The program conceived by artistic director Claudio Fasoli for the 2006 Ninth Padua Porsche Festival, balances forms and personalities from the “classic" eras of jazz with the most contemporary experiences of this music. Born into the African-American experience, jazz has became, just because of this inner urge for freedom, the preferred forum of expression for musicians who cannot find in the established traditions a way to fully express their ideas. The different projects connecting concerts in the different locations and hours allow the listener to explore today's jazz following geographical, instrumental and artistic criteria, creating a network of calls and responses which is after all the difference between a festival and a series of more or less interesting concerts.
“Northern Wind, Southern Wind" echoes the title of a composition by Bruno Tommaso to outline how the development of jazz in Italy involved not only the metropolitan cities like Milan and Rome but also Italy's noble and culturally rich province, including Padua and the area around Venice. Many average and small towns in the “periphery" enjoyed extraordinary blooming of talents, creating what we can rightly call “regional" styles schools. From this grassroots movements, the more clever and open among the experienced musicians of Italian jazz first generations found members for their own groups, offering to the younger colleagues a chance for a precious experience and putting them on the international map: the career of musicians like Giorgio Gaslini and Enrico Rava, featured on the program, is a perfect example. Within this series we'll listen to the original orchestral program led by bassist Bruno Tommaso, no doubt one of the most respected jazz arrangers and conductors in the country, featuring his own compositions played by a combination of a classic string ensemble and a jazz big band, with saxophonist Pietro Tonolo as a guest soloist: Tonolo grew up not far from Padua before becoming one of Europe's most personal stylists. Giorgio Gaslini with his unique compositional style and his chamber style trio will follow: the Maestro is accompanied by two major talents, bassist and composer Roberto Bonati, and percussion wizard Roberto Dani. It's worth noting that all the leaders in this part of the programs got their first exposure through Gaslini's groups. Roberto Ottaviano, specialist of soprano sax from baritone in Apulia, will carry the perfumes from the South rounding up this part of the program with an ensemble combining the liquid, clear voice of his reed instrument with a variation of the classic string quartet: all the members of the band are leaders in their own right, and Ottaviano's arrangements are a brilliant combination of European contemporary music and improvisation, following the inspiration of Steve Lacy and Franz Koglmann among others: his “Six Mobiles" project with arrangements of Mingus themes for three reeds and three brasses is still fondly remembered worldwide.
“Trois Trios": Symmetrical and at the same time including an infinite number of permutations, suggested by the anagrammatic title itself; based on a magical and mystical number, the trio has been a source of fascination for modern jazzmen at least since Nat King Cole and Benny Goodman, but was consecrated by later pianists, first Bill Evans and Keith Jarrett, even if saxophonists post Rollins, Coleman and Ayler also employ it frequently. The intimate environment of the historical Pedrocchi Caf, its neoclassical architecture turned into a jazz club, will allow listeners that full immersion, almost physical communion with the players that is surely one of the charms of this music. A sort of prologue will be the concert following the presentation of the recently published book by Maurizio Franco “Jazz and his languages"; Franco is one of the moving forces behind important musical happenings in Milan, a city that in the last few years hasn't show much interest into jazz, and his book is a major addition to the Italian available bibliography. After Franco's dialogue with Claudio Fasoli, in a sort of reversion of the usual roles, pianist Mario Zara will present his trio, the best kept secret of Milanese jazz: we think that Russian bassist Yuri Goloubev with his vast experience in classical music orchestras will be a real discovery. “Trois Trios" proper will begin with Sicilian pianist Giuseppe Mazzarino, one of Italy's most accomplished vocal accompanists - he's a member of Mark Murphy's European group- whose own style updates the full, rhythmic tradition of Jamal and Kelly with a distinct Italian taste in harmonies and melodies. The second Pedrocchi afternoon will see the unusual saxophone, bass and piano trio led by Beppe Aliprandi, another musician from Milan whose reputation abroad is not yet equal to his musical worth, while the series will be closed by Andrea Massaria guitar trio, representing a very rich and exciting musical scene which developed in north-east of Italy, with its own festivals, clubs and record labels. The “sidemen" in these three trios are among the best instrumentalists in the country, many have their own groups and strong artistic personalities, so there will be a real meeting and dialogue - far different from simple accompaniment.
