batteuse, la tâche est encore plus complexe. Si elle a toujours privilégié des combos mixtes, c’est pour son album où elle rend hommage aux femmes qu’elle gagne un Grammy. Ce avec quoi elle entretient une certaine distance, semblant vouloir davantage faire preuve par l’exemple que par le verbe. Dans une interview dans le cadre des conférence TEDxBeaconStreet, elle déclare sobrement: «Généralement, je ne prête pas attention au sexe des musiciens, mais là, c’était le moment de se réunir. Le timing était bon, et le fait que l’on soit récompensées de la sorte ne se serait jamais produit 20 ans en arrière». Des paroles humbles qui cachent mal la dureté de la condition féminine dans ce genre musical, probable- ment le plus sexiste à ce jour dans le monde de l’art avec le hip- hop. Rappelons-nous simplement que le premier festival exclu- sivement consacré aux femmes n’a eu lieu qu’en 1978 à Kansas City. Et que de nombreux programmes, encore aujourd’hui, persistent pour favoriser l’éclosion de nouveaux talents sur une scène toujours accaparée par les hommes. Peut-être que nos

8 «Ladies» d’un soir n’auront pas toute cette histoire en tête au moment d’entrer en scène. Mais il est probable en revanche qu’à un moment ou l’autre, vous réalisiez que ce concert marquera donc son époque à double titre.

9 «Damenwahl – Ladies!…»? Ralf Dombrowski

Norman Granz hatte Ideen. Und er arbeitete zunächst bei Metro-Goldwyn-Mayer in Los Angeles, wo er den Ablauf kleine- rer Studioproduktionen überwachte. Im Jahr 1944 zum Beispiel überlegte er zusammen mit dem Regisseur und Fotografen , wie man die spannende junge Westcoast-Jazzszene in einen Film packen könnte. Resultat war Jammin’ The Blues mit Musi- kern wie Lester Young, oder auch Illinois Jacquet, ein Promo-Streifen, der gegen Ende desselben Jahres in zahlrei- chen amerikanischen Kinos gezeigt wurde. Das wiederum war gute Werbung für Granz’ zweites Projekt, das er parallel zu dem Kurzfilm ausgetüftelt hatte. Denn am 2. Juli 1944 hatte er sich unter anderem mit Musikern von Jammin’ The Blues in das größte Auditorium von Los Angeles begeben, um dort Jazz im opulen- ten Rahmen zu spielen. Der unmittelbare Anlass war ein damals Aufsehen erregender Prozess um ein paar mexikanische Amerika- ner, die als Revoluzzer angeklagt waren, sich im Stil urbaner Hipster kleideten und damit einen aktuellen, wenn auch nur dif- fus mit der Musik verknüpften Lebensstil popularisierten. Granz, der schon zu seinen Militärzeiten Konzerte organisiert hatte, schaffte es jedenfalls, dass dieser Abend ein Erfolg wurde. Und so war die Idee geboren, «Jazz At The Philharmonic» (JATP) auch in anderen Städten mit eigens dafür zusammengestellten En- sembles zu präsentieren.

Ganz neu war der Gedanke nicht, die als verrucht geltende Musik der Nachtclubs und Tanzpaläste durch das hochkulturelle Am- biente auf eine neue Stufe der Akzeptanz und Vermarktbarkeit zu heben. Der Orchesterchef Paul Whitman etwa hatte bereits

10 zwei Jahrzehnte zuvor mit Konzerten in der New Yorker Aeo- lian Hall und Tourneen bis nach Europa den Jazz in die hehren Hallen geholt und damit unter anderem dem jungen George Gershwin zum Durchbruch verholfen. Norman Granz jedoch perfektionierte das Konzept, indem er einerseits aufstrebende Stars der Szene wie Ella Fitzgerald, oder Dizzy Gillespie auf die Bühne brachte und damit dem swingenden Rückenwind verschaffte. Darüber hinaus legte er aber Wert auf den gepflegten Rahmen der Veranstaltungen und ver- half ihnen auf diese Weise zu einer Aura des hochkulturellen Ereignisses. Bei JATP wurde nicht getanzt, die Musiker wurden anständig bezahlt, und Angebote, die auf Rassentrennung bestan- den, egal ob im Publikum oder auf der Bühne, sagte er lieber ab, als den unmenschlichen Irrsinn des Rassismus mitzuspielen.

So konnte es im April 1946 richtig losgehen. Die erste JATP- Tournee hatte unter anderem Lester Young, und im Programm, gespielt wurde in Kalifornien, New York und Chicago. Bis 1957 war Granz von da an regelmä- ßig mit seinen Künstlern unterwegs, nahm Konzerte und zusätz- liche Sessions für seine eigens gegründeten Plattenfirmen wie auf und avancierte zu einem erfolgreichen Impre- sario, obwohl die Kritik maulte und den Veranstaltungen viel- fach eine Kraut-und-Rüben-Ästhetik unterstellte. In den Sech- zigern pausierte die Karawane, Rock’n’Roll, Rhythm & Blues und andere Pop-Sparten gruben den Jazzkonzerten im großen Rahmen das Wasser ab. Ein Jahrzehnt später aber setzt aufgrund des florierenden Festivalwesens ein Revival ein, bis 1983 gab es schließlich JATP-Tourneen. Und auch in der Gegenwart kommt die Idee von Norman Granz zu neuen Ehren. Denn anlässlich des 70-jährigen Jubiläums von JATP finden sich wieder Künstler zusammen, um mit Allstar-Projekten in die Philharmonien zu locken

Oder besser Künstlerinnen. Denn die aktuelle Hommage heißt «Ladies! Jazz à la Philharmonie» und hat für diese Gelegenheit ein ungewöhnliches Septett aus arrivierten und aufsteigenden Musikerinnen zusammengestellt. Die Leitung des Abends über-

11 Ideengeber Norman Granz im Jahre 1947

nimmt die kanadische Pianistin Renee Rosnes, die bereits in den Achtzigerjahren ihren Weg in die Profi-Liga fand. Ihr Instrument hatte sie von Kindertagen an erlernt, außerdem die Geige als wei- tere musikalische Option gewählt, was zu ihrer Vorliebe für har- monisch ansprechende, gemäßigt moderne Ausdrucksformen passte. Im Laufe der Jahre konnte man sie im Umfeld wichtiger Ensembles wie dem Lincoln Center Jazz Orchestra oder dem San Francisco Jazz Collective erleben. Neben verschiedenen eigenen Formationen arbeitete Rosnes mit Koryphäen von Bran- ford Marsalis bis , in jüngerer Zeit auch zuwei- len im Duo mit ihrem Ehemann, dem Pianisten . Stilistisch umfassend gebildet, fand sie sich außerdem als musi- kalische Leiterin in wechselnden Combos wieder, im vergan- genen Herbst in Europa etwa an der Seite des Bass-Altmeisters . Sie ist damit eine gute Wahl als künstlerische Chefin einer Band, die sehr unterschiedliche Jazz-Charaktere versam- melt.

