Francesco Bearzatti, la revelación del saxo europeo

El saxofonista italiano Francesco Bearzatti (foto: Luca d'Agostino).

Este domingo a las 12, en el Parc Central del Poblenou, el saxofonista italiano y su Tinissima Quartet abrirán el ciclo Saxologies. Es el debut en el festival de un saxofonista que está dando mucho que hablar en su país de origen, Italia, y en su país de acogida, Francia. Sus dos últimos discos, dedicados a dos iconos del siglo XX en sus respectivos campos, la fotógrafa italiana Tina Modotti y el activista Malcolm X (y ambos publicados en la discográfica propia del auditorio romano Parco della Musica), han sido recibidos con entusiasmo. Dejamos aquí dos muestras (una más antigua, en francés, y una más reciente, en italiano).

X (Suite for Malcolm) è il masterpiece di Francesco Bearzatti e del suo Tinissima 4et: il fascino della figura di Malcolm X, l’esperienza della scrittura della Suite for Tina Modotti  e un gruppo rodato in tre anni di concerti sono alcune delle condizioni che l’hanno reso possibile. la Suite è ricca di idee, di sorprese ritmiche e timbriche, e di spazi in cui ciascuno dei quattro musicisti ha dato il meglio di sé e in cui la musica scorre parallela alla storia cogliendone il significato profondo. Malcolm X è raccontato musicalmente in dieci capitoli attraverso una progressio- ne calibrata di stili e di mood, sonorità acustiche ed elettriche: dalla tensione di Hard Times agli accenti disco di Cotton Club fino alla solenne ballata rap cantata da Napoleon Maddox. Tutto questo passando attraverso i guizzi di Smart Guy, il funky di Prince Of Crime e le accelerazioni vertiginose di A New Leader. Conversion è il brano chiave della Suite, in cui Giovanni Falzone e Bearzatti si liberano in due fra i più intensi assolo dell’album.

Jazzit
   

Au programme en cette fin d’après-midi, l’une des grandes révélations de l’année : le Tinissima Quartet de Francesco Bearzatti, saxophoniste et clarinettiste italien. L’album, sorti début 2008, rend hommage à Tina Modotti, photographe italienne du début du XXème. Bearzatti  a monté pour ce faire un groupe entièrement transalpin dont le répertoire invite au voyage et colle à la vie agitée de l’artiste. Pour notre plus grand plaisir, Giovanni Falzone fait partie du quartet, avec Danilo Gallo (basse et contrebasse) et Zeno de Rossi (batterie). Bearzatti  a traversé divers courants musicaux, ça s’entend et ça se voit. Son look, sa présence sur scène sont autant de signes d’une ouverture vers des mondes autres que le jazz. Ce quartet est à son image : bourré d’énergie, généreux, puissant. Sa musique est, dans l’esprit, proche de Masada ou du quartet japonais de Satoko Fujii, tout en restant originale dans les mélodies et les ambiances. Elle correspond aux différentes périodes de la vie de Tina Modotti - tantôt le Mexique, tantôt les élans révolutionnaires antifascistes -, et on traverse jazz, rythmiques rock, musiques populaires. Ce qui surprend de prime abord, c’est la fidélité au disque - preuve, finalement, d’une grande cohérence de la part de Bearzatti. A tel point que lors du rappel, les musiciens reprennent un morceau déjà joué pendant le concert, comme pour signifier que l’œuvre se suffit à elle-même. Il faut dire que c’est une vraie réussite. L’énergie du saxophoniste / clarinettiste et du trompettiste est digne d’un groupe de rock, leur concentration est totale. Les deux soufflants s’amusent, les contrepoints sont magnifiques. Prenant appui sur une rythmique solide et inventive, Falzone et Bearzatti  s’en donnent à cœur joie. Comme la veille, le trompettiste étale sa maîtrise des sonorités de son instrument et des différents effets qu’il permet. Sa folie est revigorante, ses effets de voix délirants. A ses côtés, les solos de Bearzatti  sont joliment construits, gorgés d’énergie et de lyrisme. La musique est tout à la fois mélodique, libre et inspirée. Et, ce qui ne gâche rien, les quatre italiens prennent un plaisir évident à jouer ensemble. Le public ne s’y trompe pas, qui applaudit longuement, crie sa joie, exige un rappel. Pour finir, c’est avec une grande humilité (et un grand sourire) que Bearzatti  propose à la vente les quelques CD qu’il a apportés mais qui ne seront malheureusement pas suffisants pour contenter toutes les demandes - preuve s’il en faut que le concert restera gravé dans les mémoires.

