sábado, dezembro 12, 2015

Early Jarrett

Keith Jarrett é um músico fabuloso e desde que conheci a sua música nos idos dos 70's não deixei de seguir o seu trabalho e de frequentemente me fascinar com o que ouvia.
De todo o seu trabalho talvez o disco que mais me impressiona é "Facing You" de 1972, o primeiro dos trabalhos a solo, dos quais o "Koln Concert" viria a ser o mais unanimente aclamado.
Ao tentar recuar na música de Jarrett parei nos Jazz Messenger de Art Blakey e na gravação do tema "Buttercorn Lady" de 1966 (ouver aqui) .

Essa era (até agora) a mais recuada gravação do pianista de que eu tinha conhecimento
Através do post do facebook do meu amigo Artur Guedes fiquei a conhecer uma gravação feita no ano anterior (65) durante uma festa particular em casa do técnico de som Ted Knowlton .
O tema é o standard "Tangerine" e a acompanhar Jarrett estão Danee Fullerton (bateria) e Kent Carter (contrabaixo).
Por esta altura e nesta gravação a linguagem de Jarrett parece-me estar assente num fraseado bebop que poderá remeter para Garland ou, por vezes, Tristano.
Fascinante!




quarta-feira, setembro 23, 2015

Happy BDay dear John Coltrane !

To celebrate John Coltrane's  89th anniversary I'm posting a fresh transcription of the first 4 chorus of Trane's  amazing solo on "Traneing in" from the 1962 European tour .
A great year for Trane's music and a very inspired and intense string of concerts around Europe.
The band is burning and Trane is white hot ! The tune is a blues with a bridge. I'm gathering the courage (and time) in order to finish the transcription of the whole long, beautiful, intense solo...
Listen and learn ! Long live Trane ! 

http://home.uevora.pt/~jmenezes/Traneing%20in%20Coltrane%20Bye%20bye%20blackbird%20solo.pdf 



quinta-feira, setembro 03, 2015

10 regras que vale a pena cumprir

 No começo de mais um ano de ensino e estudo vale a pena relembar as 10 regras para professores e estudantes propostas pela Irmã Corita Kent e muitas vezes atribuidas a John Cage, que, de resto, ajudou à sua divulgação.
A imprimir e colar na parede do quarto/estúdio/sala de ensaio ou o que seja.



quarta-feira, setembro 02, 2015

Aulas privadas 2015/16


 

Estou a aceitar alunos particulares para o ano de 2015/16.

As aulas são presenciais em sala a Campolide (Lisboa) ou por Skype, para alunos de fora de Lisboa.

As aulas de Saxofone-Jazz são individuais e destinam-se a alunos de nível médio ou avançado, ou que pelo menos, tenham contacto com o instrumento há mais de 4/5 anos 

[Alunos de clarinete ou outros instrumentos de sopro serão bem-vindos se já possuírem conhecimentos técnicos considerados suficientes]

As aulas de Teoria de Jazz poderão ser frequentadas por alunos com conhecimentos de Formação Musical que lhes permita classificar intervalos e construir escalas maiores


As aulas de Combo destinam-se a alunos de qualquer instrumento desde que possuam um nível instrumental compatível com a práctica de música em grupo.
Serão abordados aspectos relacionados com interpretação, improvisação, interacção com o ensemble, repertório e outros aspectos relacionados com a tradição do Jazz.





Estas aulas são especialmente dirigidas a:
  • Alunos de qualquer nível que pretendam alargar a sua capacidade de improvisação seja numa linguagem jazzística, pop ou funk.
  • Alunos que, após formação Superior, pretendam aprofundar áreas específicas da Improvisação.
  • Alunos que pretendam candidatar-se a Cursos Superiores de Jazz.
  • A todos os que procuram um ensino estruturado e eficaz.

Sobre as aulas presenciais:
Início na 1ª semana de Outubro
Aulas semanais (individuais, no caso de Saxofone) de 50 minutos.
Apoio extra-aula através de plataforma online.
Abordagem eminentemente prática .
Apoio teórico articulado.
  
Sobre as aulas através de Skype:
Aulas semanais de 30 min.
Apoio extra-aula através de plataforma online.
Horário flexível

 Mais informações através de jose_menezes@yahoo.com 
 

 Curriculo (resumo)
                                        
                   Alguns dos Combos/Big Bands/Workshops que orientei

 

sexta-feira, agosto 14, 2015

Partitura? para quê ?