Denn Terri Lyne Carrington zum Beispiel ist ihrerseits eine Kory- phäe des Geschäfts. Als sie sich in den Siebzigern ans Schlagzeug setzte, war dieses Instrument nahezu vollständig von männlichen

12 Mélomane, comme vous. Kollegen dominiert. Doch das Mädel aus Massachusetts kam aus einschlägiger Musikerfamilie. Der Groß­vater hatte bereits für getrommelt, der Vater war als Saxophonist mit James Brown unterwegs. So wunderte sich niemand, dass Terri Lyne am familiären Drumset Talent bewies. Sie bekam Unterricht bei Jazzschlagzeugern, mit zehn Jahren stand sie bereits mit auf der Bühne, wenig später vermittelte ihr Buddy Rich erste Werbeverträge für Schlagzeugfirmen. Die Teenagerin Car- rington hatte es in dem Moment, als sie die Kaderschmiede des Jazz – das Berklee College in Boston – betrat, schon so weit ge- bracht wie viele ihrer Mitstudenten am Ende ihrer Ausbildung. Dennoch blieb viel zu erforschen übrig – und viel Zeit, die rich- tigen Leute kennenzulernen. Die Newcomerin hing mit , , ab, wurde immer besser und hat- te wenig Mühe, in den Achtzigern in New York Anschluss an die Spitzenklasse der Jazzwelt zu finden. Sie trommelte Avantgar- deskes mit , gehörte zur M-Base-Clique um Steve Coleman und , wurde aber auch für Rockjobs gebucht. So ging es weiter über Fusion-Stationen und Soul-Exkurse Toute l’année, la BIL soutient la culture. bis zu ihren Jazzplatten der Gegenwart, wo sie sich beispielsweise im Trio vor historischen Größen wie verneigt.

La musique et l’art font partie de votre vie ? La BIL, en tant qu’acteur Renee Rosnes und Terri Lyne Carrington auf der einen Seite ste- luxembourgeois engagé dans la promotion de la culture sous toutes ses formes, offre également une place importante à la création artistique hen bei «Ladies! Jazz à la Philharmonie» Frauen der nächsten Ge- dans son quotidien. neration gegenüber, die mit großer Selbstverständlichkeit in ih- rem Künstlerverständnis an das anknüpfen, was die Vorgängerin- Que ce soit par son soutien à la Philarmonie mais aussi à travers nen sich erkämpft haben. Sieht man beispielsweise die Sänge- sa Fondation Indépendance ou sa Galerie l’Indépendance, la BIL rin Cécile McLorin Salvant auf der Bühne, wirkt sie mit ihren vous permet d’assister à des spectacles et expositions exceptionnels. Mitte Zwanzig bereits wie eine erfahrene Meisterin ihres Fachs, die sich über die Natürlichkeit einerseits und künstlerische Prä- Plus d’informations sur www.bil.com/culture zision ihrer Musik auf der anderen Seite keine Sorgen machen Galerie l’Indépendance muss. Sie ist souverän, stilistisch eigenwillig, witzig, wie man es 69 route d’Esch à Luxembourg sonst von den Diven des Geschäfts kennt. Vielleicht trägt die Ouverte au public tous les jours ouvrables kosmopolitische Verwurzelung mit haitianischen, französischen de 8h à 18h. Elementen und einer Prise Guadeloupe, Miami, New York dazu bei, womöglich auch eine vielfältige Ausbildung an Schulen und Vous avant tout Konservatorien in Frankreich und New York. Jedenfalls hat ihre Mixtur aus fester Verankerung in der modern jazzigen Tradition

4590-3000 www.bil.com 15 Banque Internationale à Luxembourg SA, 69 route d’Esch, L-2953 Luxembourg, RCS Luxembourg B-6307 à la Abbey Lincoln oder Betty Carter und individueller Präsenz und Gestaltungssicherheit dazu geführt, dass sie im Februar 2016 ihren ersten Grammy für das beste Jazz Vocal Album entgegen- nehmen konnte.

Die Bassistin Linda Oh bringt weitere kulturelle Vielfalt in ihr Spiel. Als Kind chinesischer Einwanderer wuchs sie in Australien auf, lernte zunächst Klavier, Klarinette, Fagott, bevor sie in der Band ihrer Highschool zum Kontrabass griff. Das war ihr Instru- ment; und sie wurde schnell so gut, dass sie nicht nur Stipendien, sondern auch Kompositionsaufträge bekam. Vor einem knappen Jahrzehnt zog sie nach New York, verfeinerte ihr Können an der Manhattan School of Music und bei den Sessions in den Clubs der Stadt. Linda Oh fand sich schnell in der Jazzwelt zurecht, spielte mit den Alten wie Georges Cables ebenso wie mit jungen Kollegen wie Ambrose Akinmusire. Inzwischen gehört sie zum Quartett von Gitarren-Guru Pat Metheny und fasziniert durch einen persönlichen Stil, der mit stoischer Gelassenheit selbst Komplexes zum Swingen bringt. Und so bleiben noch die Blä- serinnen des Ensembles übrig. Die Saxofonistin Melissa Aldana fand ihren Weg von Santiago de Chile in den Jazz. Selbst Musi- kertochter entdeckte sie ihr Instrument unter dem Eindruck von Sonny Rollins für sich und begann zunächst in den Clubs ihrer Heimatstadt, musikalische Erfahrungen zu sammeln. Als klar war, dass sie dabei bleiben würde, zog sie vor einem Jahrzehnt nach Boston, um ebenfalls am Berklee College zu studieren. Nachdem ihr ein paar Wege in das Business gezeigt hat, gehörte sie während der vergangenen Jahre zum Pro- gramm zahlreicher Festivals von Monterey bis Perugia und ist derzeit auf dem Sprung zur internationalen Wertschätzung.

Die Klarinettistin Anat Cohen, Schwester des Trompeters , hat nach ihren Anfängen in der Traditional-Szene ihrer Heimatstadt Tel Aviv ebenfalls über die Stationen New York und Berklee den Einstieg in eine Klangwelt geschafft, die sie ebenso zum Jazz wie zu südamerikanischen und weltmusikalischen Sounds führte. Inzwischen gehört sie regelmäßig zu den Acts großer Fes- tivals von Newport bis Den Haag und gilt als inspirierte Poetin

16 Norman Granz, Jazz at the Philharmonic, 1955 ihres Instruments. Ingrid Jensen schließlich hat Wurzeln in Kanada und British Columbia, vor allem aber in kammermusikalischen Jazzprojekten wie dem Maria Schneider Orchestra, dem sie lange angehörte. Sie unterrichtete zwei Jahre lang als Trompetenprofes- sorin in Linz, zog es dann aber vor, als selbständige und erfolg- reiche Musikerin international nach künstlerischen Herausfor- derungen zu suchen. Das Team von «Ladies!» also hat es in sich, ganz im Sinne der Idee von Norman Granz, der im Kontrast der Gegensätze den Ursprung der Kreativität vermutete – und damit so falsch nicht lag.