www.citizenjazz.com 

¡Jazz al Bus Turístic!

Amb el suport de Transports Metropolitans de Barcelona (TMB), aquest dissabte el 42 Voll-Damm Festival Internacional de Jazz de Barcelona viurà el primer dels seus actes-pròleg. El protagonitzarà la Barcelona Street Parade, una formació jove però integrada per músics veterans de l'escena catalana. Un recorregut que portarà des del Moll de la Fusta fins a la Pedrera, passant per carrers com ara el passeig de Gràcia. El bus farà, a més a més, parades on els músics podran oferir microconcerts per tothom que s'hi acosti. Les parades previstes són quatre: a la plaça de Colom; a la plaça Catalunya (davant del Hard Rock Cafe); a la Pedrera, i a la Casa Batlló. Tota la informació del festival, com sempre, aquí. ¿Però què és i què farà la Barcelona Street Parade? David Forns, percussionista i director de la banda, ens ho explica.

Per David Forns

La Barcelona Street Parade neix a Barcelona l'any 2008 amb la vocació de ser ambaixadora de les autèntiques brass bands de Nova Orleans a Barcelona i la resta del continent europeu. Per nosaltres és un somni aterrar al 42 Voll-Damm Festival Internacional de Jazz de la nostra ciutat, i poder gaudir amb els nostres conciutadans de l'autèntic repertori que toquen les brass bands a Nova Orleans des de fa més de 100 anys.

Peces com Bourbon Street Parade, homenatge al carrer que delimitava el barri d'ambient Storyville; Indiana, homenatge a l'Estat del mateix nom i que ha adoptat com a himne la Universitat d'Indiana; i Royal Garden Blues, homenatge al local on va es va fer famós Louis Armstrong de la mà de Joe King Oliver, sonaran amb tota la intensitat pels carrers de Barcelona.

Creiem que el jazz clàssic de Nova Orleans és una bona porta per apropar el jazz al públic i us volem convidar a conèixe'l més de prop i gaudir de l'excel·lent programació de la resta del festival.

Esperem que la ciutat ens rebi amb els braços oberts i disposada a passar-ho tan bé com ens ho passaren nosaltres. Així doncs, us volem convidar a fer un passeig per la nostra ciutat a ritme del jazz de Nova Orleans per celebrar amb nosaltres el començament del festival de jazz de la nostra ciutat.

Us hi esperem!

Happy 85th Birthday, George Wein!

George Wein and a Fazioli (photo: Ayano Hisa)

As NEA Jazz Master George Wein prepares to celebrate his 85th birthday George Wein quietly with family and friends on Sunday, October 3, he reflects on the past, present and future, including jazz and folk festivals in New York and Newport, performances in Barcelona (Spain), San Juan (PR), New York, Newport, Monterey and San Francisco and the special recognition he received in every city in which he performed.

"It has been a great year," said Wein. "Thanks to CareFusion, the June jazz festival returned to New York after a hiatus in 2009 and my folk and jazz festivals in Newport celebrated 51 and 56 years, respectively, and both events drew significantly larger audiences than the previous year.

I am deeply grateful and humbled to receive special honors and recognition from organizations across the nation and I'm thrilled to be able to continue performing internationally with some of the world's greatest musicians. None of this would be possible without my small and very efficient team of industry professionals to whom I am thankful for their hard work and dedication not just to the music, but to me. I couldn't ask for a better birthday present than to be George Wein surrounded by my festival family and music, music, music."