A interessante questão levantada por um artigo publicado no Huffington Post "Why is Sheet Music Still Considered Necessary for Music Education?" fez-me regressar a um assunto que algumas vezes debati com outros músicos e algumas outras, apenas comigo próprio: a da necessidade de saber ler música para ser... músico.
A primeira vez que debati essa questão com alguém  foi em meados dos anos 70 com um amigo, como eu em início de carreira, que defendia que optaria por nunca estudar formalmente música dado que , em sua opinião, retiraria a "espontaneidade" ao acto de tocar. O argumento fez ressoar em mim dúvidas que até então não existiam. À partida e até aquela data sempre tinha tido interiorizado que para evoluir em qualquer área é necessário estudo. Mas o argumento do meu amigo deixou-me a pensar...
Mais para a frente encontrei outros músicos que - uns orgulhosamente, outros arrogantemente, alguns embaraçadamente - me diziam não saber ler uma partitura. Não só isso parecia não os afectar de todo como, pelo contrário, a música que faziam era muito mais viva, descontraída e aparentemente melhor do que a feita por muitas das orquestras ou grupos de "leitores" que existiam na altura, na cidade. Mas a comparação que sempre pairou na minha mente - a literacia musical e a literacia "literária" (saber ler e escrever) - fez com que sempre achasse impensável não aprender a ler música. Pela minha parte e para além dos fundamentos teóricos que aprendi,  devo muito á paciência e simpatia do pianista e maestro Carlos Machado por me ter ensinado os mil pormenores de que é feita a leitura musical "em tempo real"  ou seja, não no sossego do nosso quarto, livro de solfejo á frente, mas no palco, com o instrumento, tocando  no meio de uma orquestra uma música mais rápida do que os dedos conseguem acompanhar enquanto, por exemplo,  um ilusionista faz sair pombas de um lenço de seda. Foram essas as minhas primeiras tentativas (a maior parte das vezes frustradas) de "ler" música a sério.
Mas voltando ao artigo do Huffington Post e á frase cheia de significado algures transcrita no artigo, uma citação de Elvis Presley : "I don't know anything about music. In my line you don't have to."
A forma como Elvis se coloca no estatuto de entertainer ( e não de músico) revela, a meu ver a lucidez com que ele se via a si próprio, ao que fazia e ao seu estatuto de estrela.. Como entertainer o conhecimento musical não é necessário. É, talvez, até contraproducente... e vem á lembrança a anedota dos músicos de rock e de jazz, dos 3 acordes e das 3000 pessoas... Óbvia mente que ao longo da sua carreira, Elvis necessitou de músicos, e teve-os, dos melhores que o dinheiro podia pagar. Mas (tirando o meu amigo Mário Delgado) quem sabe quem foram Scotty Moore, James Burton, Ronnie Tutt ou John Wilkinson ? Esses, de que dificilmente ouvimos falar, tiveram de reunir ao longo de muitos anos um enorme know-how que fez deles primeiramente  "músicos" e só mais remotamente, "entertainers".
Desvalorizar a literacia musical colocando a questão da sua obsolescência é uma posição que me parece   refletir várias falácias ou mitos muito queridos do show-business ou da sociedade do espectáculo em que (sobre)vivemos .
1º) de que não há bastidores. O show-business  quer fazer-nos  crer  de que tudo o que vemos nos palcos especialmente os de TV é verdade. Abre-se a boca e cantamos maravilhosamente. Pegamos num instrumento e saem melodias fantásticas. Não há técnica, não há dificuldades, não há trabalho de médio e longo prazo. Mito altamente apoiado nos concursos de talentos onde, a nossa vizinha, de um momento para o outro, se transforma em ídolo nacional.
2º) TUDO é entretenimento .Tal qual descrito por Debord ainda nos anos 60, vivemos numa sociedade global em que tudo é espectáculo (concorrentes de reality-show em cenário de guerra!!!)  em que todos somos entertainers. As formas de comunicação de que dispomos, que usamos e de que abusamos colam-nos à pele, quer queiramos ou não, a missão de nos entretermos uns aos outros, situação da qual o facebook é o paradigma. Entretenhamo-nos uns aos outros como ele nos entreteve, poderá ser um slogan de um partido ou religião à escolha do freguês.
3º) A desvalorização do papel das Artes e Humanidades numa sociedade global regulada pela Finança. Para quê estudar Filosofia (ou Pintura, ou Música, ou Linguística, ou...) se isso não dá dinheiro? Ah, bom...estuda Música? e já apareceu na televisão? e a sua página quantos likes têm?
E a sociedade recompensa amplamente ou pune sem perdão o sucesso desse entretenimento ou a falta dele: as grandes fortunas para os grandes entertainers, um grande número de "likes" para os pequenos entertainers, a pena capital do esquecimento para os que não souberam conservar-se em palco.
Se com os concursos de TV todos podemos ser estrelas da canção pop, do canto lírico ou DJ de sucesso, ainda mais facilmente podemos "ser" músicos ou ser percebidos como tal. O que é minimamente recomendado? apenas que na foto do perfil de facebook apareças de instrumento...e já agora que haja alguma credibilidade no "look", apesar da incoerência no look também estar trendy. Como diz o autor do artigo, "Anyone in their garage could bang out a few power chords and claim punk status" . E isso não é apenas verdade para os "power chords" ou "punk status".....outros "chords" e outros "status" são reclamados de formas tão superficiais e igualmente vazias de conteúdo. O que está em causa é precisamente a definição de " músico", definição que há muito deixou de ser validada por uma série de rituais de passagem nos quais estava incluído saber "ler" música.
As visões populistas e anti-intelectuais da sociedade invadem muitos dos aspectos da nossa viva actual, Educação incluída. Este anti-intelectualismo é característico de todas as sociedades autoritárias das quais aquela de que fazemos parte vai manifestando cada vez mais sinais e a literacia musical vai claramente contra essa corrente.
O que dizer da importância de ler ou escrever música quando  canções cada vez mais simples (e más)  geram retorno (público/downloads/mediatismo) cada vez maior número ?
Ler, escrever e improvisar música são, em minha opinião, as três formas de conquistar uma liberdade musical muito mais vasta do que a conseguida por apenas uma dessas capacidades. Reduzir a importância de qualquer delas é reduzir a liberdade.
Para além da ferramenta técnica que representa prefiro encarar a capacidade de ler e escrever música como um instrumento de liberdade, uma ferramenta contra a corrente da sociedade-espectáculo em que (há demasiado tempo) vivemos, uma capacidade que, tal como saber ler o jornal ou escrever uma carta, ajuda a criar em cada um de nós um espaço íntimo de liberdade total e não-negocíavel onde cada um pode sonhar, criar, compôr, ser mais verdadeiramente ele próprio.

sábado, agosto 08, 2015

The World Got (Sax) Talent (I)

Como é que um instrumento como o saxofone é visto pelo grande público? Como é percebido pela cultura de massas? que estereótipos congrega á sua volta? Ou posto de outra forma, o que foi feito do saxofone ?   A imagem do saxofone e do saxofonista foi desenhada em muitos personagens de televisão e cinema criando ou reforçando clichés.   A isso ajudaram nos anos 60, Benny Hill e o imortal tema "Yakety Sax" tocado por Boots Randolph ou o personagem da Pantera côr de rosa e o tema de Henry Mancini tornado clássico pelo saxofone de Plas Johnson. Na década de 70 o Muppett Show de Jim Henson apresentava o saxofonista Zoot que marcou momentos de humor incríveis. Nos anos 80 aparece Kenny Gorelick e a sua forma hiper-açucarada de tocar. A imagem do saxofone nunca mais seria a mesma. O sucesso da música delico-doce de Kenny G tornou-o não só um recordista de vendas como num dos mais odiados saxofonistas da história. Num registo completamente diferente Liza Simpson com o o seu impulso incontrolável para improvisar foi talvez, uma das saxofonistas mais populares dos anos 90's juntamente com "saxophone-heros" como Clearence Clemmons na banda de Bruce Springsteen ou Tim Capello, o saxofonista body-builder que acompanhava Tina Turner em palco. Também nos 90's aconteceu o inimaginável até então: Os EUA tiveram um presidente saxofonista e o instrumento conheceu um pico de popularidade. Clinton talvez não fosse a minha 1ª escolha para o gig mas convenhamos que não deve ser fácil manter ao mesmo tempo uma boa embocadura e a paz no Médio Oriente. Também filmes como New York New York (Scorcese) ou Bird (Clint Eastwood) nos dão refletida a imagem do saxofone e do saxofonista para consumo imediato de grande público voraz de clichés . O novo milénio trouxe consigo um decréscimo do interesse pelo saxofone nas produções pop (coincidente, curiosamente, com um vigoroso renascimento do instrumento no Jazz de todos os quadrantes) mas a figura que sobrai é o do Sexy Sax Man, personagem caricatural, genial e incontrolável criado por Sergio Flores.
Nos últimos anos os programas televisivos de talentos têm revelado muito do que é a cultura musical de massas e, no que respeita ao saxofone, podem também ser elucidativos.
Proponho um apanhado dos momentos saxofonísticos nos "Got Talent" de vários países do Mundo.
Da Albânia à India,do Vietnam a Portugal. Para que serve um saxofone?









