Enrico Pieranunzi - Trasnoche
Things ... I like sincere, intense but accurate, it is true ... I do not believe that genuine artistic freedom and do whatever you like is ... well ... there's a kind of ethical aesthetics secret, all to try.
(Enrico Pieranunzi in the liner notes of Trasnoche)
I was impressed by the liner notes, an interview with Pieranunzi, on his music and in general the approach to creativity '. This phrase Pieranunzi, is linked to my post about the noise, aesthetics and freedom 'artistic theme interesting and fascinating, this strong aesthetic sense who always takes the music Pieranunzi. Also interesting is the concept of ethics and aesthetics that bring with them complex reflections, and probably tend to 'restore' the music of its place of origin privileged world of the unconscious.
Once you insert the disc into the player, I was immediately flooded with a sense of serenity 'and calm, the typical feeling that gave me the night and over the night, as the disc comes from a poem by Salinas and the choice' due to fact that the disc 'was recorded in the middle of the night in the magnificent Auditorium Santa Cecilia in Perugia. You feel the tiredness that beautiful, that abandoned the music Pieranunzi and Johnson, who were returning from a concert before leaving with the night session. Lunar atmosphere, evocative and neoclassical compositions in Pieranunzi, with a short pause a song completely improvised.
There 'a lot on the ability to add' by Marc Johnson on piano by Enrico Pieranunzi and their great understanding, complicity 'certainly also human as well as musical. The music flows, relaxing, night, and immersive, thanks also the marvelous recording that manages to take the suggestion of the environment in which it 'was recorded, microphones scholars who fail to grasp the powerful body of the piano and the environment and 'placed, and that little wonder that' the Auditorium Santa Cecilia in Perugia. The dynamics are incredible, magical and voids Pieranunzi impressive and evocative compositions from the titles, The Chant of time, Thiaki (classical name of Ithaca), The way of memories, all imbued with a subtle melancholy songs full of romantic pianism classic. A disc sincere, intense, passionate and accurate, as brave as all production of Aegean Records, which is always room for innovation projects and courageous, leaving aside the logic of the market.
HORIZONTAL, YES, YOU QUIERO
(P.Salinas)
Horizontal, yes, te quiero.
Mirale dear to heaven,
de la dear. Déjate ya
de fingir a balance
whence lloramos tú y yo.
Ríndete
In the great final verdad,
to conmigo lo que has de ser,
tendida ya, Paralela,
or en la muerte en el beso.
Horizontal es la noche
en el mar, masa large aspen
acostada sobre la tierra,
vencida sobre la playa.
El estar de pie, mentira:
sólo tenderse or chasing.
Y lo que tú y yo Queremos
y el día - ya tan Cansado
of de estar with luz, derecho -
es que nos llegue, Viviendo
y temblor de die,
the top of the beso en más,
ese quedarse rendidos
por el amor más became pregnant,
weight de ser de tierra,
matter, carne de vida.
En la noche y la trasnoche,
y el amor y el transamor,
ya cambiados
Horizontes en finales,
tú y yo, de nosotros mismos.
(On AIr The Chant of TiMe Enrico Pieranunzi TRasNochE)
Rating: 
Very nice ... I find the phrase in the opening. I always hated the approssinmazione with the treatment of the creative process and I must say that the artists themselves often play to "mythologize" the vision of art, too often made of clichés and pitfalls. The art is more earthly and harder than you might think and the principle of "work" applied the idea to 'intuition (which are the part most difficult to understand in fact ...) I recall a picture more complete and meaningful Perhaps "real" ...
great inspiration, as always.
apresto.
Also .. "7 and a half", the latest album of Naples Marco Zurzolo (;-) and 'Egea Records ..
not by chance ..
Quoyle hello ... I put your music to me.
Goodnight kiss
I also like the night, perhaps because it is at night can really be yourself ... transnoche ...
Sweet night of notes
Hobbs, of course even imagine in your field approximation often see around, I do believe that to be truly free to communicate and express themselves need a lot of work, the techniques and then be able to forget them. It 's an issue that worries me as aesthetics. There are artists 'moral' in the sense of hard work, honest and accurate, the creative process I think is something that falls from the sky, is also the intuition of a path and a deep knowledge of the conditions. Thank you for the comment I have very much to heart this theme.
Light and is in fact 'in my list of purchases, Aegean and' my favorite Italian label ... not by chance
Charm, I wish it were mine, and 'Mascagni's first and second Rea. Night and kisses
Rabab, be yourself during the night, he may seem more 'easy, the silences, suspensions, little interference around, do not know which is more' close to me, my image ethereal and reflective at night, or my image and daytime immersed in uselessness'
Tonight is not 'so sweet, a hug
Q
I quote from your post
"There is one kind of aesthetic ethics secret, all to try"
"With a short break of a song completely improvised"
and I ask you (ignorant) has sought here?
I imagine it's improvised, but not "how are you", indeed they rather wanted, right?
¬ ... wondering what, I was impressed and intrigued those two sentences combined together ...
'Night Quoyle
Np
Here is a curiosity 'that really opens a world of questions
The process of improvisation, Jazz is truly a mystery and 'made up of many things, aesthetic taste, knowledge of jazz form, material connections between different ideas.
E "a complex process, in this case and not 'made certainly in the case, also considering the fact that to improvise totally are two artists. There 's that have been playing together for 20 years and are familiar with the trails mutual mental improvisation, Pieranunzi knows all about jazz and classical forms, just as Johnson, so it' is and how it is in the proper sense, and if you want to 'know everything what I said forget it and then let the musical ideas flow freely, without limitations which can block it.