Performances
Wein continues his birthday celebration October 19 - 24 at Dizzy's Club Coca-Cola, 60th and Broadway in New York City, when he returns to Jazz at Lincoln Center with his Newport All-Stars. Featuring Wein on piano, the All-Stars are Randy Brecker, trumpet; Lew Tabackin, saxophone; Howard Alden, guitar; Rufus Reid, bass; and Lewis Nash, drums. Randy Sandke sits in for Brecker on October 21 while Anat Cohen, clarinet, takes over for Alden on October 23 - 24. In addition, some of Wein's favorite musicians will stop by to perform with their friend each night. Set times are 7:30 pm and 9:30 pm. For reservations and more information, call (212) 258-9595 or visit www.jalc.org.

In May, Wein performed in Barcelona to announce the partnership of sister festivals, CareFusion Newport Jazz Festival and Voll-Damm Jazz Festival Internacional; in June, he celebrated with his Newport All-Stars at the Heineken Jazz Festival in San Juan.

George Wein, last May in Barcelona (photo: Raül Esteve)

Awards/Honors
In June, Wein was named 2010 Events Producer of the Year by the Jazz Journalists Association of America at an industry-wide ceremony in Manhattan and he was honored in Queens with the York College Lifetime Achievement Award, which was presented by Branford Marsalis. Later that month, he traveled to Newport where he received the Pell Award for Outstanding Leadership in the Arts, sharing the stage with honorees Liza Minnelli and Bert Crenca. That tribute was followed by the Newport Council for International Visitors Award for significantly contributing to the appreciation of American Music around the world; Mayor Jeanne-Marie Napolitano presented Wein with the Keys to the City of Newport and proclaimed August 7 as George Wein Day in Newport. Wein and the Newport All-Stars performed at the CareFusion Newport Jazz Festival on George Wein Day and Mayor Napolitano joined the pianist at Fort Adams State Park to pay tribute to four retired Newport police officers who helped to keep festival-goers safe during an upheaval that took place outside the festival gates 50 years ago this summer.

The 53rd Annual Monterey Jazz Festival honored the legendary impresario, pianist and philanthropist, at its 2010 Jazz Legends Gala on September 16 at Mission Ranch in Carmel. The award was presented by Clint Eastwood and his wife Dina. The festival presented Wein in conversation and in concert with the Newport All-Stars on September 18 - 19.

Wein then traveled to San Francisco for performances at Yoshi's on September 20 - 21; former Mayor Willie Brown represented the city and delivered a proclamation from Mayor Gavin Newsom, who declared September 21 as George Wein Day in San Francisco.

 Wein and artistic director of Barcelona Jazz Festival, Joan A. Cararach,

last summer in Newport (photo: Adriana Mateo)

Gift of Giving
George Wein joins The Studio Museum in Harlem to announce the fifth presentation of The Joyce Alexander Wein Artist Prize. The Prize recognizes the achievement of an artist who demonstrates great innovation, promise, and creativity, and includes a monetary award of $50,000. Established by Wein in memory of his wife, Joyce Alexander Wein, an esteemed trustee of the Studio Museum for many years, the Prize honors the legacy of a woman whose life embodied a commitment to the power and possibilities of art, artists and culture. The Prize winner will be announced at the Gala 2010 on October 25. Previous Prize recipients are Glenn Ligon (2009), Nadine Robinson (2008), Trenton Doyle Hancock (2007) and Lorna Simpson (2006).

"Continuing Joyce's work with and love for The Studio Museum is an honor and a privilege," said Wein. "To help these talented artists advance their dreams in whatever way they choose is very special and to complement the work of the museum's executive director and chief curator, Thelma Golden, is a joy. I continue to look forward to getting to know the annual recipients and following their work for years to come."

