Press Kit Index

PRESS KIT INDEX

P.2 DownBeat (**** star review) P.4 JazzTimes P.5 Aberdeen News (Howard Reich Best Of 2011) P.6 NYC Jazz Record P.7 Jazz Journal P.8 Jazz Police P.10 Step Tempest P.12 Financial Times P.13 O's Place P.14 Lucid Culture P.15 MidWest Record P.16 Blog Critics P.19 TMS9-3-jazz P.20 Jazz Magazine (French) P.21 Evasion Mag (French) P.25 Jazz Thing (German) P.26 Jazz Podium (German)

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aberdeennews.com/entertainment/sc-ent-1130-best-jazz-recordings-20111203,0,1878606.column aberdeennews.com Zenon, Adasiewicz, Lage top best jazz list

Howard Reich

Arts critic

December 3, 2011

The jazz year produced recordings of tremendous vitality, advertisement creativity and intellectual heft.

Miguel Zenon, "Alma Adentro: The Puerto Rican Songbook" (Marsalis Music): Alto saxophonist Zenon has been exploring music of his Puerto Rican heritage for years, but with "Alma Adentro" he arrives at a remarkable musical nexus: the place where jazz improvisation, Puerto Rican popular song and quasi-classical orchestration converge.

Julian Lage Group, "Gladwell" (Emarcy): If anyone doubted the promise of guitarist Lage, his sophomore CD conﬁrms it. Transcending speciﬁc jazz languages, avoiding conventional instrumentation and stressing beauty of sound above all else, Lage and his quintet produce a richly lyrical music that's as surprising as it is inevitable.

Jason Adasiewicz's Sun Rooms, "Spacer" (Delmark Records): Chicago vibraphonist Adasiewicz is reconceiving the way his instrument is played, but that addresses only part of the appeal of his newest CD. Just as important, Adasiewicz has extended the sonic impact of a trio — without relying on mere decibels.

Jean-Michel Pilc, "Essential" (Motema): One of the towering jazz pianists of this era, Pilc offers a degree of virtuosity, tonal control and improvisational imagination few can match.

Joe Lovano, "Bird Songs" (Blue Note Records): In revisiting works of Charlie Parker, saxophonist Lovano's "Bird Songs" captures the headlong rhythmic momentum and deep-blues expression at the heart of Bird's works. But Lovano transforms Parker's aesthetic as well.

Aaron Goldberg and Guillermo Klein, "Bienestan" (Sunnyside Records): The unlikely partnership of Goldberg on piano and Klein on Fender Rhodes keyboard yields surprisingly sonorous results. Guest solos from saxophonists Miguel Zenon and Chris Cheek only enhance the keyboardists' appeal.

Jason Stein Quartet, "The Story This Time" (Delmark Records): The bass clarinet does not ﬁgure prominently in jazz, but it hasn't had many champions as ardent or accomplished as Stein. Here he presides over music that leaps fearlessly from classic bebop to up-to-the-minute avant-garde and back.

Matthew Shipp, "Art of the Improviser" (Thirsty Ear): To mark his 50th birthday, pianist Shipp released this double CD, a colossal statement summing up his free-ranging experiments as improvising soloist and ensemble player.

Jane Bunnett & Hilario Duran, "Cuban Rhapsody" (Alma Records): Saxophonist-ﬂutist Bunnett has devoted much of her career to the music of Cuba, and pianist Duran was born and raised in its musical culture. Together, their recording weaves gracefully among Cuban classical, jazz and dance idioms.

Tom McDermott, Evan Christopher, "Almost Native: Music from New Orleans & Beyond" (Threadhead Records):

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Jazz Police - Jean-Michel Pilc: Alone and Together Essential (... http://www.jazzpolice.com/content/view/9796/79/

