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Gli Unscientific Italians e l'arte della meta-sintesi Friselliana
by Ludovico Granvassu
Se Nanni Moretti fosse nato nel 1973 invece che nel 1953, la famosa scena di Caro Diario che lo vede in sella ad un vespone per le strade vuote di una languida Roma ferragostana avrebbe avuto come colonna sonora la musica di Bill Frisell piuttosto che quella di Keith Jarrett. Perchè ogni epoca viene definita da ...
Dan McCarthy: A Place Where We Once Lived
by Dan Bilawsky
By February of 2019, Dan McCarthy had reached the end of his time in New York. “The movers had come and packed everything up, and my wife and son were already in Toronto at my parents' house. I was at our apartment in Crown Heights and I only had a few things, including my vibes," he ...
Cote Calmet: Cultivating Afro-Peruvian Rhythms
by Ian Patterson
What do a dead donkey, a Seat Alhambra and Led Zeppelin's John Bonham all have in common? Whatever images your mind's eye may conjure, these three clues, in fact, all lead to Phisqa, the contemporary jazz band of Afro-Peruvian bent, formed by drummer Cote Calmet in Dublin, Ireland, in 2010. But let's not get ...
Corrado Beldì il poliedrico: su NovaraJazz e non solo
by Libero Farnè
Dopo aver partecipato a NovaraJazz per un paio di giorni nel 2008 e nel 2011, ho incontrato di nuovo il suo direttore artistico Corrado Beldì al Talos Festival di Ruvo di Puglia nel 2014, quando di scena era l'Instant Composers Pool. Mi trovai di fronte un quarantenne giovanile, estroverso, sempre pronto a una risata contagiosa e ...
Tali Rubinstein: Plastic Art
by Scott Krane
Recorder player, Tali Rubinstein, studied early music from the Baroque and Renaissance periods for many years, mostly as a teenager. The Israeli-American virtuoso learned under Bracha Kol, a recorder player and operatic vocalist based in Israel. If asked back then whether she was interested in playing jazz, Rubinstein would have looked at you with some interest ...
The Unstoppable James Brandon Lewis
by Eric Gudas
Tenor saxophonist, composer, and writer James Brandon Lewis is driven by a restlessness that makes him one of his generation's standout players of, and thinkers about jazz. Although he was voted Rising Star Tenor Saxophonist in the 2020 DownBeat Magazine International Critic's Poll, most might say, after listening to his recent releases, that his star has ...
Enrico Morello: Movimenti ritmici dell'esistenza
by Paolo Marra
Dopo aver messo a frutto prestigiose esperienze, tra le quali la militanza nel New Quartet di Enrico Rava, il giovane batterista Enrico Morello arriva all'esordio discografico da leader con Cyclic Signs (Auand Records). Grazie ad una scrittura complessa e ricercata, Morello riesce a coinvolgere l'ascoltatore a livello sensoriale ed emotivo mettendo in luce le sue spiccate ...
Samara Joy: Ascension Into Jazz
by R.J. DeLuke
When Samara Joy performs, she takes her place, stands confidently and sings. Immediately the strength and richness of her voice—which is natural—grabs the attention of the listener. There are no gyrations. It's refreshing that a young artist doesn't see the need for unnecessary vocal gymnastics. Too often, those can miss the mark. Her style ...
Shabaka Hutchings: Black to the Future
by Chris May
Though he is far too modest to make any such claim himself, most observers agree that saxophonist and clarinetist Shabaka Hutchings is the standard-bearer for the new wave of jazz musicians who have emerged in London since around 2015. Hutchings is a few years older than most of the cohort. He made his debut recording in ...
Gary Bartz At 80: On Jazz Is Dead, Miles Davis And Why Improvisation Is A Dirty Word
by Rob Garratt
It's hard to talk to Gary Bartz about music. Not because he's a difficult or reluctant interviewee—quite the opposite. In fact, the 80-year-old saxophonist is refreshingly unguarded and garrulous when looking back over his formidable six-decade musical career. It's just finding the right words that's the tricky part. Like many musicians, jazz isn't one ...