“Musical Worlds": under this heading the main events held at Padua's historical Verdi Theatre are grouped, and it's an interesting conception - jazz as a system of interconnetting worlds, like a solar system or galaxy, evolving in time and space. This year the axis of the system is definitely Ornette Coleman: the man who changed the shape of jazz to come around 1959 and who remains an inspiration to every young musician trying to find his or her own voice will play in Padua again after an unfortunate night 30 years ago, leading his most recent quartet with son Denardo on drums and two bass players, Greg Cohen of Masada fame and Tony Falanga. Listening live to the unique voice of Ornette can change the way one listen to music, and there's great anticipation for this concert. The second trip will bring listeners to the musical world of Dave Holland: the British born bassist is surely one of the most influential musicians today, and there's no space enough to list all the prizes and polls he recently won. His quintet includes new bright talents like Chris Potter and Robin Eubansk, and is based on the substitution of piano with Steve Nelson's vibes. Holland left his mark on the history of jazz as an improvisor, a composer and a band leader, an all-around personality who reminds of the achievements of Charles Mingus. Saturday evening's concert will focus on Roberto Brazzale's arrangements of the compositions by Claudio Fasoli: the artistic director of the Festival is in fact one of the crucial musicians of Italy's jazz, but only after several editions the Festival's organizers finally coaxed him to present himself as a musician. Fasoli - born in Venice, quite close to Padua - has been in the forefront of Italian jazz since the 70's when he co-led with Franco D'Andrea and Giovanni Tommaso the quintet Perigeo, an highly influential electric group which has been described as Italy's Weather Report, but with a degree of inaccuracy, as the Italian group style and sound were completely original. After Perigeo disbanded, Fasoli carried on his research through composition and improvisation in different contexts, with a definite interest for small, pianoless groups and even for solos, where he can pursue his interest in modality. His wide musical and artistic approach brough him to cooperate with dancers, poets, and classical musicians like cellist Mario Brunello. An highly appreciated teacher in the Siena Jazz workshops since their inception in 1977, Fasoli is today one of Europe's best specialist on soprano and tenor, and led groups including among others Kenny Wheeler, Tony Oxley, Jean-Franois Jenny-Clarke. The exciting Milan Civica Big Band has been called in to perform the arrangements. This orchestra stems from the work of Enrico Intra and Maurizio Franco within the structure provided by the Town's music school. Thanks to many years of committment now the band is one of the more flexible and open jazz orchestras in Italy, building up an huge repertoire ranging from classic Ellington compositions to contemporary European arrangements. An added attraction is of course the mellow trumpet sound and the melodic imagination of Enrico Rava - according to NPR's poetic definition, “Italy's gift to Jazz".
“Reeds from the World": as can be expected from someone like Claudio Fasoli, who dedicated his work to understand the infinite possibilities of that complex interaction between a piece of cane, a metal pipe, and the breath and mouth of the performer, it's riding a reed that we are invited to explore the world. These trips have become one of the most important features of the Padua Festival, as the audience can not only enjoy the major concerts in the Opera Theatre but to discover late at night - to steal a title from Enrico Rava - “Certain Secret Corners" of this music: musicians often of the highest quality and interest, that for any reasons are not presented enough in our country, part of an Europe which has the same currency but where cultural integration is still far away. “Reeds from the World" are the symbol of this work which brought to the Pedrocchi Caf some unique and extraordinary concerts, prized by the standing room only audience: sometimes it seems that laziness is not in the listeners, but in the program makers...With saxophone and flautist Dimos Dimitriadis the festival opens its gaze towards that Eastern Mediterranean area which is so important historically for our contry and especially for the region around Venice. Born in Thessaloniki, now actively working as performer and teacher from Corfu University, Dimitriadis studied in the USA where he could take inspiration from a wide range of musicians, Steve Lacy and his personal vision as well as powerful instrumentalist Jerry Bergonzi. In Greece he worked with international jazz players but also with musicians well-versed in “traditional" genres: his qualities and preparation allow him to work as a soloist or arranger for big band and classical ensembles, or toplay in avant-rock, ethnic music, free improvisation, maintaining his personal concept of music: his Sonny Clark project is an example of hs approach to jazz history, but among the Greek artists he worked with there are Savina Yannatou, Maria Farandouri and Dionisis Savopoulos. He worked with the extraordinary “Mode Plagal" group, Byzantine music in a contemporary way. With him, Greek pianist George Kontrafouris, American basssit Marc Abrams well known to jazz lovers for his career at the very top of International jazz, and Finnish drummer Ville Pynssi, one of the latest and freshest talents issued by the rich scene of the Scandinavian country. Born in Pori (famous for its jazz festival) nel 1964, Esa Pietil worked with the two major Finnish orchestras, Espoo Big Band and UMO Jazz Orchestra, and then