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Main Menu Friday, 30 September 2011 Home Jean-Michel Pilc: Alone and Together Essential (Motema New and Notable 2011) Threedom (Motema, 2011) Photo Galleries CD/DVD/Book Reviews Written by Andrea Canter, Contributing Editor Interviews Friday, 30 September 2011 SF Bay Area Chicago Los Angeles New York Twin Cities, MN More Cities Festivals News eJazz news wire AAJ News AAJ CD reviews AAJ articles Arts Journal - Music penguin BBC world MoreOver music biz news New York Times Arts and Culture Travel Guides Road Guide Regional NPR News NPR Jazz NY Times Travel News Essential Arts Issues Institute for Global Now an American citizen, self-taught pianist Jean-Michel Pilc grew his reputation Communications Jazz on Wikipedia with such big leaguers as Roy Haynes, Michael Brecker, Chris Potter and Harry Contact Belafonte. He then began a continuing relationship with bassist Francois Moutin and Follow Jazz Police on drummer Ari Hoenig, compatriots on trio releases led by both Pilc and Honig. With Twitter a technique that conjures none less than Art Tatum and Oscar Peterson and an Youtube tagged imagination that is entirely his own, Pilc’s live performances typically leave an audience breathless and light-headed, whether he’s free-associating through a JAZZ cover or original composition. One minute he spins gold filigree with a brush of his fingertips, and the next he launches an all-out assault with flying palms in a sudden burst of pugilistic fury. Or he ducks inside the piano, finding the hidden orchestra that allows him to coax elegant melodies without actually striking a single key. Consistently excelling as a soloist and trio partner, as a composer and performer, Pilc’s standing as one of his generation’s best at all of the above is solidified by two recent releases on Motema Records. Today's top ten jazz downloads Essential (Jean-Michel Pilc, Motema, 2011) JP Archive Add Jazz Police button to The solo Essential is part of Motema’s Piano Culture series of “extraordinary solo your google toolbar Beloved and small ensemble acoustic piano performances,” recorded at the Fazioli Piano Toni Morrison Loft at the Union County Performing Arts Center in Rahway, NJ, part live, part in New $10.20 private session. Eighteen tracks, most under 4 minutes, feature original Best $1.03 compositions (including a series of six “Etude-Tableau” tracks) and revised standards from Ellington, Strayhorn, Jimmy McHugh, Miles Davis, Kurt Weill and search... Privacy Information more. An enhanced version includes video. Latest News Of the covers, Pilc introduces “Caravan” with thundering left hand chords and what Jean-Michel Pilc: Alone and Together sounds like some inside-the-piano twangles as if tapping out a melody on ukulele, Essential (Motema continuing for two full minutes before offering angular suggestions of the familiar 2011) Threedom theme. In less skillful hands, the subsequent array of intervallic leaps, thrusts, (Motema, 2011) cascades and staccato somersaults might add up to a virtuosic mess, yet Pilc Bill Charlap at the manages wrap his gifts into a logical, exciting package of surprises. It’s a “Caravan” Village Vanguard like no other--symphonic, dark and brooding one moment, sweet and delicate the 9/27-10/2 & next. He fractures the rhythm and distorts the harmonies of “Some Day My Prince 10/4-10/9 Will Come,” adding a wistful gloom, while his “Take the A Train” is a maniacal Blooming Center for blues on the rails. “Too Young to Go Steady” highlights the essentials of melody, the Arts Presents again playing up the minor harmonies, while a similar approach to “I Remember “Swing Set” - October 2nd You” transforms the song from loving memory to mournful regret, punctuated with Wayne Shorter at

1 of 3 9/30/11 11:42 AM Jazz Police - Jean-Michel Pilc: Alone and Together Essential (... http://www.jazzpolice.com/content/view/9796/79/