India

America

Britain

Vencedor (!!!) do ALBANIA's got Talent 2010



Espanha

The World Got (sax) Talent (II)

Arábia Saudita



Talento Argentino



Indonésia



Tailand's Got it, too

sexta-feira, agosto 07, 2015

The World Got (sax) Talent (III)


Kazakistão



Portugal

Colombia



República Checa

Eslováquia


Dinamarca




Espanha

The World Got (sax) Talent (IV)


Nigeria's Got Talent



Estados Unidos



Filipinas


Sweden Got Talent



Vietnam

Ben Ratliff "Coltrane: The Story of a Sound"

Entrevista de Ben Ratliff autor do livro "Coltrane: The Story of a Sound " á revista Esquire


"In 1957, John Coltrane was a young sax player still figuring out his sound. Ten years later, he was either jazz’s savior or destroyer, and dead from cancer. In his new biography, Coltrane: The Story of a Sound, New York Times jazz critic Ben Ratliff traces the evolution of one of music’s most bewildering titans.

ESQUIRE: For someone who blew a lot of minds, Coltrane seemed incredibly serious and mild-mannered.

BEN RATLIFF: Lots of people have stories about Coltrane and nobody says anything bad about him. He was a very careful and honorable guy, but artistically he was reckless. Alice Coltrane talked about how he would study pictures of cathedrals and somehow play them. I have no idea how that worked, but those were the kinds of things he was thinking about.

ESQ: You also write that he practiced obsessively, even in the twenty-minute breaks between live sets. Isn’t that at odds with what most people think about jazz improvisation?

BR: There’s a myth about any kind of music, and the myth about jazz is that it’s spontaneous, it comes from God, and you just play what you feel. But Coltrane established this new level of preparation and study. He was really into Eastern philosophies and meditation in the late fifties, way before all the free jazz shit was happening and everyone was a Buddhist. He could concentrate for a long time. And he understood that practice makes you a better person, makes music better, makes the crowds more receptive. It’s not at all uncommon now to know jazz musicians who probably study as hard as Coltrane did, but it was unusual then.

ESQ: In April of ‘57, Coltrane is fired by Miles Davis for showing up to shows high. The critics are giving him a hard time. His sound still isn’t together. He’s depressed. And yet, by the end of the year, he’s transformed himself into a major artist. What turned him around?

BR: Well, it was getting off heroin, it was stopping drinking, and he talks about having a religious awakening of some kind. But he also had his apprenticeship with Thelonious Monk, and that put him on an incredible stage, with an amazing band, and set him free to figure himself out as a soloist. Monk would get up from the piano for long stretches and it was up to Coltrane to figure out what he was going to do. So it was like lifting weights, like having an unbelievable trainer for six months, and it really woke him up.

ESQ: As the sixties progressed, his music became more and more unhinged. Instead of songs and melodies, he was playing long, noisy, formless solos. The jazz audience began to desert him. What happened?

BR: The sixties were a tumultuous time. Everything was questioned. And things became so politically identified that all of a sudden there was such a thing as conservative jazz and radical jazz. Some people say he had too much sympathy for these people who were telling him, “Coltrane, your music is going to change the world. You just have to keep going further and further toward freedom.” People were talking this way. I’m not making this shit up. “You don’t want to be shackled by the tyranny of rhythm.” But I can’t believe it’s that simple. Coltrane was a really smart guy. I don’t read him as someone who’s susceptible to flattery to the point where he’ll change everything so he can be down with the young people. I think he just found some of these concepts interesting and figured, “Let’s see what happens.” It’s entirely possible that, had he lived, his music would have come back from space and become more earthbound again.

ESQ: When Coltrane starting playing, jazz was popular music. By the time he died, he had pushed it to places most people weren’t willing to follow. Did he kill it?

BR: I don’t think he’s responsible. Realistically, what happened was rock smothered it. Jazz is a live music, but it’s also a business. If you look at Coltrane’s itinerary as a journeyman player through the early fifties, he’s playing in towns you’ve never heard of. Sewickley, PA. Tululu, LA. Inkster, MI. Every little town had some kind of roadhouse club. But then people weren’t going out to do that anymore. Music became a lot less local and more national and international. And jazz is a really good example of a local art because the more contained it is, the smaller the room, the more spur of the moment the playing is, the better it is. Mass-produced jazz in a big sterile room in the biggest mall in Houston would be terrible, but that would be the most efficient way to get it out there.

ESQ: Why are people scared of jazz today?

BR: I think because it’s serious, because it has a long history, because it has intellectual overtones, but also because it’s sort of earnest. Part of the reason jazz doesn’t fit within pop culture anymore is because it can’t really be self-consciously rebellious and shocking, which is very standard stuff now. And I guess that’s why there’s this cliché that you turn thirty and all of a sudden start to think, “Maybe I should learn about jazz, because now I’m old enough.”

ESQ: What was Coltrane’s greatest contribution to jazz?

BR: He opened it up. A lot of people refer to him as almost the father of world music. He was very early in the trend of American musicians looking to outside cultures. Even before he got into African and Indian music, there was a cheesy exotica sound in the late fifties -- records of bullfighting music, Hawaiian tiki lounge music -- and a lot of that music is ridiculous, but it’s an important chapter in American pop culture. Coltrane was as aware of it as anybody, but he didn’t want to make something that just had the outer trappings of some other culture. He wanted to take ideas from other kinds of music and bring them into himself as deeply as possible. And now everybody is doing this.

ESQ: So why should everyone listen to Coltrane? Give us your best argument.

BR: His work contains most of the well-known ideals of jazz. If you want to know something about swing, his stuff is incredibly swinging. If you’re interested in improvisation, this guy pushed improvisation to the wall. He was the best blues player of his time. He wrote and played incredible ballads. Record companies are still putting out compilations of Coltrane ballads called Coltrane for Lovers or whatever. You can poke fun at the idea, but if you ever listen to one, they’re indescribably beautiful.

ESQ: What’s the album to start with?

BR: I always say Crescent. It has some of the tumult and drive, but also incredibly beautiful music. A masterpiece."

retirado daqui

terça-feira, agosto 04, 2015

The joy of transgression.... sorry, transcription....



More than 700 pages of great solo trumpet transcriptions...
Get it HERE !

sábado, agosto 01, 2015

Frank Zappa - The lost interview

 
 
 
 
 
 
 
 
 

sexta-feira, julho 24, 2015

Lookout Farm live

 
Bootlegs da tour europeia do grupo "Lookout Farm" de David Liebman  (1974/75)
 
David Liebman (sax, flauta)  Richie Beirach (piano),  Jeff Williams (bateria), Frank Tusa (contrabaixo) , Badal Roy (tablas).