began to lead his own groups as well as taking part into collective projects like “Nordic Kollektiv", a sort of experimental overview of the current Scandinavian Jazz wave. On his Cds the virtuoso Swedish trumpetist Anders Bergcrantz and pianist Jarmo Savolainen are included in the groups. In Pietil's music what is striking is how he can develop a huge power without losing the feeling for dynamic , and how he created a very accessible music without resorting to the repertory of set phrases which constitutes the downside of jazz education. His trio is based on a great listening capacity, so that free improvisation becomes a perfect way of maintaining an open dialogue between group members and with the audience. Canadian saxophonist Michael Blake grew up in Vancouver, one of North America's more dynamic jazz scenes; at Banff Jazz Workshop studied with musicians like Cecil Taylor, Kenny Wheeler and Steve Coleman. Then moved to New York, where in 1990 John Lurie invited him to join Lounge Lizards, one of the most influential bands ofthat time, where he focused on soprano. His first Cd was an integration of jazz and Vietnamese influences, into a touching sonic diary of this trip in the South East of Asia. Michael Blake is also a member of the Jazz Composer Collective, which released the Herbie Nichols Project Cds. Blake Tartare is the last project of the multifaceted musician and could be called his Danis Quartet: with him dynamic drummer Kersten Osgood who leads a trio with Lonnie Smith; Soren Kjaergaard and Jonas Westergaard, two bright hopes for Danish jazz. The final concert ofthe festival will take place Sunday morning in the Rossini Hall, a lovingly restored aristocratic dance hall at the first floor of Caf Pedrocchi. Featured artist will be Martinican-French percussion player Mino Cinelu, famous for his collaboration with Miles Davis for historical recordings like 'We Want Miles', 'Star People' and 'Decoy' as well as for his work with the most important jazz and pop artists. His solo is now the most complete and fascinating expression of a musical concept based on all the music he listened to since he was a child. Listeing to Cinelu singing in his soft creole reminds of Jazz's own cradle, New Orleans; in Cinelu's hands jazz, blues, Afro-pop, Indian, folk and rock find their common roots and his solo is much more than just an exhibition of a unique percussion style, it's a full acknowledgement of Jazz's heritage and a superbly fitting conclusion to this Ninth Edition of Porsche Padua Jazz Festival 2006.
Sunday, November 19 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: A stage for two orchestras. Padua's Royal Small Band and String Ensemble of Cesare Pollini Conservatory. Arranger and conductor: Bruno Tommaso Guest soloist: Pietro Tonolo, sax
Monday, November 20 2006, Padua Porsche Center 9.30 pm
Book presentation: Maurizio Franco presents his “Il Jazz e il suo linguaggio"
Mario Zara Trio(piano), Yuri Goloubev (double bass), Marco Zanoli (drums)
Tuesday, November 21 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: Giorgio Gaslini Chamber Trio: Giorgio Gaslini (piano), Roberto Bonati (double bass), Roberto Dani (drums)
Wednesday, November 22 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: Roberto Ottaviano Quintet: Roberto Ottaviano (soprano sax), Emanuele Parrini (violin) Paolo Botti (viola), Salvatore Majore (cello), Giovanni Maier (double bass)
Thursday, November 23 2006
Caff Pedrocchi 6.30 pm
Three Trios: Giovanni Mazzarino Trio: Giovanni Mazzarino (piano), Dario Deidda (double bass), Fabrizio Sferra (drums)
“Northern Wind, Southern Wind" echoes the title of a composition by Bruno Tommaso to outline how the development of jazz in Italy involved not only the metropolitan cities like Milan and Rome but also Italy's noble and culturally rich province, including Padua and the area around Venice. Many average and small towns in the “periphery" enjoyed extraordinary blooming of talents, creating what we can rightly call “regional" styles schools. From this grassroots movements, the more clever and open among the experienced musicians of Italian jazz first generations found members for their own groups, offering to the younger colleagues a chance for a precious experience and putting them on the international map: the career of musicians like Giorgio Gaslini and Enrico Rava, featured on the program, is a perfect example. Within this series we'll listen to the original orchestral program led by bassist Bruno Tommaso, no doubt one of the most respected jazz arrangers and conductors in the country, featuring his own compositions played by a combination of a classic string ensemble and a jazz big band, with saxophonist Pietro Tonolo as a guest soloist: Tonolo grew up not far from Padua before becoming one of Europe's most personal stylists. Giorgio Gaslini with his unique compositional style and his chamber style trio will follow: the Maestro is accompanied by two major talents, bassist and composer Roberto Bonati, and percussion wizard Roberto Dani. It's worth noting that all the leaders in this part of the programs got their first exposure through Gaslini's groups. Roberto Ottaviano, specialist of soprano sax from baritone in Apulia, will carry the perfumes from the South rounding up this part of the program with an ensemble combining the liquid, clear voice of his reed instrument with a variation of the classic string quartet: all the members of the band are leaders in their own right, and Ottaviano's arrangements are a brilliant combination of European contemporary music and improvisation, following the inspiration of Steve Lacy and Franz Koglmann among others: his “Six Mobiles" project with arrangements of Mingus themes for three reeds and three brasses is still fondly remembered worldwide.