As George Wein said in 2005 when he celebrated his 80th birthday, "I don't ever plan to retire from my work in jazz and the arts." With that affirmation of his love for music, art and all things cultural, Wein and his New Festival Productions have already begun planning for the 2011 festivals in New York and Newport. An announcement of the dates is forthcoming.

Tim Garland, notes i entrevista (in English)

Responent a la invitació del festival, el saxofonista i director d'orquestra Tim Garland ha escrit unes notes al voltant del repertori que tocarà aquest diumenge, 3 d'octubre, al capdavant de la Big Band de l'Esmuc. Com des de fa tres anys, al Parc Central del Poblenou.


By Tim Garland

Lady Catherine

Dedicated to a close family friend who's house I have stayed in during many trips to New York over twenty years. I used to refer to NY as a jungle, hence the strange opening music!

Made By Walking

With reference to early dance band music, this is dedicated to Josephine Baker who smuggled code to the French Resistance inside the sheet music for her dance band.

All Stand Together

The simple tune spells out the rhythm of "All Stand Together" in English and is passed round the band.

Rosa Ballerina

Written for my daughter when she was very young, the tune begins on an F sharp, as that was the note she screamed as she was born!

Mission:To Be Where I Am

By Jan Garbarek, a simple anthem of this great sax player I arranged for a Youth Big band a few years ago.

************


Si teniu més interès en l'obra de Garland, és ben recomanable l'entrevista que AllAboutJazz va publicar –firmada per Ian Patterson– l'any passat. N'oferim aquí un petit extracte:

Composer, arranger and multi-reed virtuoso Tim Garland is a treasure the nation of the UK has yet to fully recognize. Having recorded a dozen albums in his own name, and arranged for and played in the groups of Chick Corea and Bill Bruford, Garland's pedigree as one of the leading jazz saxophonist/composers of his generation is unquestionable. In addition, his collaborations with the country's finest musical institutions, including the London Symphony Orchestra and the Royal Philharmonic Orchestra, set him apart as one of the UK's most progressive modern composers.

(The complete interview, here.)

Diumenge, 3 d'octubre: comença el festival, comença 'Saxologies'

'La Vanguardia' del festival

Heus aquí tota la informació del festival publicada aquesta setmana en un suplement especial de La Vanguardia. Us recomanem sobretot consultar la nostra pàgina web per estar informat de tota l'última hora relacionada amb el festival.

He aquí toda la información del festival publicada esta setmana en un suplemento especial de La Vanguardia. Se recomienda sobre todo confirmar en nuestra web horarios y fechas para estar informado al detalle de todos los acontecimientos relacionados con el festival.

Chucho Valdés, música sin fin

Chucho Valdés, en su casa en La Habana (foto: Alejandro Pérez).

AllAboutJazz publica hoy lunes 20 de septiembre una larga entrevista con Chucho Valdés, que habla sobre su último disco, Chucho's Steps (World Village / Harmonia Mundi), con el director artístico del festival de jazz de Barcelona, Joan A. Cararach. Chucho y su banda presentarán en el Palau de la Música el próximo 17 de noviembre este disco –que Chucho califica como "verdadera obra de madurez"–, dentro del 42 Voll-Damm Festival Internacional de Jazz de Barcelona. Una semana antes, el 11 de noviembre, Chucho y su banda serán los protagonistas de la primera cena-tertulia en Jardinets de Gràcia (reservas: 93 238 48 46), con menú a cargo del chef Isma Prados.

He aquí la entrevista (for English version, please go here):

Chucho Valdés acude al encuentro con AllAboutJazz confiado. En su música y en la victoria de España en el Mundial de fútbol de Sudáfrica. Es el 11 de julio del 2010, y por primera vez en su historia la selección española ha llegado a una final del Mundial, en Sudáfrica. ¿Un cubano interesado en el fútbol? “En Cuba ahora se sigue mucho el fútbol, sobre todo la Liga española. Yo empecé a entusiasmarme por el fútbol en los últimos tres años, en Argentina, y me gusta que en este torneo España está jugando muy bien como equipo, no como individualidades. Se merece ganar.” ¿Se podría comparar ese juego de equipo de España con el trabajo de un grupo musical? “Se puede comparar, sí. Si en una banda cada uno toca para sí y para lucirse individualmente, quizás resulta un día o dos, pero al final no funciona, por muy buenos músicos que sean. Cuando el trabajo se comparte, se trabaja para el equipo. Y en la música, como en el fútbol, las individualidades son menos importantes que el colectivo.”