sudden tempo changes Herbst Theater, and shifts from right to October 2nd John Clayton Bows High Yielding left-handed melody. With the JazzMN Stock Picks Lyrics would seem Orchestra, October 13 Dividend superfluous. The 1st Paying Stocks traditional “Scarborough Free Rhythm Section from The Motley Fair” is cloaked in Workshop with Butch Fool. Learn to mystery, a bit dark but Miles, October 8 Invest Right! suggesting adventure in Wynton Marsalis, Jazz at Lincoln Fool.com Pilc’s high-noted swirls and underlying Center at Orchestra deep-toned bass chords. Hall, October 2 Jazz & Rock “So Many “Blue in Green” cleverly Piano Lessons Possibilities” -- Fun and weaves in riffs from Nancy Harms’ affordable. All “Some Day My Prince Will Homecoming at the Come” and, the brightest ages/levels Artists Quarter, of his covers, “Mack the Lessons at my September 30th Knife” has a decidedly Username studio or your Monkish flavor that seems home. a good fit to the story. (If Password www.PkSlopePiano.com Monk and Tatum had ever Futures Charts collaborated, this might be the result?) Jean-Michel Pilc©Andrea Canter Remember me & Quotes Login Receive Free Pilc’s opening “J & G” has a church-bell chime melody, gently and majestically Lost Password? Futures Market heralding the rest of the recital. Conjoining Chopin’s “Waltz N. 3 in A minor with Tools. Charts, his own “Three Four Too,” Pilc reflects his classical influences, giving Chopin a dark Quotes & News. romantic reading laced with 21st century harmonics and ruminating ideas. The Sign up Now! original title track feels Ellingtonian while cast in futuristic shades, rich and lacey, www.MFGlobal.com/Futures melodic yet unpredictable. “Sam” hints of Jarrett in its bluesy country feel and delicate rendering. The core of his original compositions, the “Etudes” feel like brief exercises in imagination as much as technique, often hinting at something Piano Lessons familiar – #1 suggesting “Centerpiece” in its swing feel and melodic fragments; #2 at Home based on echoing notes and repeating lines with nursery rhyme motion; #3 a sad All Instruments - ballad; # 4 quick and bright like a songbook standard in double time with repeating All Ages. Get a storylines; #5 at ballad tempo, elegant, beautiful and melancholy with Chopinesque 100% Risk Free cascades awakening interest; # 6 songful with strong melodic elements suggesting a Trial Lesson! standard at the heart of it all. www.usamusicschool.com There may be some standards at the heart of it all, but Essential is essentially Jean-Michel Pilc taking us all for a glorious, if sometimes obtuse, ride with one of the most imaginative pianists and composers on the current jazz scene.

Threedom (Pilc/Moutin/Honig, Motema 2011)

Sometimes the origin of an album title is elusive, but not here. Threedom readily conjures the spirit of this recording, three equal partners freely interacting, be it on compositions of their own invention or in dismantling formerly familiar covers from the likes of Miles Davis, John Coltrane, Charlie Parker, Charlie Chaplin, Duke Ellington and the Gershwins. Similar to the construction of Pilc’s solo Essential, the components of Threedom are all offered in relatively small doses, with 18 tracks Threedom filling the total.

The collaborative compositions share an underlying elegance, often dark or at least a bit dusky. “Morning” is a little countrified tune, a walk through a garden on a spring morning, Moutin’s voicings and contra-beats giving this a slight edge as if some clouds are on the horizon. “Birth” unfolds slowly with the majesty of a hymn, filled with Moutin’s gorgeous, deep basslines and Hoenig’s ever so gentle cymbals. “Slow” finds Pilc executing repeating tinkle chords over Moutin’s ominous undercurrent and Hoenig’s restless punctuations; danger lurks but the mystery never resolves. “Touch” moves quickly as Moutin drives erratically and Hoenig sputters the pulse (by hand?), Pilc gathering his zinging resources from under the hood.

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SUNDAY, MAY 15, 2011 FOLLOWERS The Professor Sells Out + CD Pick Firehouse 12, 45 Crown Street in New Haven, presents Anthony Braxton's newest project, a septet venture that carries the sobriquet Echo Echo Mirror House. The good Professor (playing saxophones and clarinets for these shows), who has been on the faculty of Wesleyan University for over 2 decades, has written new music for conventional instruments and musicians wielding iPods. Joining him will be Aaron Siegel (percussion), Carl Testa (bass, bass clarinet, electronics), Mary Halvorson (guitar), Jessica Pavone (viola, violin), Jay Rozen (tuba) and Taylor Ho Bynum (cornet).

BLOG ARCHIVE All the advance tickets for both the 8:30 and 10 p.m. shows have been sold ! 2011 (72) out (and have been for a good long time) so the folks at the Firehouse suggest ! June (11) you write ([email protected]) or call (203-785-0468) to get your name on the waiting list. To get more information, go to ! May (16) www.firehouse12.com. The Divine Ms. P + A Bone to Pick for the CD of th...