Concertos:
  • 1974-09-30 Munich Germany
  • 1974-09-16 Bremen Germany pt 1
  • 1974-09-16 Bremen Germany pt 2
  • 1974-09-16 Bremen Germany pt 3
  • 1974-09-xx Koln Germany
  • 1975-06-08 Hamburg Germany
  • 1975-06-13 Postalua, Bremen Germany
  • 1975-09-21 Tokyo

Material de 1ª !
AQUI

Buy
 
 




quinta-feira, julho 23, 2015

Happy birthday Steve Lacy


Steve Lacy nasceu há 81 anos.
É seu o 1º disco de Jazz gravado ao vivo no nosso país, "Estilhaços" que cairam sobre o decrépito regime marcelista de 1972. Viva Lacy !



terça-feira, julho 07, 2015

Daddy of the Hard Bop Tenor !

Hank Mobley nasceu faz hoje 85 anos.
Personagem na penumbra da história, pouca atenção mereceu por parte dos críticos, editoras ou público mais distraído (A Downbeat só lhe deu atenção em 1970...)
Mas os músicos nunca dele se esqueceram.. Esses, sempre tiveram Mobley como uma das mais importantes referências de estilo e elegância . O Hard-bop não teria sido o mesmo sem ele.
No dia de aniversário de Mobley reuno aqui alguma informação sobre the"Daddy of the Hard Bop Tenor " .



Do thread sobre Mobley no forum organissimo
Postado por "sidewinder"

Hank Mobley In Europe 1968-70

"The circumstances of Hank Mobley's arival in Britain in the Spring of 1968 were far from dignified. Writer John Fordham has recounted how the saxophonist had telephoned the London club owner and fellow musician Ronnie Scott, one of Mobley's most ardent admirers, from Heathrow Airport in the small hours; 'Mobley was sick, broke and physically worn out' Fordham wrote 'and had come to London to seek help from people that he believed appreciated him and his work'. Shortly afterwayrds, in an interview with Val Wilmer, Mobley was accurately described as 'the daddy of the hard bop tenor' in recognition of the ubiquity of his influence upon many modern jazz saxophonists who had emerged since the mid-1950s. Praise for Hank's skills was not only forthcoming from fellow saxophonists, indeed trumpeter Donald Byrd, a partner of Mobley's in the original Jazz Messengers co-op venture, and subsequently a frequent collaborator, spoke for many when he summed up Mobley's importance thus - ' He for me, is just as much a personality as Sonny Rollins. I mean he has so definitely established his own sound and style.'

So how had a musician once widely regarded as 'the middleweight champion of the tenor saxophone', reached a point where his talent was so under-valued that he was willing to risk everything on a whimsical flee from his home country to Europe?

Mobley's experiences in the mid 1960s, as was so often the case in Hank's life, tell a story which is an evryman example of the circumstances in which jazz musicians have to live and work. They also reveal the beginnings of a tragedy, which is as sickening as any of those within the music that are better known. Late in his life, Mobley said " It's hard for me to think of what could be and what should have been. I lived with Charlie Parker, Bud Powell, Thelonious Monk. I walked with them up and down the street. I did not know what it meant to when I listened to them cry - until it happened to me."

The irony of this remark is that Powell and Parker, to pick just two of jazz's prematurely departed geniuses, died as they had lived: celebrated but isolated. Mobley's demise is all the more saddening when one realises that he had lived most of his life undervalued and un-appreciated; all but forgotten.

Ronnie Scott was actually a fairly safe bet as a potential source of help for Mobley. As a tenorist, Mobley figured high on Scott's list of favourites, even as early as the mid-1950s, when few outside the Stateside jazz cognoscenti knew of his work. Scott described Mobley as 'a very warm melodic player with a good conception' and also praised his 'perfect taste'. Unsurprisingly, Mobley had a direct influence on Scott's playing, never more so than in the two and a half years in which he partnered fellow tenorist Tubby Hayes in the Jazz Couriers. Hayes was another Mobley-ite, having first heard him on drummer Max Roach's recording of an unlikely jazz vehicle, 'Glow Worm' (on Roach's 10" LP, Debut DLP13). The Couriers recorded Mobley's composition 'Reunion' barely eight months after it's debut on a Mobley-led Blue Note session and Hank's work, especially with the Jazz Messengers, of which he was a founder member, did for a while resemble an eagerly awaited missive from which Scott and Hayes drew their inspiration.

Scott's punter-like enthusiasm for the individual talents that appeared at his club rode roughshod over their occasionally difficult or eccentric temperaments, and although Mobley could in no way be called temperamental, if anything he was too reserved and undemonstrative, he had already given Scott and his partner Pete King, cause to worry.

In October 1965, Mobley was due to open at the 'old place', Ronnie Scott's first home in Soho's Gerrard Street, but had misteriously failed to show up when the two Londoners had driven to Heathrow to pick him up. King told the Melody Maker at the time that Mobley 'had ilness in his family and then apparently had passport problems.' ('Melody Maker', Oct 30 1965) to which Scott added 'Our difficulty is that we didn't book him ourselves, but through a Dutch agency. It's the first time in six years that somebody has let us down.'

The less than enobling circumstance which necessitated Mobley's call to Scott three years later seemed enough to obviate any potential bad blood between the two men. In fact, Ronnie's response to Hank's plea for help was both practical and instananeous, as John Fordham recounted. Scott 'pulled on his clothes over his pyjamas, drove to the airport to pick up (Mobley) and made sure that the club took care of his accomodation and needs until he got back on his feet.'

Scott and King were, of course, in a unique position of being able to cater for Mobley's biggest and most immediate need, indeed the paramount concern of all jazz musicians, that of finding work, and they gave Mobley a month-long residency at Ronnie Scott's Club starting on April 22nd 1968. Besides this, King was also able to secure work for the saxophonist on the Continent, together with a less glamorous dash North ( ) for a performance at Manchester's renowned 'Club 43' venue. (One mooted rumour about Mobley's grattitude for Scott's intervention in particular, is that he rewarded Ronnie with the gift of one of his Selmer saxophones).

Inevitably, Mobley encountered the local jazz talent, but particularly rewarding was his reunion with the drummer Philly Joe Jones, who too had arrived in London to little fanfare towards the end of 1967. Jones and Mobley went way back, even before both men's separate tenures with Miles Davis's band, and had appeared on each others' records, as well as those led by the likes of trumpeters Donald Byrd and Lee Morgan and pianist Elmo Hope, amongst others. Philly was sitting out the Musicians Union ban on his paid performance, a pre-requisite of an extended stay in those days of man-for-man deals and strict working permits, by teaching and authoring a drum tutor. (Most famously, he taught Keith Moon, of The Who, just one of the several well known rock drummers who became his students at this time, not to bother to do anything other than what he was already doing so long as he could make the same money). Despite this, he was sitting in with musicians as diverse as the cornetist Ruby Braff and local legend Tubby Hayes, with whom Phily did a truly memorable night at Ronnie's, anchoring Tubby's big band like no-one else could.