Chucho está en España, casi al inicio de una gira que durante dos meses le va a llevar literalmente por todo el mundo, sin dejarse ni un solo continente, desde Angola hasta Taipei y Australia pasando por Colombia y Europa. Presenta su último disco, Chucho's Steps: “Siento que hay cosas distintas, e incluso tengo cosas más nuevas que éstas, más atrevidas. Me ha inspirado mucho volver a contar con una sección de metales. Han surgido muchas ideas.” En efecto, Chucho ha ampliado su habitual cuarteto (Lázaro Rivero Alarcón, el Fino, al contrabajo; Yaroldi Abreu a la percusión, y Juan Carlos Rojas, el Peje, a la batería) a un septeto, con la incorporación de Reinaldo Melián, Molote (trompeta), Carlos Manuel Miyares (saxo tenor) y Dreiser Durruthy (percusión, voces y baile). En directo, Mayra Caridad Valdés, hermana de Chucho e hija de Bebo (la balada de Bebo Valdés A Mayra es, por cierto, el tema de amor de la película de Fernando Trueba y Javier Mariscal Chico y Rita, de próximo estreno), se une al grupo. ¿Qué pensará Bebo cuando escuche el disco? “Hay que ver. Le resultan raras ciertas combinaciones rítmicas, porque no hay nadie que esté haciendo una cosa como ésta, un grupo que suene así.” “Pero espero que le guste,” sonríe Chucho, a quien su padre Bebo no duda en calificar siempre como “el mejor pianista del mundo.”


“Chucho's Steps es --explica Chucho-- el primer disco de mi banda en siete años,” con el cuarteto como base: “Llevamos ya 10 años juntos y a través del tiempo hemos conseguido una comunicación que hace que en cualquier circunstancia sabemos lo que queremos.” No sólo es cuestión de talento, recalca Chucho. “Nosotros ensayamos todos los días, a veces hacemos ensayos de búsqueda. Cuando por fin decidimos que una estructura en concreto es la buena hemos pasado antes por millones de cambios; a veces, lo que he escrito originalmente no tiene nada que ver con el resultado que obtenemos.”


Para ello cuenta también Chucho con la aportación de unos músicos entregados a su obra. “Desde luego. Ellos me pueden cambiar una idea y demostrarme que es mejor que la mía, ha pasado más de una vez y espero que siga pasando.” Una receta magnífica para la cohesión del grupo: “En estos casos los músicos sienten más que nunca que sus ideas son muy bienvenidas y que ellos forman parte de la música. Es un proceso de trabajo muy similar al que teníamos en Irakere.”


Se terminó el partido de fútbol y, sí, España se ha convertido en campeona del mundo. Dejemos ahora paso a la música, por fin. Denle al play. Empezamos nuestro recorrido por Chucho's Steps de la mano de su creador.

(La continuación, aquí. Y además, crítica del disco, en castellano o en inglés.)

The 42nd Voll-Damm BarcelonaInternational Jazz Festival is here

42ND VOLL-DAMM BARCELONA
INTERNATIONAL JAZZ FESTIVAL

FEATURING SONNY ROLLINS'
80TH BIRTHDAY CELEBRATION

 
The 42nd Voll-Damm Barcelona International Jazz Festival is set to commence Wednesday, November 3rd through Thursday, December 2nd.  This month long celebration will feature Sonny Rollins' 80th Birthday Celebration along with performances by Chick Corea solo piano, Chucho Valdés & The Afro-Cuban Messengers, David Sanborn Trio, Kenny Garrett Quartet, Charles Lloyd Quartet, Kurt Rosenwinkel Standards Trio and Gonzalo Rubalcaba Quintet. 