Pianist/scientist Hey Ms. or Mr. Bass Person Jean-Michel Pilc has Interviews, Musicians and Writers issued his second solo CD, "World" Music "Essential" (Motéma); the 18 tracks (just under 67 minutes) run Firehouse 12 Brings on the Bass + CD Picks the gamut from standards ("Caravan", "Take The A Intimate, Creative and, often, Train", "Too Young To Go Calming Steady" and more) to the "Waltz Modern Grooves in A minor" by Chopin to a 6-part Hands & Brass

1 of 3 1/1/12 8:36 PM Step Tempest: The Professor Sells Out + CD Pick ﬁle:///Users/jeanmichelpilc/Prou/Press 2011/Essential Review St...

series of "Etudes" and beyond.) Much of this program is quiet and intimate, The Professor Sells Out + CD Pick a lovely series of audio dreams for the end of the day. Even the Ellington and Listening Pleasure Strayhorn pieces are softer and a bit more abstract that one might expect. O, What I Wrote + More Free The music is in no way somnambulance personified. A good example is Music "Caravan" - here, Pilc takes the tune through a number of tempo changes, Potpourri for Spring from a bluesy stroll to an out-of-time romp. "Someday My Prince Will Come" moves easily under Pilc's fingers, with long flowing lines moving in Firehouse 12 Concert + Discovering and around the melody. He even summons up the spirit of Art Tatum at one the "Noble Path... point in his pleasing rendition of "I Remember You." One of the more The Music of Joy impressive pieces is the pianist's abstract on "Blue in Green", slowly Voices of All Sorts unfolding from the opening notes, not hurrying forward but lightly treading Firehouse Smolders, DJA Smokes, on the melody. Maria Ponders + CD... The 6 short "Etudes" ,broken up into numbered "Tableaux", have the feeling of being improvised and, at times. may remind some of the ramblings ! April (10) of Keith Jarrett. Yet, because these are brief, none overstay their welcome. ! March (15) From the rumbling bass lines of "No.1" to the child-like melody line of "..2" ! February (10) to the abstract ballad that is "..3" and on, this is the creative essence of the pianist. He moves gracefully through the pieces (as he does through most of ! January (10) the program) and one feels comforted, almost cuddled, by the generous ! 2010 (89) chords and lilt of "..6." ! 2009 (8)

"Essential" is a title that may raise questions in some listeners' minds about the CD's place in Jean-Michel Pilc's oeuvre (he has issued several other excellent recordings) but it may be that this was the right time for an album A B O U T M E such as this. Don't think about it too much, just enjoy the width and breadth CULTURECREATURE (RICHARD B. KAMINS) of Pilc's talent and artistry. CD buyers get an extra treat with a short video of Pilc at the piano. For more information, go to www.jmpilc.com. VIEW MY COMPLETE PROFILE

Received a note from vocalist Kendra Shank about a courageous and inventive creative musician - read it, follow the link and pass it on.

"I'm singing in this film documentary about guitarist Sangeeta Michael Berardi (pictured left) who, since contracting Parkinson's disease, continues to make music by utilizing his tremors in creative ways. An inspiring man, who has much to teach us about living. You can see the film trailer and donate to the project by clicking on the link below. One of the gift options for those who pledge, is an autographed copy of my CD "A Spirit Free: Abbey Lincoln Songbook." Please direct all inquiries about the project to [email protected]." The link - http://www.kickstarter.com/projects/1033639232 /playing-with-parkinsons-documentary.

POSTED BY CULTURECREATURE (RICHARD B. KAMINS) AT 9:55 PM

2 of 3 1/1/12 8:36 PM Jean-Michel Pilc: Essential - FT.com http://www.ft.com/cms/s/2/0deb2d8e-d769-11e0-bc73-00144fe...

September 10, 2011 12:37 am Jean-Michel Pilc: Essential

By Mike Hobart

The pianist’s rococo technique is held in check to serve the imperatives of thematic development on this live solo recording

he French-born New Yorker’s rococo technique is something of a trademark, but T on this live solo piano recording, it is held in check to serve the imperatives of thematic development.