It was Tubby's then regular rhythmn section that accompanied Mobley on his stint at Scott's. Such was the ad-hoc nature of the gig, Mobley and pianist Mike Pyne, bassist Ron Mathewson and drummer Tony Levin, had not encountered one another before. Perhaps inevitably, the opening night's results were less than spectacular, as the Melody Maker's Bob Dawbarn noted in the paper's April 27 issue. 'If he didn't catch fire on opening night, there is no doubt that he will - and lovers of first class modern tenor playing should be there when he does.'

The Melody Maker's Val Wilmer interviewed Mobley at some length during his tenure at Ronnie's, and the resulting article, which appeared in the May 11 edition, under the already noted by line of 'The Daddy of the Hard Bop Tenor', was, incredibly, the first in depth interview with Hank that had been published in any music journal. Even the prestigious Down Beat magazine waited until the mid-1970s to cover Hank, then well into his years of bitter neglected abstraction.

Wilmer was especially interested in the evolution of Mobley's playing, which was readily discernible during his Scott's engagement. 'Mobley hesitates to compare what he is playing today with the music of yesteryear; "They (the tunes) are so different. I like to play anything that makes sense and that moves and is not restricted. You might say 'half-free', 'three-quarters free', something like that."

Indications of this growth towards a fresher and more daring mode of expression are peppered throughout the article. Mobley named altoist Jackie McLean and tenorist Archie Shepp as his two closest musical associates, both players who had moved beyond the realms of Hard Bop constriction. Of the younger generation of improvisers, Mobley commented: 'They have their direction to play, I have mine. I don't think theirs is complete and mine certainly isn't,' adding that if a musician took the rules of music and 'change them all around and try to reach the people also, that's like freedom with a little restriction.' Illustrating this further he cited both his former boss Miles Davis and his friend the late John Coltrane as successful examples of this outward bound sensibility: 'Trane had roots from bottom to top, he always had something to stem from.'

Mobley ended the interview with a debatable declaration, the protestation that 'I am, as you say, always a leader.' In fact he was the quintessential sideman, principally in the bands of Max Roach, Miles Davis, Horace Silver and Art Blakey (there were also other shorter and less celebrated stays with Duke Ellington, Tadd Dameron, Dizzy Gillespie and Thelonious Monk) as well as his being an ever present voice on recordings by virtually all the leading black Musicians in New York. But even as one of the finest Hard Bop musicians, and as one who almost subversively defined the style for legions of other tenorists, Mobley was nevertheless never destined to be a major star, much less 'a leader'. He was to suffer, as a consequence of his reputation as a 'musicians' musician', critical neglect and a lower profile than he deserved. His tone, which he had famously described as 'not a small sound, or a big sound, but a round sound,' and his penchant for labyrinthine lyrical improvisations were calling cards that, by the middle 1960s, he felt were necessary to change.

His undervalued status was made doubly galling by the fact that his artistic peak, around 1960-63, came in sync with those of some of the more declamatory tenor stylists. John Coltrane and Sonny Rollins's music during this period had a more overtly musical demeanor, and they seemed to demand you listen. Mobley's playing was more sidelong and seductive. It took time to get his message, and in the early 1960s, time in the jazz world was hurtling by, the music beginning to resort to some very hard and fast tactics to attract attention. Only the patient kept track of Mobley.

However, Hank himself was also keeping pace with current jazz developments and the influence of Coltrane, Rollins's and Davis's experiments during these years affected his outlook considerably. In simplistic times, Hard Bop had evolved to incorporate modal music, largely through Miles' and Coltrane's work at the close of the 1950s, and the two, taken together with the increasingly less peripheral influence of the Avante-Gargde caused the nature of the music to become spikier and harder. Mobley directly attributed the influence of Davis, with whom he had worked from 1960 to 1962, and Coltrane with the beginnings of the overall simplification of his playing: his response was a tougher one (albeit one that was still a great deal gentler than either Rollins's or Trane's) and an extremely apparent refinement of his rhythmic skills. He also began to concentrate upon composing, and his themes began to incorporate more experimental structures, both in terms of their length and in their harmonic and metric complexity.

The saxophonist's exclusive recording activities under his contract to Blue Note records made it possible for listeners to hear the changes taking place in Mobley's music as they unfolded. 1963's No Room For Squares (Blue Note BST 84149), with its hip modal and funk grooves, was the first real on-record indication of these alterations. The albums which Mobley recorded in the year, preceding his flight to Europe, reveal the full extent of his stylistic rejuvenation, as well as the dichotomy of pushing the music further whilst still trying to score a commercial bulls-eye. 1967's Third Season (Blue Note LT-1081) contains some of the saxophonist's most ambitious writing and performing on themes like the whole-tone based title track and was, perhaps as a result, destined to remain unissued until 1980. On this and the other albums recorded during this time, the base of Mobley's sidemen was broadening out from the largely Miles and Blakey-associated pool he'd long favoured. By 1968 he had recorded with McCoy Tyner, Andrew Hill, John Hicks, Cedar Walton, Woody Shaw, James Spaulding and Herbie Hancock, all musicians who had moved beyond the Hard Bop convention. The final album which Mobley recorded before his European self-exile, Reach Out ! (Blue Note BST 84288) is a contradictory one, in that it has authentic hard blowing vehicles utilising modes and structural variation nestling somewhat uncomfortably with the tenorist's covers of recent pop hits, such as 'Goin' Out Of My Head' and the title cut. The title of one of Mobley's own themes on the album, 'Lookin' East', suggests that he himself was already decided on a sojourn elsewhere.

Besides the Ronnie Scott gig, Mobley jammed around the capital with the local talents and Philly Joe Jones, and was featured all too briefly at the Melody Maker's All-Star Jazz concert at the Royal Festival Hall on a bill which also included the altoist Phil Woods. Reviewer Bob Dawbarn found Mobley's contribution 'slightly disappointing' and remarked that 'like Lester Young in his later days, he throws out the bones of an idea and seems to become bored halfway through its development and moves onto another fragment. The result is a sort of edited version of the Mobley one knows on record and I find it a little disconcerting' (The Melody Maker, May 25, 1968).