“Trois Trios": Symmetrical and at the same time including an infinite number of permutations, suggested by the anagrammatic title itself; based on a magical and mystical number, the trio has been a source of fascination for modern jazzmen at least since Nat King Cole and Benny Goodman, but was consecrated by later pianists, first Bill Evans and Keith Jarrett, even if saxophonists post Rollins, Coleman and Ayler also employ it frequently. The intimate environment of the historical Pedrocchi Caf, its neoclassical architecture turned into a jazz club, will allow listeners that full immersion, almost physical communion with the players that is surely one of the charms of this music. A sort of prologue will be the concert following the presentation of the recently published book by Maurizio Franco “Jazz and his languages"; Franco is one of the moving forces behind important musical happenings in Milan, a city that in the last few years hasn't show much interest into jazz, and his book is a major addition to the Italian available bibliography. After Franco's dialogue with Claudio Fasoli, in a sort of reversion of the usual roles, pianist Mario Zara will present his trio, the best kept secret of Milanese jazz: we think that Russian bassist Yuri Goloubev with his vast experience in classical music orchestras will be a real discovery. “Trois Trios" proper will begin with Sicilian pianist Giuseppe Mazzarino, one of Italy's most accomplished vocal accompanists - he's a member of Mark Murphy's European group- whose own style updates the full, rhythmic tradition of Jamal and Kelly with a distinct Italian taste in harmonies and melodies. The second Pedrocchi afternoon will see the unusual saxophone, bass and piano trio led by Beppe Aliprandi, another musician from Milan whose reputation abroad is not yet equal to his musical worth, while the series will be closed by Andrea Massaria guitar trio, representing a very rich and exciting musical scene which developed in north-east of Italy, with its own festivals, clubs and record labels. The “sidemen" in these three trios are among the best instrumentalists in the country, many have their own groups and strong artistic personalities, so there will be a real meeting and dialogue - far different from simple accompaniment.
“Musical Worlds": under this heading the main events held at Padua's historical Verdi Theatre are grouped, and it's an interesting conception - jazz as a system of interconnetting worlds, like a solar system or galaxy, evolving in time and space. This year the axis of the system is definitely Ornette Coleman: the man who changed the shape of jazz to come around 1959 and who remains an inspiration to every young musician trying to find his or her own voice will play in Padua again after an unfortunate night 30 years ago, leading his most recent quartet with son Denardo on drums and two bass players, Greg Cohen of Masada fame and Tony Falanga. Listening live to the unique voice of Ornette can change the way one listen to music, and there's great anticipation for this concert. The second trip will bring listeners to the musical world of Dave Holland: the British born bassist is surely one of the most influential musicians today, and there's no space enough to list all the prizes and polls he recently won. His quintet includes new bright talents like Chris Potter and Robin Eubansk, and is based on the substitution of piano with Steve Nelson's vibes. Holland left his mark on the history of jazz as an improvisor, a composer and a band leader, an all-around personality who reminds of the achievements of Charles Mingus. Saturday evening's concert will focus on Roberto Brazzale's arrangements of the compositions by Claudio Fasoli: the artistic director of the Festival is in fact one of the crucial musicians of Italy's jazz, but only after several editions the Festival's organizers finally coaxed him to present himself as a musician. Fasoli - born in Venice, quite close to Padua - has been in the forefront of Italian jazz since the 70's when he co-led with Franco D'Andrea and Giovanni Tommaso the quintet Perigeo, an highly influential electric group which has been described as Italy's Weather Report, but with a degree of inaccuracy, as the Italian group style and sound were completely original. After Perigeo disbanded, Fasoli carried on his research through composition and improvisation in different contexts, with a definite interest for small, pianoless groups and even for solos, where he can pursue his interest in modality. His wide musical and artistic approach brough him to cooperate with dancers, poets, and classical musicians like cellist Mario Brunello. An highly appreciated teacher in the Siena Jazz workshops since their inception in 1977, Fasoli is today one of Europe's best specialist on soprano and tenor, and led groups including among others Kenny Wheeler, Tony Oxley, Jean-Franois Jenny-Clarke. The exciting Milan Civica Big Band has been called in to perform the arrangements. This orchestra stems from the work of Enrico Intra and Maurizio Franco within the structure provided by the Town's music school. Thanks to many years of committment now the band is one of the more flexible and open jazz orchestras in Italy, building up an huge repertoire ranging from classic Ellington compositions to contemporary European arrangements. An added attraction is of course the mellow trumpet sound and the melodic imagination of Enrico Rava - according to NPR's poetic definition, “Italy's gift to Jazz".
