The first piece of jazz that I heard and 'Stormy Weather was, I still remember very well, a version of Ben Webster thrilling live in Denmark, an album recorded in 1965 that I bought randomly not even remotely know the name of Ben Webster. Tonight while having dinner, I put a disk in the background, something to accompany my rebellious thoughts that went where I did not want, Billie Holiday on Verve box set, a disc at random, the second, a piece at random and come out the stereo Stormy Weather sung from her heart skipped a beat every word ... "do not know why there's no sun up in the sky Stormy weather ..." the soul of the piece and that voice, the blues, that feeling of loss that comes out that way unique and wonderful to be on time, beyond the 'all possible reasoning on the music, they are madly in love with Billie unable to hear his voice without flinching every time. And this piece, tied so 'much to my "music education", it makes me smile, are at the table with others, but no, I'm lost in my thoughts that have gone somewhere else without my knowing that I almost .
Stormy Weather (Ted Koehler / Harold Arlen)
Do not know why there's no sun up in the sky
Stormy weather
Since my man and I is not together,
Keeps rainin 'all the time
Life is bare, gloom and everywhere mis'ry
Stormy weather
Just can not get my poorself together,
I'm weary all the time
So weary all the time
When he went away the blues Walked in and met me.
If he stays away old rockin 'chair will get me.
All I do is pray the lord above will let me walk in the sun ounces more.
Can not go on, ev'ry thing I Had Is Gone
Stormy weather
Since my man and I is not together,
Keeps rainin 'all the time
Last night, talking with the manager of a local planning. Introduce the project in my group, before the question I posed and ':' And 'Jazzzz? "
Good question, and what the heck 'jazz, in that sense and' jazz short, you do not know if and say 'jazz, at least not in the classic sense of the dictionary. Now maybe I'm a little paranoid that I am a snob, and that the question was simply a 'harmless initial investigation, but that did not and I' liked 'cause some production "defined jazz" hardly be cataloged in the academic definition of the classical genre .
Then I tried what they said some of the great jazz musicians to this question.
Charlie Parker: "And 'the music of your experiences, your thoughts. If it does not come out alive from your instrument. And then you just play music that is music, but that is not jazz."
Eric Dolphy: "Something that makes you feel alive when you play it and when you listen. Not repeat what another has written. AND 'search your music, share your feelings, give yourself to others and to yourself."
Duke Ellington: "It 's part of us. And' the music of our people. So is the blues. Jazz is my mistress."
Well I would say to follow these definitions can purely emotional 'Jazz be almost anything, the music of your experience is true of any genre, even the feeling alive I would say that goes for any genre from pop to classical to speed metal, but if I follow Duke, I would say that none of us iperintellettuali Europeans can 'boast of playing jazz at least not in these terms. But there 'another wonderful definition of Branford Marsalis, who can perhaps understand the peculiar character of jazz that is' the characteristic manifold of jazz that manages to feed the most' diverse experiences and cultures (but I think maybe this is an experience of all musical genres and cultural effects of globalization, and 'it can now take in any musical genre influences of other cultures). In fact, jazz is a term often used to rank very heterogeneous among their productions ranging from contemporary music, the folk of Joni Mitchell productions
Branford Marsalis: "Jazz is a language, the musical language of African American slaves and like any language, it Reflects ITS speakers and grows with them."
But even in this case I think the fundamental part of speech is not jazz, but the music .... and 'the music and that' a language and how language reflects all those who speak it and naturally grows and is enriched with new terms and new experiences.
So think about the concept of jazz there really so much rhetoric, and that perhaps we should establish (and here there is another substantial chapter ..) and what 'art and what does' a tedious exercise in pure style, and I think the question and I 'was paid part of that intolerable rhetoric that tends to give the "jazz" as yeah we read the pieces from the royal book that we improvise figs an absolutely distorted at least in many circles "jazz minor" where' I think improvisation becomes synonymous with accuracy. Perhaps one of the things most 'smart and sensible about the definition of jazz long ago I read on some site that does not remember and say more' or less, to the end of the day and 'difficult to define uniquely jazz not rhetoric, it important and 'some jazz albums that are defined as "A Kind of Blue", "Giant Steps" and music labels such as "Blue Note", "Verve", "ECM" and then this' definitely a good thing ....