17 Renée Rosnes photo: John Abbott Interprètes Biographies

Renee Rosnes musical direction, piano Canadian born, Renee Rosnes is one of the premier pianists and composers of her generation. Shortly after relocating from Van- couver to New York in 1986, Rosnes quickly established a repu- tation as a major talent. She has recorded and toured with a ve- ritable «who’s who» of jazz, being the pianist of choice for such legendary musicians as , Wayne Shorter, J.J. Johnson, and . In 1989, James Moody hired Renee for his quartet, and she remained a mem- ber of his band until his passing in 2010. In 2012, she was the musical director for the New Jersey Performing Arts Center’s For Love of Moody: A Jazz Celebration, a show that included performances by George Benson, the Manhattan Transfer and . Also in 2012, she produced Joe Henderson’s 75th Birthday Celebration for Jazz at Lincoln Center’s Allen Room, which featured Bobby Hutcherson, Chris Potter and among others. From 2004 to 2009, Rosnes was a member of the all-star octet, the SFJAZZ Collective. From 2008 to 2010, Rosnes enjoyed her role as the radio host of The Jazz Profiles, an interview series produced by Canada’s CBC. Also in the role of jazz journalist, Renee has contributed two major cover sto- ry interviews for JazzTimes magazine, one with Wayne Shorter and his quartet (April 2013) and the other with pianist (September 2013). Rosnes has released a series of 14 albums, four of which have garnered Juno Awards, the Canadian equiva- lent of a Grammy. Her recordings reveal her to be both a power- ful and sensitive musician with a huge range. She has collabo- rated with a diverse range of artists, from established masters

19 such as Jack DeJohnette and tabla maestro Ustad Zakir Hus- sain, to younger giants such as Christian McBride, Chris Potter, Nicholas Payton and Steve Nelson. She is a formidable compo- ser and in 2003 was named SOCAN’s Composer of the Year. Her works have been performed and recorded by , J.J. Johnson, , Joe Locke, the Danish Radio Big Band, the Carnegie Hall Jazz Orchestra, and trombonist . Aside from leading her own bands, Rosnes is currently a mem- ber of bassist Ron Carter’s Quartet. Rosnes also often performs with her husband, acclaimed pianist Bill Charlap, and the couple released their first duo recording in 2010, «Double Portrait» (Blue Note). Downbeat wrote: «The counterpoint and compatibilities are so perfectly balanced, the selections and arrangements so handsome, that ‹Double Portrait› is a prize». Canadian born, Re- nee Rosnes is one of the premier pianists and composers of her generation.

Cécile McLorin Salvant vocals Shortly before the release of Cécile McLorin Salvant’s debut Mack Avenue album «WomanChild», critic Ben Ratliff made a bold prediction in the pages of the New York Times. McLorin Salvant, he claimed, «is still mostly unknown to jazz audiences» – then added: «though not for much longer». McLorin Salvant has more than validated that forecast. The last 24 months have been a whirlwind of success and acclaim for the young vocalist, who first came to the attention of jazz fans with her triumph at the 2010 Thelonious Monk International Jazz Competition. «Wo- manChild» went on to earn a bevy of honors, including a Gram- my nomination and selection as Jazz Album Of The Year by the DownBeat International Critics Poll. That magazine also hono- red McLorin Salvant in three other categories including Best Female Jazz Vocalist. A few months later, the Jazz Journalists Association selected McLorin Salvant as Up-and-Coming Jazz Artist Of The Year and as Top Female Vocalist. NPR also took, honoring «WomanChild» as the Best Jazz Vocal Album Of The Year in its annual critics poll. In short, no jazz singer of recent memory has garnered up more honors more quickly than Cécile

20 Cécile McLorin Salvant photo: John Abbott

McLorin Salvant. Now she releases her follow-up Mack Avenue album, «For One To Love», a more intimate and confessional project that reveals new dimensions of this young vocalist’s arti- stry. «I’m not playing anyone else here but myself», McLorin Salvant explains. «I can look at many of these songs, and see that this is an event that really happened, or a feeling I’ve lived through myself. That’s what makes it so difficult to share. It’s al- most like a diary entry». McLorin Salvant grew up in a bilingual household in Miami, the child of a French mother and Haitian father. She started piano studies at age five, and at eight began singing with the Miami Choral Society. After graduating from Coral Reef Senior High, a premier Miami magnet school, McLo- rin Salvant decided to pursue her education in Aix-en-Provence in the south of France, where troubadours invented the Western love song almost one thousand years ago. In this unlikely setting, McLorin Salvant embarked on a new career as a jazz performer, while pursuing a degree in French law and her training as a clas-

21 sical and baroque singer. Three years later, McLorin Salvant re- turned to the U.S. as a semifinalist in the prestigious Thelonious Monk International Jazz Competition. She had entered the con- test at the urging of her mother, but almost missed the submis- sion deadline. «On the last day, I mailed the audition recording with an apology for not getting it in sooner», she recalls. Then the call came inviting her to Washington D.C. for the contest. Here an illustrious panel of judges – Dee Dee Bridgewater, Dian- ne Reeves, Kurt Elling, Patti Austin and – took note of McLorin Salvant’s remarkable voice and striking ability to inhabit the emotional space of every song she heard and turn it into a compelling personal statement. This surprise contender, the unheralded American jazz singer from France, took the top spot in the jazz world’s most demanding competition. «She brought down the house», The Washington Post told its readers the next day. Less than three years after first performing with a jazz band, writer Anne Midgette noted, McLorin Salvant was al- ready singing «like a seasoned pro. Her marathon is just begin- ning». Others were now taking notice. «She has poise, elegance, soul, humor, sensuality, power, virtuosity, range, insight, intelli- gence, depth and grace», announced . «If any- one can extend the lineage of the Big Three – Billie Holiday, and Ella Fitzgerald – it is this 23-year-old virtuo- so», added Stephen Holden in the New York Times. The release of «WomanChild» both backed up these claims and introduced McLorin Salvant’s music to a host of new listeners. The up-and- coming vocalist was now a legitimate jazz star. In more recent months, McLorin Salvant’s work has moved beyond the jazz world and entered into the broader culture. You can hear it on commercials for Chanel, or in the soundtrack for the HBO show Bessie. But this crossover success has come without compro- mise. As critic Nate Chinen aptly notes, «whatever else you might say about her», McLorin Salvant sounds «clearly, unmistakably like a jazz singer». Now McLorin Salvant makes an even bolder statement with, «For One To Love». This may be the defining jazz statement on romance in the new millennium, a heartfelt album that both embodies the full range of the American popu- lar song idiom, but distills it into a distinctly personal expression

22 « Agir en entreprise socialement responsable »

Nous avons de tout temps souhaité tenir notre rôle d’entreprise responsable au Luxembourg où nous trouvons nos racines et le cadre de notre développement. Nous apportons un appui financier ainsi que les compétences de nos collaborateurs à des projets d’utilité publique dans les domaines de la culture, de l’éducation et de la solidarité.