Centrepieces are the thoughtful original improvisations of the sombre, blues-tinted title track and the six demanding “Etude Tableaux” (No 4 is viewable on video-enhanced CD).

Pilc’s imagination remains intact, bringing the introduction of “Caravan” vividly to life with deadened notes, shrouding “Blue in Green” in mist and delivering a playfully off-centre “Mack the Knife”.

Jean-Michel Pilc

Essential

(Motéma Music)

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at seven of them with his dre’s art is an art of en- quintet The Inside Straight. counters. It would be Off the Record First spotted almost two pointless to list all of these decades ago within the in her vast discography, contingent of Young Lions, unless one had many Festival spins this dyed-in-the-wool pages to fill. A worthy ad- by MARC CHÉNARD, FÉLIX-ANTOINE mainstream jazzer fully dition to the list is the fol- HAMEL, ANNIE LANDREVILLE & demonstrates his alle- lowing album: in it, she ALAIN LONDES giance to the genre in this album, released two shares the spotlight with Nicole Mitchell, one of years ago. It swings in tic toc time, blue notes are in Chicago’s most consistently fascinating musicians Randy Weston and his African Rhythms Sextet: The no short supply, heads are played cleanly, and solos and a flautist of increasing reputation, and Dylan Storyteller stick close to the forms and typecast harmonies, all van der Schyff, the quintessential improvising per- Motéma 2011 of which ensure guaranteed results. Because of cussionist from Vancouver. Recorded at that city’s ####$$ this, it’s difficult to single out any one piece, though jazz festival in July 2009, this threesome displays a the last cut, and only real ballad of the disc, is basi- formidable virtuosity and a great sense of interac- “The Storyteller” is a most cally an arco bass feature, albeit a very cautious one tion on four improvisations (the first running 17 appropriate title for this by the leader. But there is one particularity to the minutes, the other three between 7 and 9 minutes). live performance recorded album, and not really a musical one: The artist’s site Léandre sometimes launches into some frenetic es- at Dizzy's Club in New York indicates that this recording is available on vinyl or, capades, while Mitchell displays a technique that in December of 2009, for it alternatively, as a downloadable. Dust off your is at once ancestral and resolutely modern; Van der demonstrates Randy We- record players, folks, or plug in your iPods. MC Schyff, in contrast, plays the role of the discreet ac- ston’s eloquence as a mu- complice, adding judicious comments to the con- sical poet. What makes it Jean-Michel Pilc: Essential versation. In his liner notes, written in a semi-poetic extra special is the presence of trombonist Benny Motéma 181212000610 (www.motema.com) style unique to French critics, Alexandre Pierrepont Powell, who passed away just six months later. ####$$ repeats the following phrase three times, once for Starting off with a delicate solo piano meditation Since the New Year, French each musician: “Never one voice above the others, in honour of the legendary percussionist Chano all voices fan-shaped in the presence of oneself and Pozo, Weston pursues the Afro-Cuban theme in the native pianist and long- time New York resident the other.” As idealized or utopian this vision of im- next cut, African Sunrise, a rich collection of spinets provised music may be, it is very much relevant culled from Gillespie's repertoire commissioned for Jean-Michel Pilc has when applied to this musical meeting. FAH the 1984 Chicago Jazz Festival as a tribute to Dizzy turned over a new leaf, so to speak, by switching Gillespie and the Machito Orchestra. Through his See p. XX for concert schedule. travels to Nigeria in the early 60s, Weston im- record labels, and this just recently released solo outing marks his debut on mersed himself in its traditional and popular Darcy James Argue’s Secret Society: Infernal Machines the Motéma label. Here, the keyboardist offers a music, and the three-part African Cookbook Suite New Amsterdam records NWAM017 www.newamsterdamrecords.com program of 18 little nuggets that could be qualified heard on this recording translates his impressions ####$$ of his journeys. Of the pieces on this 70-minute as jazz bagatelles. Those familiar with this musi- The almost tribal-like per- plus release, The Shrine has to be one of the (if not cian’s previous work know him by his utterly un- cussion of Jon Wikan the) most spiritual: Quiet conversations ensue be- predictable turns of phrase, which he applies to heard at the opening of tween the piano, flute and trombone, though We- great effect on well-worn evergreens. While the trio this disc serves as a kind ston has the last say in communicating with other remains his preferred vehicle of expression, he of gateway to some ob- realms transcended by the rest of the band. Lis- takes the solo spotlight to himself on this outing scure secret society har- tening to the closer, Love, The Mystery Of, one is equally divided between standards and originals, bored on the blog of its struck by the closeness in feel and texture to a tune only two of which exceed the five-minute mark. At leader. Staffed by almost called Primitivo played years ago by the Cannon- the center of this disc are six tracks forming a 14- 20 musicians, among whom trumpeter Ingrid ball Adderley sextet with Yusef Lateef on flute and minute suite entitled “Etude Tableau”. Both here Jensen is the best known, this New York based or- a deep bass brimming in the background. In this and elsewhere, Pilc is more subdued than usual, chestra delivers a music that wavers between mod- version, T.K. Blue parallels the extended flute se- though he throws off a few unexpected curves, es- ern orchestral jazz and quasi-brass band fanfares. quence accompanied by Alex Blake on bass. The pecially in the opening two tracks, “J& G” and The compositions of the native Vancouverite Darcy sextet takes Weston's signature Hi Fly at a relaxed Ellington’s beloved “Caravan”, the latter savvily de- James Argue draw on several influences, ranging ballad tempo with Powell and Blue and the pianist constructed. Yet, this offering is more contained on from the cartoon strips of Alan Moore to the writ- each taking their turn to improvise around the the whole, and we can certainly accept his side- ings of Pline the Elder or Robespierre and recent po- melody that dovetails into the next track (Fly Hi) tracking. But if it’s those sudden flashes of inven- litical events such as the imprisonment of Maher with some added subtle percussive elements. This tion and hairpin turns in his playing that are most Arar, to whom he dedicates the last piece (“Habeas recording will please fans and new listeners alike, appealing, his upcoming Canadian tour is a great Corpus”). The eclecticism of these references paired who will appreciate the sheer breadth of Weston's chance to see him live, all the more so because he with a solid knowledge of musical history are the musical persona. A fine prelude for his Toronto fes- will be reunited with his long-time band mates François Moutin and Ari Hoenig. (Also of note on main esthetic cornerstones of his ensemble that tival appearance. ALLO this disc, a longer alternate take of “Etude Tableau can be just as powerful and as ethereal, and go In concert: Toronto, June 26. 4“ is included as a visual extra to the sound record- right over the top, as in the skronking solo of gui- ing, a nice bonus that enables us to appreciate lit- tarist Sebastian Noëlle heard on the track “Redeye”. Christian McBride and the Inside Straight: Kind of tle more of the pianist’s savvy.) MC The composer has certainly worked hard at devis- Brown ing the harmonic frameworks of his pieces, and has : Ottawa, June 28; Vancouver, 29, Montreal, July 1. Mack Avenue Records Mack 1047 www.mackavenue.com In concert also succeeded in creating a wide range of moods ###$$$ that draw as much on the big band tradition as jazz Joëlle Léandre, Nicole Mitchell, Dylan van der fusion. To broaden the textures, he also tastefully By the time a new festival season rolls around, Schyff : Before After integrated some electronics, without ever weigh- there are always a couple of bands that seem to hit RogueArt ROG-0032 www.roguart.com ing down the music. At once ambitious in intent the bull’s eye on the national touring circuit. Of this ####$$ and visionary in scope, the project of this young year’s winners, bassist Christian McBride will play As with all masters of improvisation, Joëlle Léan- composer is very much in line with those of similar

