If you're familiar with All About Jazz, you know that we've dedicated over two decades to supporting jazz as an art form, and more importantly, the creative musicians who make it. Our enduring commitment has made All About Jazz one of the most culturally important websites of its kind in the world reaching hundreds of thousands of readers every month. However, to expand our offerings and develop new means to foster jazz discovery we need your help.
You can become a sustaining member for a modest $20 and in return, we'll immediately hide those pesky Google ads PLUS deliver exclusive content and provide access to future articles for a full year! This combination will not only improve your AAJ experience, it will allow us to continue to rigorously build on the great work we first started in 1995. Read on to view our project ideas...
The full power of Coreto's music is felt in the combinatorial possibilities that exist with eleven individualists pulling their weight. This particular project is the first of what promises to be many from the Porto-Jazz Association, a collective of strong, modern jazz personalities based in Oporto, Portugal. Though still at an early stage as a cooperative unit, this album is a good indication that the association has the potential to do for its scene what the Brooklyn Jazz Collective has done on the other side of the pond: pool its resources to create intriguing music that bonds its members together as a group, but highlights its unique personalities.
Aljamia focuses on compositions written by João Pedro Brandão, who occupies the band's alto saxophone/flute chair. Brandão's modus operandi is based around constant thinning and thickeningjuxtaposing singular elements against one another, and mixing light with darkand he does all of this quite well. Firm ostinatos often hold things in place, but the band is equally intriguing when left to loose exploratory devices and atmospheres ("Corrente"). Plenty of players get their moment in the sun, as one piece may open with a lengthy bass excursion and end with a drum solo over a seesawing piano ostinato ("Satirico"). Along the way, it's fascinating to see how Brandão builds things up and breaks them down.
Odd combinations, like flute against bass ("Kalenderi"), seem completely normal in Coreto's world, which thrives on the unexpected. While this band seems at home in moody environs, whether creating busy cross-melodic traffic or simply exploring a minor key arena, it's also capable of creating extreme beauty and joyous affairs. The luxuriant harmonies at the outset of "Aeroporto" are ambrosia for the ears, while "Danças a Leste" is an outright aural party.
The members of Coreto (a.k.a. The Porta-Jazz Association) have discovered what many such newly sprouted organizations across the world have realized. While it's nice to do your own thing, and everybody needs their own sound, strength comes not from the individual, but from the collective powers at play when these individuals band together to share their resources and skills.
Personnel: João Pedro Brandão: alto saxophone, flute; José Pedro Coelho: tenor saxophone; Fernando Sanchez: tenor saxophone; Rui Teixeira: baritone saxophone; Ricardo Formoso: trumpet; Susana Santos Silva: trumpet; Daniel Dias: trombone; Andreia Santos: trombone; Alexandre Dahmen: piano; José Carlos Barbosa: double bass; José Marrucho: drums.
As a songwriter and vocalist, I love jazz for the experience of being in the center of intense creativity. It is the most potent form of music for keeping the artist and the audience in the 'now. Being in the moment is essential for humans, and we need help in learning how to do that. As a songwriter, I need the depth of musicality that jazz voicings can give my stories. My songs seem light and whimsical, but the message is not.
I met my main collaborator, Mark Fitzgibbon, at one of his gigs. I needed to do my first original album, and his playing was masterful, robust, and beautiful. At the time, I didn't realize how suited we were as a team. We're onto our 4rth album together.
My advice to new listeners is to listen to a really clear and simple version of a song so you can then hear what the musicians are doing and enjoy their creativity and musicality. Also, you have to see jazz live to appreciate it fully. You'll never feel it the same way listening to a CD or online. You need the vibration to go through your body to really get it!
We sent a confirmation message to . Look for it, then click the link to activate your account. If you don’t see the email in your inbox, check your spam, bulk or promotions folder.
Thanks for joining the All About Jazz community!