La Banque de Luxembourg est membre fondateur de la Fondation EME « Ecouter pour Mieux s’Entendre » dont l’objectif est d’offrir une possibilité d’accès à la musique aux personnes qui en sont généralement exclues.

www.banquedeluxembourg.com Conseil en placements • Préservation, gestion et transmission du patrimoine • Services aux entrepreneurs Tél. 49 924 - 1

BDL_phil_programm115x175_2015.indd 1 15/01/16 16:20 of a modern-day poet-troubadour. On the new album, McLorin Salvant again shows her uncanny knack of channeling her own personality into the work of her predecessors, both the acclai- med (Bessie Smith) and the less well-known (Blanche Calloway, whose fame during her lifetime was eclipsed by her brother Cab). «I’ve made some choices about celebrating strong wom- en», McLorin Salvant explains. «And I want to celebrate indepen- dence, the courage not to look or act a certain way». McLorin Salvant is increasingly making her strongest musical statements via her own compositions, which stand out as the centerpiece on the new project. Five of the tracks on «For One To Love» fea- ture her songs, and here she reminds us of those other great jazz singers, from Billie Holiday to Abbey Lincoln, who found that the most powerful expressions of moods and feelings often came via their own compositions. And McLorin Salvant also shares her vision as a visual artist in the design of the album. This field has been a focus in recent years: both at home in Har- lem and on the road, she works on painting and drawing, and is currently preparing for her first exhibition.«Music chose me», she reflects;«in a way, I stumbled upon it. But illustrating is so- mething I’ve chosen to do». In short, her distinctive artistry sha- pes every aspect of this project. «For One To Love» serves as proof positive that Cécile McLorin Salvant has not only arrived, but she is still going places. Her 2015 Mack Avenue Album «For One To Love» was nominated and won the 2016 Gram- my Award for Best Jazz Vocal Album. For more information on Cécile McLorin Salvant, please visit cecilemclorinsalvant.com

Terri Lyne Carrington drums Grammy award-winning drummer, composer and bandleader Terri Lyne Carrington was born in 1965 in Medford, Massachu- setts. After an extensive touring career of over 20 years with lu- minaries like , Wayne Shorter, Al Jarreau, , , , Cassandra Wilson, Clark ­Terry, and more, she returned to her hometown where she was appointed professor at her alma mater, Berklee Col- lege of Music. Terri Lyne also received an honorary doctorate

25 Terri Lyne Carrington photo: Tracy Love from in 2003. After studying under full scholarship at Berklee, with the encouragement of her men- tor, Jack DeJohnette, Carrington moved to New York in 1983. For 5 years she was a much in-demand musician, working with James Moody, Lester Bowie, , and others. In the late 80’s she relocated to Los Angeles, where she gained recognition on late night TV as the house drummer for the Arse- nio Hall Show, then again in the late 90’s as the drummer on the late night TV show, VIBE, hosted by Sinbad. In 1989, Carrington released a Grammy-nominated debut CD on Verve entitled «Real Life Story», which featured , Grover Washington Jr., Wayne Shorter, , , , Greg Osby and . Other solo CDs include 2002’s «Jazz is a Spirit», which features Her- bie Hancock, , , , and Bob Hurst, and 2004’s «Structure», a coope- rative group which features , and Greg Osby. Both CDs were released on the Europe-based ACT Music label and enjoyed considerable media attention and cri- tical acclaim in the European and Japanese markets. Carrington’s production and songwriting collaborations with artists such as Gino Vannelli, Peabo Bryson, Dianne Reeves, Siedah Garrett, Marilyn Scott have produced notable works as well, including her production of the Dianne Reeves Grammy-nominated CD, «That Day», as well as Dianne Reeves Grammy Award-winning CD, «Beautiful Life», in 2014. Carrington has performed on many recordings throughout the 80’s and 90’s thru today. Notable ex- amples of her work include Herbie Hancock’s Grammy Award- winning CD «Gershwin’s World», where she played alongside Joni Mitchell and Stevie Wonder. She has toured in many of Han- cock’s musical configurations (from electric to acoustic) and is featured on his Future2Future DVD. After a hiatus from the U.S. recording scene as a solo recording artist, Carrington returned in 2008 with More To Say... (Real Life Story: NextGen). Joining her was an impressive all-star cast of jazz and contemporary jazz instrumentalists, including , , , Jimmy Haslip, , Gregoire Maret, Christian McBride, , Patrice Rushen, Robert Irving III

27 (who also serves as co-producer), , Dwight Sills and legendary vocalists Les McCann and Nancy Wilson. Carring- ton released «The Mosaic Project» in 2011, her fifth recording overall and first on Concord Jazz. The critically acclaimed CD, which won a Grammy Award for Best Jazz Vocal Album, gathered a myriad of voices and crystallized them into a multi-faceted whole that far outweighed the sum of its parts. She produced the 14-song set which included some of the most prominent female jazz artists of the last few decades: , Dianne Reeves, Dee Dee Bridgewater, Sheila E., , Cassandra Wilson, Geri Allen and several others. Carrington said the emergence of so many great female jazz instrumentalists over the last couple of decades is what made an album like «The Mosaic Project» possible. In 2013, Carrington released «: Provocative in Blue», her much anticipated homage to Duke Ellington, and Max Roach, to coincide with the 50th anniversary of the release of their iconic 1963 «Money Jungle» album. The recording featured and Chris- tian McBride, with guests Clark Terry, , Herbie Han- cock and others. Carrington made history when she became the first woman to win a Grammy Award for Best Jazz Instrumental Al- bum. On August 7, 2015, Carrington releases «The Mosaic Pro ject: LOVE and SOUL». Like its predecessor, the album pre- sents Carrington leading a rotating cast of superb female instru- mentalists and vocalists that includes Oleta Adams, , Paula Cole, Lalah Hathaway, , Chanté Moore, Valerie Simpson, Nancy Wilson, Jaguar Wright and Lizz Wright, as well as saxophonist , trumpeter Ingrid Jensen; bassists Me- shell Ndegoecello and Linda Oh; and keyboardists Geri Allen, Patrice Rushen and . On «The Mosaic Project: LOVE and SOUL», Carrington juxtaposes her salute to female artists by paying homage to various male artists who have either influ- enced her professionally and/or informed her musicality, such as Nick Ashford, George Duke, Duke Ellington, , and Bill Withers. «Whenever I do something that celebrates women, I never want it to feel like it’s something that excludes men,» she explains. «On this record, I conscious- ly wanted to celebrate the various relationships women have

28 with men either through original songs of mine or cover songs by male composers and song writers.» The male presence and perspective on «The Mosaic Project: LOVE and SOUL» is even more realized by Billy Dee Williams, who contributes insightful spoken-word interludes through the disc.