Bons plans LE JAZZ A BAUDOT - Participez ! LA SEYNE SUR MER - JAZZ AU FORT NAPOLEON Cinéma - Toutes nos ASSOCIATION ART BOP envies - Tournage aux Embiez - Forces 6 JANVIER 2012 : PHILIPPE Spéciales - Polisse DUCHEMIN TRIO - Les Hommage à OSCAR PETERSON intouchables Belle idée de rendre hommage à ce phénoménal pianiste qu’était Oscar Ecriture - Des artistes et Peterson, et Philippe Duchemin est bien des livres placé pour cela. Quant aux frères Le - Notes de lecture Van on ne les présente plus tant ils font - Des livres partie de la base et de la force des concerts d’Art Bop. Evénement - Fête du livre - Le Rotary 3 FEVRIER 2012 : JULIE BENOLIEL - Théâtre Liberté QUINTET Julie Benoliel, que je n’ai jamais Expos entendue, mène depuis deux ans un duo - Chez Michel ESTADES avec Willy Caïd. Je ne peux donc en - Urushi parler, mais vue la qualité des musiciens - SALVADORI qui l’accompagnent, ce qu’on fait de Festivals mieux dans le coin, et même ailleurs, on - Portraits de peut être assurer d’une belle soirée jazz. femme - Hyères 2011 Et il y a une voix à découvrir.