Opening the festival on November 3rd, Sonny Rollins continues his 80th Birthday Celebration after a historic New York performance that included special guests, Jim Hall, Roy Hargrove, Christian McBride, Roy Haynes, and Ornette Coleman. New York Times critic Nate Chinen stated, "The concert found him in high spirits, in strong form and, for a generous stretch, in rare distinguished company.  It was an evening worthy of an American master, and primarily because he made it so."

Some of the best and brightest world music and jazz artists will be performing at this year's festival, including Jamie Cullum, Omar Sosa, Jaques Morelenbaum, Concha Buika, Richard Galliano, Peter Brötzmann Chicago Tentet, Paolo Angeli, Horacio El Negro Hernández Italuba, Iván Melón Lewis, Steve Wilson-Bruce Barth Duo, Lee Konitz-Dan Tepfer Duo, and JD Allen Trio. 

The festival's lecture series continues this year with guest speakers: Wall Street Journal / Jazziz columnist Larry Blumenfeld, who will talk about jazz in New Orleans five years after Hurricane Katrina, and author Ted Gioia, who will discuss the future of jazz.

The festival will present three highly anticipated programs at the world renowned Monvínic, which the Wall Street Journal proclaimed as "the best wine bar in the world."  DownBeat magazine will present, for the first time, a Blindfold/Winefold Test featuring journalist Dan Ouellette and pianist Chucho Valdés.  The event showcases critical listening and wine tasting, an extension of DownBeat's famous "Blindfold Test."  In a separate event, the "Kurt Rosenwinkel Monvínic Experience," the American guitarist will improvise to the taste of classic Spanish wines presented by the vignerons themselves and the highly-regarded sommelier Josep Roca, co-owner of the famous three-star restaurant El Celler de Can Roca.  Blue Note Records President Bruce Lundvall will also present the "Story of Blue Note" along with pairing wines in a discussion with Joan A. Cararach, artistic director of the festival since 2003.

Last year, the Voll-Damm Barcelona International Jazz Festival, in partnership with New York's Jazz Standard, officially closed the annual festivities with an engagement by pianist Chano Domínguez & The Flamenco Quintet. The performances were recorded live and will be released in 2011. 

In May 2010, the festival joined forces with the CareFusion Newport Jazz Festival® to enhace world-wide recognition for these two time honored events. "It is exciting for Barcelona to be associated with the most famous jazz festival in the world and to collaborate with George Wein, who is a good friend and an inspiration to me," said artistic director Joan A. Cararach. "Additionally, I look forward to the opportunity of exploring wider exposure for the many artists based in Barcelona, such as pianists Chano Domínguez and Omar Sosa, among others." 

Spain saw its first professional jazz festival in 1966.  It started with a concert at the amazing Palau de la Música in Barcelona, featuring pianist Dave Brubeck with his classical quartet.  Despite surviving the hostile times of the Franco dictatorship, the festival ceased operations between the years of 1977 and 1979, which were surprisingly the first years of democracy.  Since the late '80s, the festival has been organized by The Project, whose efforts reach upwards of 300,000 people annually.  The Project was founded in 1988 by producer Tito Ramoneda, still president of this organization leader in Barcelona and Spain.  In 2010, the festival celebrates its 42nd anniversary with musicians and industry professionals from around the world making Barcelona Jazz Festival one of the largest and most ambitious jazz festivals in Europe.

For a complete schedule of events, please visit:

http://www.barcelonajazzfestival.com/

http://barcelonajazzfestival.blogspot.com/

For international media information, please contact:

DL Media · 610-667-0501

Don Lucoff · don@jazzpublicity.com
Maria Echeverria · maria@jazzpublicity.com

A note from Stanley Crouch

Dear Joan A. Cararach:

Sonny Rollins may well be sensational. He was here at the Manhattan celebration of his 80th birthday. I wish you and yours the very best in every way. If I had the extra spending money, I would definitely be there. Or, were I a musician, I would write a piece called Blues Not To Be In Barcelona!
VIA,
S.C.