Linda Oh double bass Born in Malaysia and raised in Perth, Western Australia, Linda Oh is an active bassist and composer who has performed with the likes of , , , Steve Wilson, Geri Allen, Fabian Almazan and Terri Lyne Carrington. She has received many awards such as an ASCAP Young Jazz Composer’s award in 2008, 2nd place at the BASS2010 Compe- tition and an honorary mention at the 2009 Thelonious Monk Bass Competition. Linda also received the 2010 Bell Award for Young Australian Artist of the Year and was the 2012 Downbeat Critic’s Poll «Rising Star» on bass. After graduating from Man- hattan School of Music, she has had three releases as a leader which have received critical acclaim - the first being «Entry» fea- turing Ambrose Akinmusire on trumpet and Obed Calvaire on drums. The second is a quartet featuring Dayna Stephens on , Fabian Almazan on piano and Rudy Royston on drums. Her latest is «Sun Pictures» (named after the oldest outdoor picture gardens in operation in Broome, Western Austra- lia) was recorded live at WKCR studios in New York. Her next project was recorded live as a commission from the Jazz Galle- ry and featuring the Sirius string quartet. Linda has written for large and small ensembles as well as for film, participating in the BMI Film Composers Workshop and Sundance Labs at Sky- walker Ranch. She recently finished a score to Sabrina McCor- mick’s short film,A Good Egg. Linda is currently based in New York City and teaches in the Precollege Division of Manhattan School of Music. As an active educator she has also created a series of lessons for the up and coming BassGuru app for iPad and iPhone.

31

Melissa Aldana saxophone Melissa Aldana began playing saxophone at the tender age of 6. After watching pupils come in and out of her home in Santiago, Chile to take lessons from her father, Marcos Aldana – a renow- ned jazz saxophonist himself – the young Melissa would pester him to teach her as well. Her father began teaching her by sho- wing her how to play two notes. From that moment, she was hooked and was finally given her first saxophone, an alto, and her father began teaching her how to play. Marcos Aldana’s tea- ching technique included a great deal of transcription. «When I first started learning, we were using cassettes to transcribe», says Melissa. «My dad would choose a song that he really liked, so the first person I learned from was Charlie Parker. We would take one phrase, and listen. Then, I would play it really slow, over and over, hundreds of times, until it sounded exactly like him. I think it’s one of the best ways to teach a little kid because I lear- ned everything by listening to the masters». Melissa’s adoles- cence was filled with learning solos of many of the jazz greats including her father’s favorites; Parker, Cannonball Adderley and . But, as she grew up, she began branching out and discovering artists on her own. When she first heard Sonny Rollins, she was so influenced by him, that she asked her father to change from alto to tenor sax. Melissa’s grandfather, Enrique Aldana, was also a sax virtuoso and taught Marcos how to play. Upon hearing her desire to switch, Marcos gave Melissa her grandfather’s Selmer Mark VI, which she still plays and records with today. By her early teens, Melissa was frequenting the Santiago jazz clubs, and by 16, she was headlining sets at the Club de Jazz de Santiago, which, at the time, was the main hub of the Chilean jazz community. Around the same time, in 2005, Melissa caught wind that Panamanian jazz pianist was coming to Chile to perform with the Wayne Shorter Quartet and was determined to meet him. Danilo’s wife was one of Mar- cos’ former students and Danilo was part of the faculty at Berk- lee College of Music. Melissa went down to sound check, intro- duced herself and, subsequently, Danilo invited her to play at the . Afterwards, Danilo was instrumental in bringing Melissa to the U.S. for the first time and helped to ar-

32 Melissa Aldana range auditions for her at both Berklee and the New England Conservatory. Melissa was accepted at both schools and decid- ed to attend Berklee. «I didn’t go to Berklee to learn how to play saxophone, because my father has already taught me how», comments Aldana. «I went to grow as a musician, be around young musicians, and learn from the veterans». In school, she did just that by playing with fellow students and studying under the likes of Joe Lovano, , Frank Tiberi, Greg Osby, Hal Crook, Dave Santoro, Bill Pierce, Dino Govoni and Ralph Peterson. She was also exposed to a great deal of recor- ded jazz music and cites Mark Turner and Don Byas as having a lasting influence on her playing style. Immediately after grad- uating from Berklee, Melissa moved to New York. One of the first people she contacted was the legendary jazz saxophonist George Coleman. While still in Boston, Melissa asked her friend Emilio Lyons, the famous saxophone repairman, to call up George and introduce them. George had Melissa play for him over the phone. He liked it so much, he invited Melissa to come to his

33 house and gave her a few saxophone lessons. Over the years, they became very close as George continued to mentor Melissa, introduce her to a number of fellow musicians and invite her to sit in on his concerts. Melissa spent those first couple of years in New York frequenting the jazz clubs, listening to music, play- ing, meeting people and of course, practicing. She recorded her first record, an album of covers and originals titled «Free Fall» for Greg Osby’s label Inner Circle Music, and, in 2012, she recor- ded and released her sophomore album, titled «Second Cycle». On stage, Melissa caught her first big break when Osby invited her to play a weeklong residency at the Village Vangaurd. Since then, she has performed in such prestigious venues as the Diz- zy’s Club Coca-Cola, Blue Note, Jazz Standard, Museum of Mo- dern Art (MOMA), Small’s & Jazz Gallery, as well as been invited to perform with her band at such prestigious festivals as Mon- terey Jazz Festival, Umbria Jazz in Italy, Barcelona Jazz Festival in Spain & Providencia Jazz Festival in her native Chile. She’s al- so shared the stage with some of the greatest contemporary jazz artists of our time such as Christian McBride, Peter Bernstein, Jeff Tain Watts, among others. During the last two years, Melissa has been playing and performing with her current band mates, bassist Pablo Menares (who she has known for a long time from the Chilean jazz scene), and drummer Francisco Mela. Known as the Crash Trio, Melissa finally found her band, «This is the first time I have met people who have the time to dedicate to writing, talking about, and working on compositions». In September 2013, at age 24, Melissa won the Thelonious Monk International Jazz Saxophone Competition, which was judged by Jane Ira Bloom, , Jimmy Heath, Wayne Short- er and . In commenting on Melissa’s win to Down- beat magazine, Bloom stated, «The thing that was apparent to us was that Melissa was a young artist, who, in addition to hav- ing embraced a great deal of tradition, has made important steps in developing her own personal sonic vocabulary. We all sensed that from her original music and in her interpretations of traditio- nal material». In addition to winning a $25,000 scholarship with the Monk Institute and a recording contract with Concord Mu- sic Group, Melissa was also distinguished with the honor of be-