Listening to 'Reach Out!' with Dawbarn's assessment in mind it is easy to see how the Mobley of old was giving way to a newer maturity in Hank's playing. It is even easier to discern on the few recordings that Mobley made whilst on the Continent in 1969. Taped in Paris in July of that year, 'The Flip' (Blue Note BST 84329) has Mobley with fellow ex-patriots trombonist Slide Hampton and Philly Joe Jones, together with the Jamaican trumpeter Dizzy Reece, fulfilling one of the leader's contracted dates. The resulting album is actually far better than its apparent 'lets throw some American jazz players in France together' rationale and it contains some of Mobley's best latter-day writing in 'Feelin' Folksy' and 'Snappin' Out', two indelibly catchy themes which should be more widely known. Mobley's playing too, in that 'edited' manner, is engaging throughout, as is that of his front-line partners, especially Reece. A notoriously patchy performer, the trumpeter is in fine form, returning the favour that Hank had given when he partnered Dizzy on his first US taped Blue Note album, 'Star Bright' in 1959 (Blue Note BST 84023).

The following month, Mobley participated in the marathon recording sessions that Archie Shepp was taping for the BYG label in Paris and which pulled together a highly unlikely (and probably highly volatile) cast of ex-pat Americans then resident in the French capital. Two items featuring Mobley in a two-tenor front-line with Shepp were recorded; a brief version of Sonny Rollins's 'Oleo' and a longer exploration of trombonist Grachan Moncur III's 'Sonny's Back' (dedicated one suspects to Rollins (it was SW). Both are indicative of Mobley's earlier statement that 'Me and Archie are good friends but play that way!'

The latter track (currently available on 'Yasmina - A Black Woman' on the Giants of Jazz imprint CD 55379) is the more revealing performance. Mobley, for all his good intentions, is actually taken apart by Shepp in an engrossing case of role reversal; whereas Hank sounds to all intents and purposes like he is starting off from where John Coltrane left off. Shepp plays his trump card by echoing Rollins in a beautifully integrated solo which effectively mixes Hard-Bop know-how with New-Thing radicalism. Throughout, Philly Joe Jones gives a noisy reminder that the US's loss was Europe's gain, and his rhythmn section partners, the bassist Malachi Favors (of the Art Ensemble of Chicago, then domiciled in France) and pianist Dave Burrell form the loosest of unions.

There was actualy to have been a third official release featuring Mobley recorded during this period in Europe. According to an interview with the British saxophonist Peter King which appeared in the Melody Maker on October 5, 1968, Mobley was to have appeared on the session taped at London's Trident Studio led by Philly Joe Jones and which featured local musicians such as King, trumpeter Kenny Wheeler and Mike Pyne. Recorded by producer Alan Bates, the set eventually surfaced on his Black Lion label as 'Trailways Express' (Black Lion Select 2460 142) in 1971, a delay that suggests that the legal nicities of contracts and the like were a stumbling block in its issue. At any rate, the West Indian saxophonist and flautist Harold McNair subbed for Mobley, who, one can imagine, having failed to secure a release from Blue Note to make the date. (This session can now be heard on CD as 'Mo' Joe', Black Lion BCC 760 154).

Jones and Mobley made an effective double-act all over Europe as the decade drew to a close, working such venues as Paris's 'Le Chat Qui Peche', but Mobley had also hooked up with the large community of American jazz musicians living and working in Denmark, including his early stylistic mentor Dexter Gordon (who had dubbed Mobley 'Hankenstein'). Gordon was undoubtedly the most prominent of a wave of US players who had found a spiritual home (and a willing audience) at Copenhagen's soon-to-be-legandary Monmartre Club, an apparently natural home for warm sounding tenor saxophonists which had hosted lengthy residencies by Ben Webster, Brew Moore and Don Byas, besides Gordon. Part of the reason for the venue's success, and for the comfort of its playing guests, was the resident rhythmn section, which featured emigre's pianist Kenny Drew and drumer Albert 'Tootie' Heath, together with the phenomenally talented Danish bassist Niels Henning Orsted Pederson, then still a teenager, and a musician whose tender years had proven to be the only impasse preventing him joining Count Basie's band. Mobley and Drew were no strangers as the saxophonist had performed on two of the pianist's albums. Indeed, Drew was something of an ideal accompanist for Mobley, sharing as he did some of the tenorist's lyricism. Together with Tootie Heath and Pederson, he is present on a bootleg tape that has circulated among collectors of Mobley at the Monmartre, alegedly taped sometime in April 1968.

Of Mobley's European recordings these are by far the most revealing, not least as rare examples of Hank really stretching out. As on his engagement in London, he opted for playing mostly his own themes, each of which receives a lengthy exploration, sometimes three times as long as their audio originals. There is a revisit to 'Workout', initially heard on the eponymously titled album from 1961 (Blue Note BST 84080) and which was all but a feature number for Philly Joe Jones. The Monmartre version finds the less well regarded Heath in the prescribed role and carrying it off with aplomb. 'Third Time Around', with its unique stop-start melody, was first recorded in February 1965 (a version that went unreleased until 1986) but was ultimately included on Mobley's 1966 LP 'A Caddy For Daddy' (Blue Note BST 84230). There is also an attractive look at a then recent Mobley theme 'Up, Over and Out' from the 'Reach Out!' album.

The tapes, it has to be admitted, are fairly low-fi, but Mobley's committed playing shines through nevertheless, as do his intermittent verbal reproofs to his accompanists on 'Third Time Around', who seem tethered by the alternating rhythmns rather than inspired by them. Also heard are Mobley's covers of Kenny Dorham's 'Blue Bossa', Sonny Rollins 'Airegin', Monk's 'Rhythmn-a-Ning' and 'Blue Monk' and, as the solitary ballad, a gorgeous return to the standard 'Alone Together', which Mobley had described as one of his favourite themes when he recorded it on the Jazz Messengers Cafe Bohemia session in November 1955 (Blue Note BLP 1507). As the Monmartre had its own recording facilities (albums by Ben Webster, Dexter Gordon and Don Byas are just some of those taped at the club during this period) one can imagine that somewhere better quality source tapes of these Mobley sets exist and that one day they will be remastered and issued. They are certainly worthy of issue, containing as they do prime examples of the new directions that Hank pursued late in his career.

Hank Mobley remained in Europe until early 1970, working in France, West Germany and Scandinavia, as well as in countries less likely to be encountered as jazz stop-overs like Poland and Yugoslavia. His final Blue Noterecording, made back in the USA in July of that year with a group featuring Woody Shaw and Cedar Walton, contains a three-part composition entitled 'Suite' which encapsulates musically Mobley's European experience. The third theme from this work, 'Home at Last', is one of Hank's most beguiling compositions, a bossa-ballad which, in part, reworks thematic and harmonic material which made up an earlier Mobley theme, 'Bossa For Baby' (recorded on Far Away Lands, Blue Note BST 84367), I believe ranks with his earlier work on the label. It displays a player totaly in command of a revised mode of expression and who should have gone on to much wider acclaim. The time was certainly right: Sonny Rollins was, once more, in self-imposed retirement from performing, and John Coltrane's death three years previously had robbed jazz of a single dominant saxophone voice. But fate again played Mobley a cruel hand when 'Thinking of Home' was destined to remain unheard until the late 1970s when it was initially released only in Japan, by which time any service it could have given Mobley would have been a case of too little too late (sidewinder note: also issued in the US in the LT 'rainbow' series).