Some improvisations are such as it is in the sense that they have a form you do not know where to depart and where you end up, what kind of path's inside, others have a frightening consistency, if we mean improvisation as composition in real time, here that has a consistency importance of improvisation as a real composition. If a melody of a song there was randomness' as it is we would not be able to remember, there are rules, some explicit and objective, involving other implicit and subjective taste dell'improvvisatore, I mean understanding that a progression of harmonic we can become many combinations of notes (and this is 'the objective rule), then the taste of the musician is single, use the notes that most' represent the progression and the soul of who interprets it. It 'a very fast process, which has no real control, and sounds do not have time to think now I'll put a diminished fifth' cause we're good, you feel this thing, and speed 'with which you feel the progress and advances influence you, if you're not fast enough you will use the connection material, which are phrases that sound great on all occasions, all the jazzmen use them because it 's difficult to be completely creative for the entire performance, and when' tired or a musical idea is struggling to come to the surface we refer to this material that should be ample, a jazz musician must know thousands of melodic patterns, enabling it to compensate for momentary dips creativity 'that are always lurking.
I hope I have messed up further ideas
Hello
* How nice to hear *, * .. * Quoyle
Even in the comments, cha is almost seems to me to listen to your hands, it says, and explains ..
I place myself in a corner.
Pending.
First, thanks for visiting.
Then .. where he had hidden this blog? really nice, well done (another jazz lover in the web .. what a thrill). Linko subitosubito you too,
nice to met you
@ Evil and return you back in a corner, made of felt, also tells you
Anyway glad to * hear * myself.
@ Shanks, Yeah 'we're reduced jazzmen like conspirators now when you cross an emotion
See you then and like to have your blog cross-jazz
This place is a pleasure, too easy to get lost, and I do not even apply to us!
maybe I was a jazz musician! I am a lover of the genre, but I get excited cmq, eheh
Nice post and very interesting reflection of the comments. The aesthetic is not aesthetics, is not superficial nà ¨ approximation, is research efforts. Right.
no, no ... No you messed up at all ...
indeed ...
see you soon! now only a brief time move ...
hello
I am not quite agree, I think this is "a" point of view.
I am deeply convinced that artistic expression can not stand the limitation, I do not think that the bear especially jazz.
Louis Armstrong said that playing a piece is telling a story, Mingus made a distinction between the musicians among those who create and those performing the exercises.
The matter is very difficult to deal with talking, sometimes saying the same things saying different things either freeze in words something that is more and more free.
What I mean is that nothing is never enough for jazz, there has a law, but no precise rules, but I do first to tell you an anecdote.
One evening a friend, Peter Ballestrero, an excellent guitarist, ² he invites me to a concert (to hear), then there was his group, he and the rhythm section, and had come from outside his friend saxophonist who had with him a soprano.
played, I remember a version of Giant Steps memorable, especially for the guitar solo.
The sax was exceptionally gifted voice phrasing, mastery of form and harmony, I must have left a puddle of drool I was sitting.
At one point a piece presented "Sbroccatissimo" by Roland Kirk, I can not remember the title.
The structure of the composition is playful and inevitably leads to a lot of free time and he was in obvious discomfort after having played as a march, while only made a fart into the microphone with the sax.
Now, for a laugh you can do everything, but I think that to play some music, ear and technical (I assure you that I speak of a musician of considerable talent, not a neodiplomato) can never be enough when there's an emotional maturity that allows you to use the freedom of expression, even a random or random appening music.
I believe that anyone who plays jazz can also produce noise, but will never be a raspberry, (especially the clown Roland Kirk always has a strong dramatic even when playing) maybe a gasp, music, however, still have roots in the story telling The same problem will be part of that history, the cry will be singing.
Nell'alternate take First song you made us feel There 's on your blog, if you listen There' s a "mistake" and that line just touches the listener deeply, "giving" error is just because the truth of that story.
I do not know, I believe that the structure should be bent to the necessities of expression, and this is, should be done with art.
@ Toporififi or well, I think we tend to agree, in fact there was no talk of limitation, there was talk of technique used to not have their own limitations, in addition to the sensitivity necessary technical 'know how to use the technique, and accuracy , errors in fact and there are inaccuracies in the first song, do not diminish its artistic value, are authentic, genuine and sincere, and not 'the problem. I do not believe in strict rules and if you read my comment and I mean that, at equivalent 'structure of infinite solutions exist, the choice of solution is part of individuality' of the musician, and certain 'that most' solutions to a problem you know more 'your potential' are large, roland kirk does not seem devoid of ability 'techniques, simply put at the service of his creativity' to have no limits. I think we are saying the same thing, I put the maturity 'emotional above all, if you do not have the maturity' emotional you can not use the technique, if you do not have the technique will not be able to express your thoughts, if you thought .... vabbe 'course the castle collapses. I think you misunderstood the profound meaning of the phrase Pieranunzi, things are not done randomly, emotional intelligence to help with the technical means which acts as a facilitator, and makes possible the expression. There remains the issue of ethics and aesthetics, I firmly believe an aesthetic, even for jazz and I think that to deny the existence of aesthetics simply in the name of freedom 'is an artistic failure, natural or "a" point of view, not "the" point of view. The aesthetics and 'an essential part of art and creative thinking, that the natural emotionalism' it represents the soul, I for one am a proponent of the soul, and that 'the motive power of the creative act. I also agree with you, the structure can 'be bent, Miles and large they have done in science we do, to overcome the limits of the structures are distorted, for charity', but not surprisingly, there is always great knowledge of what and 'came first, and in particular a huge emotional thinking that goes beyond' the point to be overcome.
@ Nobody happy not to have messed up, see you then
@ Gypsy and fact 'just what the issue is not aesthetics' fixed rule, can' and should be folded with discipline, knowledge and emotional intelligence, that was the crux of the debate.
@ Shanks vabbe then jazzofilo
@ Karlaca, well found in these parts