34 coming the first female instrumentalist to ever win the illustrious competition, which she recognizes is important, but would pre- fer people to see beyond her gender. «I understand that being from Chile, being young and being a woman makes me stand- out, but what I really want people to see is that jazz and music transcends gender and age. The most important thing is the quality of the music and what you feel when you hear it». Aldana also won the National Arts Award Altazor in Chile for Best Album, and recently received the Lincoln Center Martin E. Segal Award. On June 17, 2014, Melissa and the Crash Trio will release their self-titled debut album for Concord. The album was recorded at nt public autonome, Place Luxembourg, de Metz, 1, Luxembourg R.C.S. L-2954 B 30775 Sear Sound Recording Studio in New York in just two days. The PRIVATE BANKING album consists of originals written by all three band members and includes two covers – the Harry Warren classic «You’re My Everything» and Thelonious Monk’s «Ask Me Now». WIE REAGIEREN

AUF DAS DERZEITIGE Ingrid Jensen trumpet FINANZUMFELD? Born in Vancouver and raised in Nanaimo, British Columbia, Ingrid Jensen has been hailed as one of the most gifted trumpeters of her generation. After graduating from Berklee College of Music in 1989, she went on to record three highly acclaimed CDs for

Banque et Caisse d’Epargne de l’Etat, Luxembourg, établisseme the ENJA record label, soon becoming one of the most in-de- mand players on the global jazz scene. After a teaching stint in Europe in her early twenties – as the youngest professor in the Zunächst einmal indem Sie sich für eine der history of the Bruckner Conservatory in Linz, Austria – Ingrid set- 10 sichersten Banken der Welt entscheiden! tled in New York City in the mid-1990s where she joined the in- novative jazz orchestras of Maria Schneider and Darcy James Argue. More recently, Ingrid has been performing with the Gram- my-winning Teri-Lyne Carrington and her Mosaic Project, and is Finden Sie das nächstgelegene BCEE FinanzCenter auf a featured soloist on Christine Jensen Jazz Orchestra’s Juno- www.bcee.lu oder rufen Sie an unter (+352) 4015-4040. award-winning album, «Treelines» (2011), and its successor, «Ha- bitat» (2013). She has performed with a multi-generational cast of jazz legends ranging from Clark Terry to Esperanza Spalding; Ingrid has also performed alongside British R&B artist Corrine Bailey Rae on Saturday Night Live, and recorded with Canadian pop icon Sarah McLachlan. In addition to her busy sideman and featured soloist schedule, Jensen leads her own quintet, quar- BCEE Private Banking: Ihr Vermögen verdient Aufmerksamkeit 37

PRB6_Contexte_Financier_115x175_Phil_DE+UK.indd 1 07/08/2015 11:06 Ingrid Jensen photo: Scot Macleod

tet and organ trio. Her own bands have garnered glowing reviews and a loyal fan base in Australia, South Africa, almost every country in Europe, across Canada, the U.S., South America (in- cluding Brazil, Peru and Chile), Japan and Mexico. Jensen is also a dedicated jazz educator, teaching trumpet at the Univer- sity of Michigan and performing and lecturing as a guest artist at prestigious universities, colleges and conservatories through- out the U.S. and Europe. She regularly serves as a guest director of the Thelonious Monk Institute of Jazz, serving as mentor and leader of the all-star high school groups which tour the U.S. on jazz outreach missions. The most recent tour included a perfor- mance in Mississippi with the legendary Herbie Hancock and a humbling visit to the many inner-city schools in the area. Jensen is also a familiar face at summer institutes and workshops, in- cluding the Centrum Jazz Workshop, The Dave ­Brubeck Institute, and the Banff Centre Workshop in Jazz & Creative Music. Since her victory at the Carmine Caruso Trumpet Competition in 1991,

38 Jensen has since sat on the judges’ panel twice for said compe- tition. She is regularly invited to trumpet festivals around the world, including a prestigious invitation in 2011 to work with clas- sical trumpet maestro Håkan Hardenberger and the Swedish Wind Orchestra. Ingrid plays a custom Monette trumpet, built personally by the master builder Dave Monette. Her relationship with Dave has inspired numerous performances at the shop in Portland and generated collaborations with fellow Monette art- ist, Adam Rapa, as well as John Henes, a specialist in the Ale- xander technique for brass players. One of Ingrid’s most frequent and closest collaborators is her sister, the saxophonist and com- poser Christine Jensen. In addition to Christine’s Jazz Orches- tra, they co-lead the group Nordic Connect with pianist Maggi Olin. Ingrid and Christine are currently working toward record- ing their newest small group venture with the brilliant guitarist Ben Monder. Ingrid is also working on an electric project with keyboardist, Jason Miles, set for release in Spring of 2015. For more information please visit www.ingridjensen.com.

Anat Cohen clarinet, soprano saxophone «Anat does what all authentic musicians do: She tells stories from her own experiences that are so deeply felt that they are very likely to connect listeners to their own dreams, desires and longings.» (Nat Hentoff)

Clarinetist-saxophonist Anat Cohen has won hearts and minds the world over with her expressive virtuosity and delightful sta- ge presence. Reviewing one of Anat’s headlining sets with her quartet at the North See Jazz Festival, DownBeat said: «Cohen not only proved to be a woodwind revelation of dark tones and delicious lyricism, but also a dynamic bandleader who danced and shouted out encouragement to her group – whooping it up when pianist Jason Lindner followed her clarinet trills on a Lat- in-flavored number. With her dark, curly, shoulder-length hair swaying to the beat as she danced, she was a picture of joy». The Jazz Journalists Association has voted Anat as Clarinetist of the Year eight years in a row, and she has topped both the Crit-