Festival de jazz, collita 2010

Ja hi som: 42 Voll-Damm Festival Internacional de Jazz de Barcelona.

Tota la informació, aquí.

¡Visca el jazz!

Sonny Rollins at Beacon Theatre (II)

 Sonny Rollins (foto: John Abbott)

* By Seth Abramson

It is an extremely rare occurrence in New York for jazz to occupy a large concert venue unassociated with a festival or sponsorship of any kind. Last night celebrated a legendary heavyweight titan in the music and the wait to get inside the Beacon Theater, for those fortunate ticket holders along with the unconventional venue, helped create the aura and electricity of a heavyweight boxing bout from the sport’s glory years. This was fitting given that Sonny Rollins, the master of ceremonies, who was throwing himself an octogenarian celebration, can spar, jab and throw left hooks of imaginative tenor saxophone jazz improvisation with all the power of a Joe Louis knockout every round or rather song he performs.

This concert was no exception and had some truly historic surprises. The evening commenced with Sonny taking the stage to a standing ovation applause and launching into the calypso influenced original Global Warming with his working group consisting of Russell Malone on guitar, Bob Cranshaw on electric bass, Kobie Watkins on drums and Sammy Figueroa on percussion. The tune was a slow boil as the leader and the rest of the group were finding their comfort zone with the venue. The leader was gesturing rhythmic grooves to his drummer and percussionist. This was followed by an original blues entitled Nishi, with Sonny characterisitically exploring the depths of improvisation on multiple choruses.

Sonny then stepped up to the mic to discuss how a higher being chooses the music to come through certain individuals and introduced Roy Hargrove as a “chosen one” to come to the bandstand. Just as he was about to begin I Can’t Get Started, he decided to grab his flugelhorn and put down his trumpet. He proceeded in poignantly stating the melody with a beautifully rounded tone to which Sonny briefly colored before electing to feature Roy primarily alone with the group. They followed this with the standard Raincheck, where Roy and Sonny engaged in more direct trading of solos with each one picking up the narrative back and forth to a crowd pleasing climax.

Sonny then invited the jazz guitar legend and his former band mate Jim Hall to join him as Roy Hargrove and Russell Malone exited the stage. Jim hushed the crowd intent on hearing the stirring beauty in his performance of In A Sentimental Mood with Sonny. The chemistry and shared history of Jim and Sonny together was immediately evident and demonstrated a musical rapport that hadn’t occurred on the stage until that moment. Following Jim taking the ballad out, they launched into If Ever I Would Leave You with the entire ensemble which was cleary one of a number of evening highlights, one to follow after the next from this moment on.

The next magical moment to follow was hearing Sonny in a trio format, with Christian McBride on bass and the legendary Roy Haynes on drums, performing Solitude, a feature for Christian. What followed was possibly Sonny’s most recognizable original blues heads in Sonnymoon For Two.  Before the completion of this tune Sonny invited the biggest surprise unannounced guest of the evening, none other than the iconic Ornette Coleman, who took to the stage and started to take the blues into his universe by chasing one strongly improvised melodic statemement after another without specifically outlining the original harmony.  The sound emanating from his horn is at once startlingly new and familiar as if it was there all along, waiting to be discovered. This, of course, being his signature and along with it bringing a challenge to which Sonny rose to with captivating elegance in trading choruses with Ornette.

All that could be done at that point was for everyone to exit the stage and hear the roar of the crowd before Sonny and his working band along with Jim Hall, Roy Hargrove, Christian McBride and Roy Haynes returned for a rousing rendition of his most famous calypso St. Thomas for an encore.

While Sonny’s gait may have slowed somewhat now through the years his authority and powerful sound belie his age considerably. He was definitely Interested in proving this point as well throughout the night and didn’t disappoint.

