22 març, 2014

Bebo Valdés (1918-2013)

Bebo Valdés amb Javier Colina al Palau, 24 de novembre del 2006 (foto: Ricard Cugat).

16 març, 2014

Prèvia a 'La Vanguardia'

Dijous passat La Vanguardia va publicar una prèvia amb els primers concerts ja confirmats i a la venda (amb el 25% de descompte fins al 31 de març) del 46 Voll-Damm Festival Internacional de Jazz de Barcelona. Firmada per Maricel Chavarría, la prèvia incloïa també un reportatge sobre l'Orquestra Jazz de Matosinhos, que debuta aquesta tarda a Luz de Gas (20.00h), amb entrades anticipades pels Amics del Jazz a 1 euro (10 euros a taquilla).

Al programa d'avui, la presentació del seu últim i ben ambiciós projecte, Jazz Composers Forum, amb noves composicions de Darcy James Argue, Steven Bernstein, Guillermo Klein, Ohad Talmor, Florian Ross, Pierre Bertrand, Julian Argüelles i Frank Vaganée. Us hi esperem.




12 març, 2014

Meet the Jazz Composers Forum (8): Frank Vaganée

Els vuit compositors convidats per l'Orquestra Jazz de Matosinhos parlen sobre la seva experiència amb la big band portuguesa. Concert el 16 de març a Luz de Gas (20.00h). Entrades a 1 euro pels Amics del Jazz/Club The Project.



1. How was for you the experience to work with the OJM?
I know OJM now for 9 years. In 2005 I had the chance to sit in as a lead altosaxophonist and did a few concerts and a cd-recording with special guest Chris Cheek. So since that time I have on and off contact with their pianist and composer Carlos Azevedo. I loved to work with them. The orchestra contains a lot of talented musicians and they all have a great mentality, each as a person and as an orchestra. It's fun to rehearse and play concerts with them. And the hang afterwards is great too. They are always looking for interesting projects such as this one. Gathering composers from both sides the Atlantic and create new music.

2. Can you define the piece you wrote for them, Reclusion?
When they asked me to write, I had this instant idea to feature the first altoplayer of the OJM, José Luis Rêgo. He is a very musical player and I love the way he sounds. Ten minutes of a warm ballad into the heat and energy of the tutti. It starts as a ballad, slow and intimate, lots of space for the alto saxophone to interpret the melody and later on to improvise on it. The arrangement evolves to a big tutti, where the saxophone section gets a variety of melodic lines to play and brass adds accents to these lines ending in a counterpoint section back into the ballad tempo.

Meet the Jazz Composers Forum (7): Darcy James Argue

Els vuit compositors convidats per l'Orquestra Jazz de Matosinhos parlen sobre la seva experiència amb la big band portuguesa. Concert el 16 de març a Luz de Gas (20.00h). Entrades a 1 euro pels Amics del Jazz/Club The Project.



1. How was for you the experience to work with the OJM?
I first heard the OJM when they were on their US tour with Kurt Rosenwinkel, and so I was familiar with the band and delighted when they asked me to participate in their first Jazz Composers Forum. This is an amazingly ambitious project: commissioning, performing, and recording new music from eight different composers from all over Europe and North America! It was an honor to be included. My music is extremely difficult to play, and it's very easy for players to get frustrated or burned out during long, intense rehearsals, but everyone in the OJM was in it to win it. I'd never been to Portugal before and it's one of the most stunningly beautiful places I've ever visited — and the peixe grelhado and vinho verde did not disappoint.

2. Can you define the piece you wrote for them, All In?
As I was in the course of writing the OJM-commissioned piece, I learned that the great trumpet player and educator Laurie Frink had died. Laurie appears on the first album I recorded with my own bigband, Secret Society, and she performed with us on several occasions, including our debut at the Newport Jazz Festival. She was a friend and mentor to many of us, and I was shocked and saddened by her unexpected passing. Those emotions began to work their way into the piece and when I was done writing, I decided to call it All In and dedicate it to Laurie. (The title works on multiple levels and has multiple implications, which I think Laurie would have appreciated.)