39 ics and Readers Polls in the clarinet category in DownBeat mag- azine every year since 2011. That’s not to mention years of being named Rising Star in the soprano and tenor saxophone catego- ries in DownBeat, as well as for Jazz Artist of the Year. In 2009, ASCAP awarded Anat a Wall of Fame prize for composition and musicianship, among other honors. Earning this acclaim, Anat has toured the world with her quartet, headlining at the New- port, Umbria, SF Jazz and North Sea jazz festivals as well as at such hallowed clubs as New York’s Village Vanguard and at Co- lumbia University’s prestigious Miller Theatre. In March 2015, Anzic Records releases «Luminosa», her seventh album as a bandleader. «Luminosa» sees Anat play singing, dancing originals, interpret Brazilian classics by the likes of , and even re-imagine electronica as acoustica with an ingenious arrangement of a Flying Lotus tune. Members from Anat’s tour- ing quartet – keyboardist Jason Lindner, bassist Joe Martin, drum- mer Daniel Freedman – appear on the album, as do guest guita- rists and Gilad Hekselman, percussionist Gil- mar Gomes and the Brazilian players of her new band Choro Aventuroso. «Luminosa» encapsulates the description Jazz Po- lice offered of Anat in full flight:«She becomes a singer, a poet, a mad scientist, laughing – musically – with the delight of reach- ing that new place, that new feeling, with each chorus». Along with interpreting several Brazilian numbers – two choro pieces and a trio of Nascimento songs – the album features multiple originals by Anat, including compositional tributes to Brazilian guitar great Baden Powell and the inspirational founder of the , George Wein. «The sound of «Luminosa» reflects my musical life in New York City», she explains. «I flow between modern and traditional jazz, between samba and cho- ro – all maybe in a week’s time. The title is Portuguese for lumi- nous – something shining, especially in the dark. To me, music is a luminous experience. Whenever I’m immersed in it, life lights up for me, no matter what else is going on». The new «Luminosa» follows Anat’s acclaimed Anzic release from 2012, «Claroscuro», which takes its title from the Spanish word describing the play of light and shade (chiaroscuro in Ital- ian). The album showcased Anat’s fluency in a global set of styles,

40 Anat Cohen photo: Augusta Sagnelli from creolized New Orleans chanson and the evergreen swing of an Artie Shaw tune to African grooves and Brazilian choro, samba and more. Playing clarinet, bass clarinet and tenor and soprano , she was joined in the studio by her quar- tet, plus such special guests as trombonist/vocalist and star clarinetist Paquito D’Rivera. Reflecting on the naturally communicative, one-take spontaneity of the album, Anat said: «I was playing with some of my favorite musicians in the world, and we all speak a common language, no matter where we come from». DownBeat gave Claroscuro four-and-a- half stars out of five, praising its «effervescence» and «deeply resonant» qualities, with the review concluding that «this multi- faceted woodwind player only gets better». Also taken by the record’s ebullient, irresistible variety, All About Jazz declared about Anat: «She’s one of a kind». Anat was born in Tel Aviv, , and raised into a musical fam- ily. She attended the Tel Aviv School for the Arts, the Thelma Yellin High School for the Arts and the Jaffa Music Conservatory. Jazz captured the youngster’s imagination, and she thrilled to record- ings by Louis Armstrong and Sidney Bechet, Benny Goodman and Dexter Gordon, John Coltrane and Sonny Rollins. Anat be- gan clarinet studies at age 12 and played jazz on clarinet for the first time in the Jaffa Conservatory’s Dixieland band. At 16, she joined the school’s big band and learned to play the tenor saxo- phone; it was this same year that Anat entered the prestigious Thelma Yellin school, where she majored in jazz. After graduation, she discharged her mandatory Israeli military service duty from 1993-95, playing tenor saxophone in the Israeli Air Force band. Through the World Scholarship Tour, Anat was able to attend the Berklee College of Music in Boston, where she not only honed her jazz chops but also expanded her musical horizons, develo- ping a deep love and facility for various Latin music styles. Fel- low Berklee students who hailed from Latin and South American countries were inspirational for the young musician: «Hearing them play the samba of Brazil, chacarrera of Argentina and cum- bia of Colombia, I loved those rhythms immediately and was drawn to playing them myself», Anat says. «The flowing Latin rhythms opened up a whole world of groove to me – and added

42 new layers of expressivity in my jazz playing». During her Berk- lee years, Anat visited New York City during semester breaks, making a beeline for the West Village club Smalls to soak up a melting pot of jazz, contemporary grooves and world music in a scene that included such future collaborators as Jason Lindner, Omer Avital and Daniel Freedman. Back in Boston, she played in myriad contexts and bands, including Afro-Cuban, Argentin- ean, klezmer, contemporary Brazilian music and classic Brazilian choro. Moving to New York in 1999 after­ graduating from Berk- lee, Anat spent a decade touring with Sherrie Maricle’s all-wom- an big band, The Diva Jazz Orchestra; she also worked in such Brazilian groups as the Choro Ensemble and Duduka Da Fonse- ca’s Samba Jazz Quintet, along with performing the music of Louis Armstrong with David Ostwald’s Gully Low Jazz Band. Anat soon began to bend ears and turn heads; whether playing clarinet, soprano saxophone or tenor saxophone, she won over the most knowing of jazz sages: Nat Hentoff praised her «burst- ing sound and infectious beat», Dan Morgenstern her «gutsy, swinging» style, Ira Gitler her «liquid dexterity and authentic feeling», and Gary Giddins her musicality «that bristles with in- vention». Establishing her own Anzic Records label in 2005, Anat kicked off her discography as a bandleader with «Place & Time», a small-combo session of mostly original tunes that was named one of the year’s best debuts by All About Jazz. Her two ambi- tious releases of 2007 – «Noir» (presenting Anat with a jazz or- chestra) and «Poetica» (a chamber-jazz feature for her clarinet) – led The New York Times to enthuse over her «warm, singing tone». Beautifully arranged by Oded Lev-Ari, «Noir» saw Anat front a large ensemble in numbers from «Cry Me a River» to a medley of «Samba de Orfeu» / «Strutting with Some Barbecue» to the Sun Ra ballad «You Never Told Me That You Care». «Poeti- ca» drew from a world of music – popular melodies from Israel, a Jacques Brel song and John Coltrane’s «Lonnie’s Lament», with a mix of jazz quartet settings and pieces arranged for Anat with string quartet by Omer Avital. Both albums appeared on many year-end best of 2007 lists, including those of JazzTimes, Slate and Paste magazines. The Village Voice spoke of Anat’s

43 «enviable insouciance» and how «she alludes to the mystical in a merry way», while DownBeat declared: «‹Noir› could be a clas- sic» and added that Anat’s «unforced elegance on clarinet could take her to the top». The Washington Post said: «Cohen has e- merged as one of the brightest, most original young instrumen- talists in jazz with a distinctive accent of her own». Anat’s 2008 release, «Notes from the Village», was a showcase for her multi-reed talents in quartet and quintet settings, with the album featuring such original Cohen compositions as the one-world tribal dance «Washington Square Park» and sweetly, gorgeously playful «Lullaby for the Naïve Ones» alongside inter- pretations that again reflect the leader’s wide enthusiasms – from Fats Waller’s «Jitterbug Waltz» and John Coltrane’s ­«After the Rain» to Ernesto Lecuona’s «Siboney» and Sam Cooke’s «A Change Is Gonna Come». In its review, The New York Times said: «‹Notes From The Village› is a resounding confirmation – yes, she is the real deal». DownBeat awarded the album four stars, stating that «Cohen makes it seem easy, mixing a gift for mel- ody with an improvisational fluidity that has few peers today». And All Music Guide pointed out: «What makes Cohen’s music so special, aside from the high level of musicianship, is her fer- tile imagination. Through all of her efforts as a leader, there’s hardly a speck of filler, but rather a wealth of ideas and the de- sire to expand the purview of her instrument beyond putative traditional swing». In 2009, Anat became the first Israeli to headline at the Village Vanguard, the setting for perhaps the most celebrated live re- cordings in jazz history; the occasion yielded the 2010 release «Clarinetwork: Live at the Village Vanguard», which captured the leader paying tribute to Benny Goodman and leading a hard- swinging combo with all-stars Benny Green, and Lewis Nash. Calling Anat «one to watch», National Public Radio underscored the contemporary approach the group took to the Goodman book: «Cohen and company treat 1920’s and 30’s material with a relatively free hand; when they get rolling in ‹Sweet Georgia Brown›, her rhythm section echoes the thun- der of John Coltrane’s quartet». In its glowing review, All About Jazz singled out the performance of St. James Infirmary, saying:

44 «Cohen reaches a state of musical ecstasy as her clarinet moans, sighs, soars and wails with passion and emotion». Anat has also recorded four acclaimed albums as part of the 3 Cohens Sextet with her brothers, saxophonist Yuval and trumpe- ter Avishai: 2003’s «One», 2007’s «Braid», 2011’s «Family» and 2013’s «Tightrope» (with the last three released by Anzic). Decla- red All About Jazz: «To the ranks of the Heaths of Philadelphia, the Joneses of Detroit and the Marsalises of New Orleans, fans can now add the 3 Cohens of Tel Aviv». The 3 Cohens band has toured from across the U.S. and Europe to Brazil and Australia, including headlining the Village Vanguard and Carnegie’s Zankel Hall. The three siblings – with Anat the middle child to the elder Yuval and younger Avishai – graced the cover of the January 2012 issue of DownBeat, and among the international acclaim for the recent Tightrope was the Financial Times marveling over its «emotional sweep». The album features the 3 Cohens improvi- sing as an a cappella horn choir as well as teaming with such special guests as and Christian McBride. About the special rapport she has with her brothers, Anat says: «We can talk without talking. Often, we don’t even have to look at each other onstage. We have such history together that we feel each other through the music». Several recordings by the Choro Ensemble feature Anat’s clari- net as a key solo voice, including the 2007 Anzic album «Nosso Offrir la musique Tempo». She has added solos to albums by guitarist («I Remember Django»), drummer Teri Lynne Carrington («The Mosaic Project»), singer Ann Hampton Callaway («Blues in the Night»), percussionist («Beat the Donkey» et partager la joie! and «Infinito»), trombonist-vocalist Wycliffe Gordon («Hello, Pops!»), singer Lila Downs («Shake Away/Ojo de Culebra»), pianist Jason Lindner («Now vs. Now» and «Live at the Jazz Gallery», both Le financement des projets de la Fondation EME on Anzic), the Quintet («Samba Jazz in Black and White»), Sherrie Merricle’s Diva Jazz Orchestra («Live in dépend exclusivement des dons privés, Concert»), pianist Jovino Santos Neto («Veja o Som»), singer aidez-nous à agir! Amy Cervini («Digging You, Digging Me: A Tribute to Blossom Dearie» and «Jazz Country», both Anzic) and singer Melissa Stylianou («Silent Movie» and «No Regrets», both Anzic), among many others. With Anat as executive producer, Anzic has also IBAN: LU81 1111 2579 6845 0000 BIC: CCPLLULL www.fondation-eme.lu 47 released albums by the 3 Cohens, Avishai Cohen, Yuval Cohen, Third World Love, Duchess, Hilary Gardner, Joel Frahm, Joe Mar- tin, Omer Avital, Daniel Freedman, Eli Degibri, Duduka Da Fon- seca, Ernesto Cervini and the Waverly Seven. Anat collaborates regularly with one of her heroes, Cuban-Ame- rican clarinetist-saxophonist Paquito D’Rivera, who introduced her onstage at Dizzy’s Club Coca-Cola in the Jazz at Lincoln Cen- ter complex as «one of the greatest players ever of the clarinet». Having first appeared at the Newport Jazz Festival in 2007, she had the honor of being the music director for the Newport Jazz Festival Now 60! all-star band that toured the U.S. on the occa- sion of the festival’s 60th anniversary in 2014. Anat is a fixture on the New York scene at such clubs as Birdland, starring in a re- cent tribute to the music of there, among much else. Anat has also appeared in New York at the Village Vanguard, Jazz Standard, Blue Note, Iridium, Joe’s Pub, Greenwich House and the Jazz Gallery, as well as other top clubs across the coun- try and around the world – Yoshi’s in San Francisco, Blues Alley in Washington, D.C., Regatta Bar in Boston, the Sunset in Paris, Bimhuis in Amsterdam, Jazzclub Fasching in Stockholm, A Trane in Berlin and Zappa in Tel Aviv. She has performed at Carnegie Hall, Lincoln Center and Symphony Space in New York, along with Washington, D.C.’s Kennedy Center, Newark’s New Jersey Performing Arts Center, Boston’s Berklee Performance Center, the ORF-Kulturhaus in Vienna and Belgrade’s Kolarac Hall in Ser- bia. The world’s great jazz festivals have invited Anat to perform, including the JVC, Newport, Chicago, Monterey, New Orleans Jazz & Heritage, SF Jazz (San Francisco), Playboy (Los Angeles), Duke Ellington (Washington, D.C.), Montreal, Copenhagen, Jazz a Vienne, Umbria, North Sea (Netherlands), Tudo e Jazz (Brazil), Caesaria (Israel) and Zagreb Jazzarella festivals. Her performanc- es have been broadcast internationally, including by WBGO, WFUV, WNYC and NPR in the U.S. and Radio Netherlands, ORF (Austrian Radio), SR (Swedish Radio) and Radio Bremen (Ger- many). As the Chicago Tribune says about Anat, «The lyric beauty of her tone, easy fluidity of her technique and extroverted manner of her delivery make this music accessible to all». Leading up to

48 March 17, 2015, release of «Luminosa» and beyond, Anat will be bringing her charismatic stage performances again to music lov- ers around the globe, including a five-night March 4-8 stand at New York City’s Jazz Standard. She says: «Any day when I get to share music with people – other musicians, an audience – feels like a celebration to me». — Bradley Bambarger For more information on Anat Cohen, including tour dates, ­music samples, photos, video and more, go to www.anatcohen.com

49 La plupart des programmes du soir de la Philharmonie sont disponibles avant chaque concert en version PDF sur le site www.philharmonie.lu

Die meisten Abendprogramme der Philharmonie finden Sie schon vor dem jeweiligen Konzert als Web-PDF unter www.philharmonie.lu

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