Mission accomplished. And Sonny retains the undisputed heavyweight championship belt!

* Seth Abramson is the artistic director of Jazz Standard.

Sonny Rollins at Beacon Theatre

* By Bob Blumenthal

The evening opened with Sonny and his working band (Russell Malone, guitar; Bob Cranshaw, electric bass; Kobie Watkins, drums; Sammy Figueroa, congas) playing Nishi and Global Warming.  Then Roy Hargrove joined the group for I Can't Get Started and Raincheck.  Roy and Russell exited before Jim Hall came out to play In a Sentimental Mood and If Ever I Would Leave You with Sonny and the rhythm section.  Next, Sonny, Christian McBride and Roy Haynes played Solitude and Sonnymoon for Two, with unannounced guest Ornette Coleman joining the trio in the middle of Sonnymoon.

Highlights for this listener included Sonny's solo on Global Warming, Sonny's and Roy's exchanges on Raincheck, the empathy of Jim and Sonny on If Ever..., Solitude, and the solo Sonny played after Ornette's first solo on Sonnymoon, which sounded like Ornette's concept in Sonny's vernacular.

As they say, you should have been there.

* Bob Blumenthal is the author of Saxophone Colossus: A Portrait of Sonny Rollins.

Adéu a Natxo Romero

Dani Pérez i Natxo Romero (foto: Ricard Cugat)

El mateix dia que Sonny Rollins celebra al Beacon Theatre de Nova York el seu 80 aniversari, la comunitat jazzística catalana ha de lamentar la mort, ahir a la nit, del saxofonista tenor Natxo Romero. Romero, que tenia 52 anys, era professor del Taller de Músics i en aquests moments treballava amb grups com The Fenicians, la Barcelona Blues Big Band i el grup de rock Skatalà. Com a membre del Lluís Coloma Septet, Romero va actuar a la inauguració del 39è Festival Internacional de Jazz de Barcelona, a la Barceloneta.

L'enterrament serà demà dissabte dia 11 de setembre, a dos quarts de dues al Tanatori de Collserola (sala 17). 

The Abstract Expressionist

After 60 years of playing tenor sax, Sonny Rollins thinks he just might be getting the hang of it.

By Fred Kaplan at 'NYMag'

Sonny Rollins, saxophone colossus, turns 80 on September 7. You wouldn’t know it to see him standing at the front of the bandstand, one of the last of the jazz legends, unleashing his soul through the frantic force of brash and sinuous improvisations, much as expressionist painters once attacked their canvases with color. On his best nights, Rollins rides the rhythm for chorus after chorus, no two alike, exploring every avenue that a chord or melody opens up. Then, just as you think he’s exhausted all possibilities, he darts into some uncharted alley and invents a whole new way of phrasing music—all the while never losing his grip on the pulse, shape, or swing of the song.

 

To read the full article, go here.

Sonny Rollins in Harlem

 Sonny Rollins, al Palau (foto: Ricard Cugat)

By Marc Myers at 'Wall Street Journal'

Driving up to Harlem a few weeks ago, Sonny Rollins was being hard on himself. «The last time I performed at the Beacon Theater 15 years ago, I wasn't happy with how I played,» he said, looking out the passenger-seat window. «I'm excited to get a chance to redeem myself. After all, it's my birthday concert, right?»

Saxophone icon and Harlem native Sonny Rollins will celebrate his 80th birthday with a Sept. 10 concert at the Beacon Theatre.

Indeed it is. Mr. Rollins turns 80 on Sept. 7, and will mark the occasion with a performance at the Beacon Theater on Sept. 10. Sonny Rollins@80 will include guitarist Jim Hall, trumpeter Roy Hargrove, bassist Christian McBride and other special guests.

Given the pending milestones, I had suggested to Mr. Rollins that we revisit the Harlem of his youth from the comfort of a Lincoln Town Car. The point was to see the turf that helped shape him as an artist. He agreed.

(To read full article, go here.)