20 JANVIER 2012 SALUT A GUY Gastronomi LONGNON e Belle idée que de rendre hommage au - O Bai Pie fameux trompettiste Guy Longnon qui - Coeur Chocolat joua avec Claude Luter et Sidney Bechet Musique dans la grande époque du retour et de la - CD et DVD grande aventure du jazz nouvelle-orléans - Le jazz à Baudot dans les années 50/60 ; il créa en 1964 la - Anne DUCROS première classe de jazz en conservatoire en France, et ce à Marseille ! Et son Portraits neveu, Jean-Loup Longnon, qu’on a - Line RENAUD - Mathilda MAY entendu au Fort, est l’un des meilleurs - Rufus trompettistes d’aujourd’hui. Pour les amateurs chevronnés, il suffit de lire la Théâtre liste des musiciens pour voir qu’on y - René RAYBAUD trouve les meilleurs qu’on puisse - Jacques entendre par ici, et ailleurs aussi ! Alors, WEBER - Victor HUGO à ne pas rater.

Tourisme 17 FEVRIER 2012 MARIO - Route des vins STANTCHEV TRIO - Montgolfière - Art et Vin Voici ce que j’écrivais sur Mario Stantchev dans Jazz Hot : Outre ses qualités de pédagogue il est un pianiste remarquable, en pleine maturité. Un toucher délicat avec une attaque franche, un sens rare du groove, une imagination fertile, une technique de virtuose dont il n’abuse pas, privilégiant toujours la musique, l’émotion. C’est aussi un amoureux de la mélodie. Bref un musicien complet et un grand jazzman… Né en Bulgarie il a émigré en France en 1980, parce qu’il n’était pas libre dans son pays. C’est donc un plaisir immense de le retrouver au Fort Napoléon où il est souvent venu, aujourd’hui en compagnie de Sangoma Everett qui a été le batteur du Golden Gate Quartet en 1999 et 2000, puis a joué avec toute le crème du jazz, dont le Niçois Barney Willen, Dizzy Gillespie, Steve Lacy, etc…et même avec Claude Nougaro. On voit l’éclectisme du musicien. Quant au bassiste il se reconnaît les influences de Jaco Pastorius, Scott Lafaro, NHOP, Ron Carter, Stanley Clark, c’est à dire les plus grands ! On connaît aussi ses influences flamenca : voilà donc un beau mélange. Là encore, un concert à ne pas rater. Décidément…nous avons de la chance !

CONCERTS à 21 HEURES 30 : Pas de réservations Renseignements : 04 94 09 47 18 06 87 71 59 30 email : [email protected]

HYERES - 7ième SAISON JAZZ AU THEATRE Une saison de Piano Solo "Pour la 7è année, Jazz à Porquerolles prolonge l’événement sur la saison hivernale du Théâtre Denis. Cette saison le Steinway du Théâtre va frissonner sous les doigts de quelques- uns des meilleurs pianistes de la planète jazz, de Jean-Michel Pilc à Omar Sosa, en passant par Stephan Oliva, Laurent de Wilde ou Joachim Kuhn ! De quoi découvrir ou redécouvrir toutes les nuances et couleurs de cet instrument pas comme les autres… Nous retrouverons également le Tremplin Jazz à Venir les 4 et 5 mai prochain, la quatrième édition de l’unique tremplin consacré aux jeunes jazzmen du Sud de la France." Voici donc une chance unique de voir et d’entendre quelques-uns des grands pianistes de jazz, dont trois français. Le premier à venir sur la scène étant Jean- Michel Pilc ; Pour le présenter à ceux qui n’ont pas le plaisir de le connaître je me permettrai de reproduire ma chronique de son dernier disque « Essential » parue dans Jazz Hot le 31 octobre 2011 :