“Reeds from the World": as can be expected from someone like Claudio Fasoli, who dedicated his work to understand the infinite possibilities of that complex interaction between a piece of cane, a metal pipe, and the breath and mouth of the performer, it's riding a reed that we are invited to explore the world. These trips have become one of the most important features of the Padua Festival, as the audience can not only enjoy the major concerts in the Opera Theatre but to discover late at night - to steal a title from Enrico Rava - “Certain Secret Corners" of this music: musicians often of the highest quality and interest, that for any reasons are not presented enough in our country, part of an Europe which has the same currency but where cultural integration is still far away. “Reeds from the World" are the symbol of this work which brought to the Pedrocchi Caf some unique and extraordinary concerts, prized by the standing room only audience: sometimes it seems that laziness is not in the listeners, but in the program makers...With saxophone and flautist Dimos Dimitriadis the festival opens its gaze towards that Eastern Mediterranean area which is so important historically for our contry and especially for the region around Venice. Born in Thessaloniki, now actively working as performer and teacher from Corfu University, Dimitriadis studied in the USA where he could take inspiration from a wide range of musicians, Steve Lacy and his personal vision as well as powerful instrumentalist Jerry Bergonzi. In Greece he worked with international jazz players but also with musicians well-versed in “traditional" genres: his qualities and preparation allow him to work as a soloist or arranger for big band and classical ensembles, or toplay in avant-rock, ethnic music, free improvisation, maintaining his personal concept of music: his Sonny Clark project is an example of hs approach to jazz history, but among the Greek artists he worked with there are Savina Yannatou, Maria Farandouri and Dionisis Savopoulos. He worked with the extraordinary “Mode Plagal" group, Byzantine music in a contemporary way. With him, Greek pianist George Kontrafouris, American basssit Marc Abrams well known to jazz lovers for his career at the very top of International jazz, and Finnish drummer Ville Pynssi, one of the latest and freshest talents issued by the rich scene of the Scandinavian country. Born in Pori (famous for its jazz festival) nel 1964, Esa Pietil worked with the two major Finnish orchestras, Espoo Big Band and UMO Jazz Orchestra, and then began to lead his own groups as well as taking part into collective projects like “Nordic Kollektiv", a sort of experimental overview of the current Scandinavian Jazz wave. On his Cds the virtuoso Swedish trumpetist Anders Bergcrantz and pianist Jarmo Savolainen are included in the groups. In Pietil's music what is striking is how he can develop a huge power without losing the feeling for dynamic , and how he created a very accessible music without resorting to the repertory of set phrases which constitutes the downside of jazz education. His trio is based on a great listening capacity, so that free improvisation becomes a perfect way of maintaining an open dialogue between group members and with the audience. Canadian saxophonist Michael Blake grew up in Vancouver, one of North America's more dynamic jazz scenes; at Banff Jazz Workshop studied with musicians like Cecil Taylor, Kenny Wheeler and Steve Coleman. Then moved to New York, where in 1990 John Lurie invited him to join Lounge Lizards, one of the most influential bands ofthat time, where he focused on soprano. His first Cd was an integration of jazz and Vietnamese influences, into a touching sonic diary of this trip in the South East of Asia. Michael Blake is also a member of the Jazz Composer Collective, which released the Herbie Nichols Project Cds. Blake Tartare is the last project of the multifaceted musician and could be called his Danis Quartet: with him dynamic drummer Kersten Osgood who leads a trio with Lonnie Smith; Soren Kjaergaard and Jonas Westergaard, two bright hopes for Danish jazz. The final concert ofthe festival will take place Sunday morning in the Rossini Hall, a lovingly restored aristocratic dance hall at the first floor of Caf Pedrocchi. Featured artist will be Martinican-French percussion player Mino Cinelu, famous for his collaboration with Miles Davis for historical recordings like 'We Want Miles', 'Star People' and 'Decoy' as well as for his work with the most important jazz and pop artists. His solo is now the most complete and fascinating expression of a musical concept based on all the music he listened to since he was a child. Listeing to Cinelu singing in his soft creole reminds of Jazz's own cradle, New Orleans; in Cinelu's hands jazz, blues, Afro-pop, Indian, folk and rock find their common roots and his solo is much more than just an exhibition of a unique percussion style, it's a full acknowledgement of Jazz's heritage and a superbly fitting conclusion to this Ninth Edition of Porsche Padua Jazz Festival 2006.