Mobley's final recording came in February 1972 when the group he co-led with pianist and composer Cedar Walton - which worked under the rather pretentious umbrella title of Artistry In Music - made a single album for Don Schlitten's Cobblestone label, 'Breakthrough' (Cobblestone CST 9011 - now on CD as 32 Jazz 32148). Mobley is represented by two compositions, 'Early Morning Stroll' which debuted on 'The Flip' and the title cut, another ex-Blue Note tune recorded on 'Dippin'' (Blue Note BST 84209), and has an impassioned feature on 'Summertime', appended by an introduction that is actually Mobley's theme 'The Flight' from 'Thinking of Home'. Mobley plays with a commitment and brilliance that are suprising for a performer whose career was about to go into total eclipse. But, by the time the album was issued, Mobley was already into the decline which ended ultimately in his death.

The terrible events of Mobley's final years, from his respiratory problems to his dental problems, to his financial difficulties and his degrading period on the streets, have beem detailed elsewhere previously. One could ultimately talk of Mobley having paid the highest price for his involvement with the jazz life, or of his slow, painful erosion by the nefarious addictions that were often central to the music during his lifetime. At arms length, it is easy to coldly rationalize that Mobley brought about his own eventual decline and to cast him off with the countless other souls within jazz who self-destructed and burned themselves out after all too brief periods of brilliance. One can also view the flipside of this cynically tossed coin and ask, in Hank's own words, 'what should have been' if he had remained in Europe instead of returning to the country which brought about his destruction. Would he have eventually returned triumphant as did his friend Dexter Gordon in the late 1970s, emerging from an acoustic jazz limbo to claim his crown as a leader of a jazz renaisance? All this postulation, of course, serves no real purpose save that of diverting attention from Mobley's sickeningly premature death, at the age of 55, in 1986. At the time of writing, had he lived, hank would be 73 years younger, three years younger than Wayne Shorter (sidewinder note:-3 years older, I think it should be) and approximately the same age as Sonny Rollins, both of whom remain musically active.

Mobley's European episode began with his 'Lookin' East' and ended with his being 'Home At Last'. The jazz scene to which he returned was falling apart, divided into pieces by elements foreign to the lifeblood of the mainstream of the music, in much the same way as we now face an eclipse of the music by all manner of ephemeral performers. 'Sometimes I look on the worst side of things,' Mobley once said, and given his personal downfalls it is remarkable that he preferred music that, as one fellow saxophonist recently put it, so fully 'celebrated the joy of life.'

With that in mind, it strikes me that Mobley might be a perfect role model for anyone seeking to distill jazz to its essence. Surely that alone qualifies him, albeit posthumously, to the front rank of jazz players in his, or any other era."

Postado por "brownie"

The late sixties were difficult times for a lot of jazz musicians. Rock was in, jazz was out. Or almost. The jazz job opportunities in the States kept getting scarer and many musicians traveled to Europe in the hope of finding a better situation. But the afflux also brought a scarcity of gigs.
When Mobley came over he found very quickly that even his name was pretty well know in the jazz circles there were not that many occasions to play in clubs.
I was at some of the Byg Actuel recording sessions in August 1969. Mobley had been invited by Archie Shepp to play at a couple of Shepp's sessions.
I met Mobley then.
During the sessions he was in pretty good spirit. He was friends with Shepp, Grachan Moncur and Philly Joe Jones who were among the musicians taking part in the recordings.
After one of those sessions which were held at the Studio Davout in the eastern section of Paris, I went back home because I needed to catch some sleep before the next day's work. Mobley was going back to his place in the same direction so we took the subway to southern Paris. During the subway ride we talked at length and I found Mobley to be pretty disullisioned with his then situation. His hopes of making it in Europe had gone wrong. He complained at length about the lack of work possibilities. Too many musicians around. Not enough clubs to play in.
I accompanied him to the place where he was residing.
The place turned out to be an hospital in the vicinity of Place Denfert-Rochereau, south of the Montparnasse district. One of the doctors there was a jazz fan and had managed to obtain him a private room of his own.
Mobley told me that I'ld better not come inside the hospital. That's where I left him!"

FOTOS nos bastidores da Salle Pleyel durante o Festival de Jazz de Paris (Novembro de 1968)

    Copyright: Guy Kopelowicz
    da esq. para a direita : Sahib Shihab, Elvin Jones, ?, Hank Mobley e Art Blakey



    Copyright: Guy Kopelowicz
    da esquerda para a direita: Keiko Jones, Dizzy Gillespie em conversa com o actor   JamesCampbell,   Art Blakey e  Hank Mobley

Postado por "johnlitweiler "
"Poor Hank was severely alcoholic and a lot of his other problems followed from that. There was a well-known (at least here in Chicago) incident before he moved to Europe in mid-'60s. He and Kenny Dorham were to play a concert for Joe Segal here. Hank was on a plane up in the air before he realized that he'd forgotten his saxophone. He created such a fuss that the pilot flew the plane back to New York. After he got home that day he decided not to make that Chicago gig after all - too much trouble, he reportedly said.

While he was living here, ca. 1972, Joe was running the Jazz Showcase on Rush St. and booked Hank to lead his quintet weekly, each Tues. or Wed. Hank didn't show up that first night, or the second either - Joe was really forgiving with people he admired - but Joe wouldn't take any chances on Hank after that.

Hank led a hell of a band in those days - Frank Gordon, Muhal, Rufus Reid, Wilbur Campbell. Hank And Eddie Harris led their bands at a concert for IDAP, the Illinois methadone program that Wilbur directed (his day gig). Big crowd of IDAP clients at the Medinah Temple. At intermission, incredibly huge crowds going in and out of the rest rooms. During Hank's set, the last of the evening, two security men on the ground floor came down the aisle, picked up a man seemingly asleep in his seat, carried him out. I was in the balcony where people were rushing to the edge to watch. In just a couple of minutes most of the people there left and Hank finished his set to a 1/4-filled hall. Too bad, Hank was playing beautifully but the audience was the show."