Jean-Michel Pilc est venu à New York en 1995 où il forma son fameux trio avec François Moutin (b) et Ari Hoenig (dm). On sait qu’il est l’un des grands pianistes d’aujourd’hui, d’une richesse et d’une invention harmonique époustouflantes, à la tête d’une belle discographie. Il est l’un des rares jazzmen autodidactes de cette génération - dans les suivantes il n’ y en a plus - puisque pratiquement tous passent par de grandes écoles, ce qui est inévitable et nécessaire certainement vu l’évolution du jazz, qui en moins d’un siècle est passé d’une musique de l’instinct, de l’émotion, à une musique très savante , à l’instar de la musique classique européenne qui est partie des mêmes prémices, de la monodie aux complexités actuelles en passant par la polyphonie, mais ceci en plusieurs siècles, avec des phares majeurs au long des siècles. Accélération de l’histoire oblige, et puis quand le jazz est né, il y avait déjà eu des Purcell, Monteverdi, Haendel, Bach, Vivaldi, Mozart, Beethoven, Chopin, Wagner, Debussy, Fauré, Poulenc, et quelques dizaines d’autres. Il était inévitable que le jazz évolue et se complexifie avec la rencontre des autres musiques, d’autant que pour sa naissance il doive beaucoup aux musiques européennes. Ce qui n’a rien à voir avec cette bouillie sonore qu’on auréole du mot de « world music ». J’écoute et j’aime les faces les plus complexes du jazz d’aujourd’hui, mais je n’y trouve jamais le même plaisir, la même émotion, qu’en réécoutant les solos du Hot Five et du Hot Seven, les fondements du jazz ; mais peut-être parce qu’il y a plus de 60 ans je suis entré en jazz par Louis Armstrong. Cependant, cette grâce, ce swing, cette puissance, cette sonorité jamais retrouvée, cette générosité du chant humain… Tout cela pour dire que Jean- Michel Pilc résume et porte en lui cette évolution du jazz. Dans sa musique on entend le ragtime, Duke Ellington, Dave Brubeck, Bill Evans, et toute la palette du piano jazz, plus le romantisme et l’impressionnisme ; et c’est impressionnant ! Ecouter ce qu’il fait de standards comme « Caravan », « Someday My Prince Will Come », « Take The A Train », « Blue In Green », « Mack The Knife », c’est inouï, c’est renversant, décapant ! Quant à ses 6 tableaux c’est une merveille de palette sonore. Comme quoi les autodidactes ont toujours été les princes du jazz. Jean-Michel Pilc enregistra en deux soirées en public sur un piano Fazoli F-228 au son ample et cristallin, qui convient parfaitement au phrasé lumineux et détaché du pianiste Le CD se termine par une video live pendant laquelle on voit et entend le pianiste jouer « Etude-Tableau N° 4 », version plus longue (5’ 30) avec une main gauche en ostinato, et bien sûr complètement différente de celle du CD (2’51) qui est plus brisée, avec une main gauche plus rythmique, plus en échange avec la droite. Un disque « essentiel ».

Serge Baudot

Samedi 28 janvier 2012 à 21h : Jean- Michel Pilc Vendredi 17 février à 21h : Joachim Kühn Samedi 17 mars à 21h : Stephan Oliva Samedi 7 avril à 21h : Omar Sosa Samedi 16 juin à 21h : Laurent de Wilde

CONCERTS à 21 HEURES 30 : Pas de réservations Renseignements : 04 94 09 47 18 06 87 71 59 30 email : [email protected]

Serge Baudot

CONCERTS à 21 HEURES 30 : Pas de réservations Renseignements : 04 94 09 47 18 06 87 71 59 30 email : [email protected]

Serge Baudot

CONCERTS à 21 HEURES 30 : Pas de réservations Renseignements : 04 94 09 47 18 06 87 71 59 30 email : [email protected]

Serge Baudot