Sunday, November 19 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: A stage for two orchestras. Padua's Royal Small Band and String Ensemble of Cesare Pollini Conservatory. Arranger and conductor: Bruno Tommaso Guest soloist: Pietro Tonolo, sax
Monday, November 20 2006, Padua Porsche Center 9.30 pm
Book presentation: Maurizio Franco presents his “Il Jazz e il suo linguaggio"
Mario Zara Trio(piano), Yuri Goloubev (double bass), Marco Zanoli (drums)
Tuesday, November 21 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: Giorgio Gaslini Chamber Trio: Giorgio Gaslini (piano), Roberto Bonati (double bass), Roberto Dani (drums)
Wednesday, November 22 2006, Auditorium Cesare Pollini Padua 9.30 pm
Northern Wind, Southern Wind: Roberto Ottaviano Quintet: Roberto Ottaviano (soprano sax), Emanuele Parrini (violin) Paolo Botti (viola), Salvatore Majore (cello), Giovanni Maier (double bass)
Thursday, November 23 2006
Caff Pedrocchi 6.30 pm
Three Trios: Giovanni Mazzarino Trio: Giovanni Mazzarino (piano), Dario Deidda (double bass), Fabrizio Sferra (drums)
Teatro Verdi 9.00 pm
Musical Worlds: Ornette Coleman Quartet : Ornette Coleman (alto sax, violin, trumpet); Greg Cohen and Tony Falanga (double basses) Denardo Coleman (drums)
Caff Pedrocchi 11.30 pm
Dimos Dimitriadis Quartet: Dimos Dimitriadis (saxophones), George Kontrafouris (piano), Marc Abrams (Double bass), Ville Pynssi (drums)
Friday, November 24 2006
Caff Pedrocchi 6.30 pm
Three Trios: Aliprandi - Leveratto - Zambrini Trio: Beppe Aliprandi (saxophones), Piero Leveratto (double bass), Antonio Zambrini (piano)
Teatro Verdi 9.00 pm
Musical Worlds: Dave Holland Quintet: Dave Holland (double bass), Chris Potter (tenor sax), Robin Eubanks (trombone), Nate Smith (drums) Steve Nelson (vibes)
Caff Pedrocchi 11.30 pm
Reeds from the World: Esa Pietil Trio: Esa Pietil (saxophones), Uffe Krokfors (double bass), Markku Ounaskari (drums)
Saturday November 25 2006
Caff Pedrocchi 6.30 pm
Three Trios: Andrea Massaria Newtime trio: Andrea Massaria (electric guitar), Danilo Gallo (double bass),U.T.Gandhi (drums)
Teatro Verdi 9.00 pm
Musical Worlds: Civica Big Band di Milano, conductor and arranger Riccardo Brazzale Guest soloists: Claudio Fasoli (soprano & tenor sax), Enrico Rava (trumpet) Caff Pedrocchi 11.30 pm
Reeds from the World: Michael Blake “Tartare" Quartet: Michael Blake (saxophones) Soren Kjaergaard (Fender Rhodes & piano) Jonas Westergaard (double bass) Kersten Osgood (drums)
Sunday, November 26 2006
Caff Pedrocchi, Rossini Hall, 12.00 am
Mino Cinelu (percussion, live elettronics, electric guitar) solo