Entrevista a Hank Mobley na revista "Downbeat" de 29 de Março de 1973 da autoria de John Litweiler.



quinta-feira, junho 18, 2015

Fernando Valente

Fernando Valente foi um personagem que marcou a sua época, a sua região, o seu instrumento.
Dos primeiros saxofonistas da era "moderna" do saxofone  português , na sequência do trabalho iniciado por Vitor Santos, Domingos Vilaça ou Santos Rosa, Valente desenvolveu com uma paixão muito especial o ensino do instrumento quer diretamente quer através da organização de workshops  a maioria dos quais com o quarteto de saxofones de Amsterdão em que sobressaiam Henk van Twillert e Rob Hauser (no baritono e no alto, respectivamente).
Fernando Valente deixou-nos trágica e prematuramente mas deixou também atrás de si um trabalho cujos frutos ainda hoje se fazem notar e de que o desenvolvimento que o instrumento denota na região a sul do Porto (Aveiro) é um exemplo.
Este post reune (quase) todos os registos video do seu trabalho com o Quarteto de Saxofones de Amsterdão.



 
 

terça-feira, junho 16, 2015

François Jeanneau Quartet , Roma (1975)

 
François Jeanneau foi um dos primeiros saxofonistas europeus de que tomei conhecimento, na década de 70 e de quem passei a seguir (mais ou menos) atentamente o trabalho.
Aqui numa gravação de 1975, em Roma, com personagens históricas do Jazz francês.
Aldo Romano na bateria, Michel Graillier no piano e o grande Jean-François Jenny-Clark no contrabaixo.
 
 

segunda-feira, junho 15, 2015

Steve Wilson em "Wigwam"

Steve Wilson é um dos meus saxofonistas de eleição. De uma grande sofisticação harmónica e sobretudo rítmica, pode ser encontrado nas mais diversas situações musicais, do duo (com Lewis Nash ou Bruce Barth) à big band (Mingus Big Band, Smithsonian Masterworks Orchestra, Christian McBride Big Band) sempre com uma elegância e criatividade surpreendente.
A transcrição que se segue é a do seu solo em "Wigwam" , um blues menor gravado com o grupo "Origin" de Chick Corea ao vivo no clube Blue Note, gravação incluida na série de DVD's "Rendez vous at New York" (DVD#6).
Enjoy !



sábado, junho 13, 2015

Coltrane 1945

 
Margo Judge nasceu e foi criada rodeada de música dado que o seu pai era Louie Judge,   saxofonista de Jazz que mais tarde viria a ser conhecido por Muhammad Habeeballah. Louie tocava no mesmo grupo em que John Coltrane depois que este saiu de High Point e se mudou para Filadélfia.
Estas fotos foram tiradas em 1945 na Joe’s Play House in Jackson, Mississippi e partilhadas pela filha de Louie Judge, Margo.
“John Coltrane e o meu pai deixaram Filadélfia no fim dos anos 40 com a banda de Joe Webb, onde cantava Big Mabelle. Coltrane tocava sax alto, nessa altura." informou Margo Judge.
 
As fotos do pai de Margo Judge tiradas em 1945 na Joe’s Play House em Jackson, Miss. Os saxofononistas são (da esquerda para a direita) Emmit Patterson, Criss Williams, John Coltrane e Louie Judge (Muhammad Habeeballah).

Os saxofononistas são (da esquerda para a direita) Emmit Patterson, Criss Williams, John Coltrane e Louie Judge (Muhammad Habeeballah).

(da esquerda para a direita) Emmit Patterson, Criss Williams, John Coltrane e Louie Judge (Muhammad Habeeballah).

quinta-feira, junho 11, 2015

Dexter na TV holandesa

Em 1964 a televisão holandesa gravou um programa com Dexter Gordon acompanhado pelo trio de George Gruntz (creio que com Guy Pedersen no contrabaixo e  Daniel Humair na bateria).
Nestes videos Dexter toca o seu Conn 10M Ladyface que lhe seria roubado no ano seguinte no aeroporte de Paris com uma boquilha 5*  BD Dukoff Hollywood (.80)
A gravação teve lugar no restaurante  "De Poort Wal"  na cidade de Amersfoort .
Dexter está num pico de forma e  a sua entrada em cena é algo de épico no que respeita a... estilo.
A música, evidentemente, é de superior qualidade.



 
 

 

 
 
 

segunda-feira, junho 01, 2015

Coltrane Muses


Where were Trane's ideas coming from and how Trane developed them ?
So nice to understand with the following examples what music Coltrane was listening to,  made an impression on him and how he put that inspiration on his own work.
Copy? plagiarism? far beyond that .
The appropriation of the music of his time and the reconstruction of a musical universe, of which "My favorite things" is the ultimate exemple...
Listen to the videos by the suggested order

Two compositions : "Impressions" and "Big Nick" (dedicated to Big Nick Nicholas) .

 

 
 
IMPRESSIONS


at 1'20''




 
 
 
 
 BIG NICK
 


Just the first 5 seconds at begginig
 

segunda-feira, maio 25, 2015

Charles Gayle @ Conservatório Nacional




Mais do que ter sido (ou não) um grande concerto, a presença de Charles Gayle provou-me mais uma vez que a Música tem o poder de salvar, de  renovar, de injectar em quem a ouve ou em quem a faz uma energia ancestral, primitiva que que nos ajuda a manter-nos vivos, a viver o dia seguinte.
Fragmentos de bebop, hinos e cânticos religiosos, Giant Steps, estilhaços de melodias de Ellington, Ayler a pairar sobre a cabeça deste velho de quase 80 anos, constituiram,mais do que um concerto, um desfile cinematográfico de imagem de uma vida, de momentos, de encontros, que ficaram gravados na alma de Gayle. A sua história.
E homem de estórias que ele é.
O concerto acabou com Gayle a contar estórias sobre os há muito perdidos companheiros ."I could be telling you depressing stories all night" ... Sobre a morte de Ayler, sobre a Mafia, sobre Coltrane e sobre os seus últimos dias. Sobre Nova York, sobre o ego e como se livrar dele. Sobre palhaços e narizes vermelhos. 
Uma aula sobre a Vida.


















Mais info AQUI




domingo, abril 26, 2015

Trio Araripa

17 segundos de video de um dos meus grupos favoritos no final dos anos 70. "Araripa", constituido habitualmente por Emílio Robalo (piano) , Zé Eduardo (contrabaixo) e João Heitor (bateria). Gravação no festival de Jazz de Cascais em 1975 ou 76 onde aparece em quarteto (saxofonista não-identificado mas provavelmente o Paul Stocker)
 

Araripa + Paulo de Carvalho (1977)
Quem detém estas gravações ? Porque não estão elas acessíveis? Seria muito importante preservar e partilhar a memória do Jazz português .
 
video

Early Garbarek

JAN GARBAREK GROUP (1969)

Jan Garbarek:  saxofone tenor,
Terje Björklund: piano,
Arild Andersen: contrabaixo,
Jon Christensen: bateria


 



Big Band de George Russell em Estocolmo, Suécia (1967)
 

 
 

 
 
GEORGE RUSSELL PRESENTS THE ESOTERIC CIRCLE

Jan Garbarek - sax tenor
Arild Andersen - contrabaixo
Jon Christensen - bateria

 
 
 
 
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