I was thinking today about the weather, and "randomly?" from my records I came across this by Paolo Fresu. No metamorphosis and 'I wanted nor expected, according Fresu citing Lucretius, De Rerum Natura in. So inevitably every stage of our life, every event is simply a point toward which so inevitably arrive. And this concept of Lucretius, has not had a negative connotation, and 'true what is happening and' inevitable, but it 's also true the other side that everything changes, and the metamorphosis of' continuous and inevitable change, too, so we should make every point a treasure that will follow for Change '. Actually think so 'to change and the metamorphosis that they often fear for their sense of the unknown, brings a mixed feeling of resignation and sweetness punctuated by moments of change that lead to other explosions almost quiet moments, and this' the Fresu music on this album, a mixture of resignation (is sweet and 'the torment from the air by Monteverdi) and sweetness, always sounds' extremely delicate and sweet, the guitar of Nguyen reminds you at times the sounds' of the best Abercrombie and 'always on the music just the right thickness and harmonic support that dreamy atmospheres and rare require together with the contribution of the accordion by Antonello Salis, the rhythm section, however, always in the background during times of peace and serenity', appears in all its power (Roberto Gatto and Furio Di Castri) in times of transformation, of change.
It was dawning
In the orange,
Golden bees
They were looking for honey.
Where it will
honey?
Is the blue flower,
Isabel.
In the flower
Of the rosemary.
(Garcia LORCA, from 'Song of Seville')
Rating: 
Tonight I thought, what fascinates me plan Latin, especially Cuban music in the piano. The fact 'that in the Cuban tradition of the piano is a percussion instrument which simultaneously also provides the harmonic framework of the piece. Cuban Pianists usually play rhythm patterns stubborn, who changed what was purely melodic tradition inherited from the European classical music. The plan then goes fully into the rhythm section of Cuban ensemble, performing repetitive rhythmic figures that interlock with the figures of bass and percussion to create that which is' the foundation of the Cuban Son. The musical term used to describe these rhythmic figures and 'montuno. A good montuno and 'indispensable to the "pull" of the rhythm section of the group in Cuban music, and it' much more 'as good as most' and 'willful and monotonous that is' devoid of the typical somewhat mawkish embellishments that many pianists are granted. The montuno and 'pure energy, syncopated rhythm, and' wonderful to hear the good piano montuno Cuban montuno a solid that does not distract from the soloist and serves as a point of reference while the percussion polyrhythms improvise. In short, the montuno and 'fundamental to the sounds' of a Cuban ensemble, although few are able to recognize and what' makes the difference, the plan Cuban must love to be accompanied in the background, providing a solid base on which the percussion, and soloists can recline. The montuno perfect, 'that manages to be balanced between the repetition and variation of the pattern nearly invisible to facilitate the flow of the agreements and establish a harmony rich and interesting. And it 's precisely the challenge always be balanced between rhythmic energy and harmonic energy creating the correct tension. I love playing the piano Latin, I just like to accompany the drums, will be keeping the beat while listening to the percussion to improvise, to go out at odd times and return on time, your time and be something truly alien to our Western musical culture, treated as percussion, talk with them and find the piano a primitive force and rhythm that makes you beat.
Montuno
Among the most montuno 'beautiful are those of Eddie Palmieri, Chucho Valdes, Oscar Hernandez, Chick Corea, Pedro Peruchin, Sonny Bravo, Jorge Dalto, Clare Fischer, Danilo Perez, Bebo Valdes, Ruben Gonzales, Vince Guaraldi, Charlie and I would like Otwell mention many others, each of these wonderful pianists deserves a separate post for their peculiarities' and the different historical period to which they belong, which is reflected in the style of the montuno more 'pure or more' contaminated by the American jazz tradition.
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| Eddie Palmieri | Sonny Bravo | Vince Guaraldi |
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