Non, décidément, enregistrer un hommage à George Gershwin ne se résume pas au choix de quelques standards célèbres relus comme à la parade par de bons musiciens. Il y faut, plus encore qu’avec n’importe quel autre répertoire, une compréhension intime de la richesse harmonique, une conscience de l’histoire — comment faire du neuf avec du jamais vieux — et ce savoir spécial qui consiste à éviter tous les clichés jazzistiques tout en s’inscrivant dans une tradition. Trois qualités distinctives que cultivent, depuis déjà plus d’une décennie, le clarinettiste Jean-Marc Foltz et le pianiste Stéphane Oliva. Ils avaient auparavant fréquenté l’ombre intimidante de Giacinto Scelsi, l’un des plus passionnants créateurs de musique contemporaine (Soffio di Scelsi, 2007), revisité en voyageurs engagés le grand répertoire classique pour clarinette et piano (Visions fugitives, 2011) ou plus récemment relu le mythe de Pandore (Pandore, 2016).
Ce disque sobrement intitulé Gershwin prolonge donc un dialogue déjà ancien, dialogue engagé sous les auspices d’une écoute mutuelle sidérante de concentration, où le silence jouerait le rôle d’arbitre des élégances. Les amateurs de joutes oratoires et de déballages virtuoses sont donc gentiment priés de passer leur chemin : la musique qui s’esquisse ici, avec la sûreté de ligne d’une antique calligraphie orientale, semble naître du silence pour mieux faire voir et entendre ce que c’est que le souffle, le grand souffle, celui qui, selon les mystiques anciennes, aurait mis le monde en mouvement ; au commencement. L’enjeu esthétique est simple et difficile : distendre le tempo sans jamais perdre la pulsation, étirer la ligne sans jamais rompre le trait.
Avec ses harmonies d’outre-bleu, son mélisme ample et savant, mais aussi son charme sensuel, le répertoire de Georges Gershwin constitue un véhicule rêvé. On oublie trop souvent, du moins de ce côté-ci de l’Atlantique où, depuis trop longtemps, les musiciens comme les mélomanes sont plus ou moins sommés de choisir leur camp, à quel point Gershwin vécut harmonieusement le fait d’évoluer entre deux mondes, celui de la musique classique de son temps (Rhapsody in Blue, Concerto en Fa) et celui des chansons populaires de Broadway qui firent sa gloire auprès des jazzmen. On oublie également trop souvent que ce pourvoyeur de chansons à la séduction immédiate fréquentait Arnold Schönberg et entretenait une amitié admirative avec Alban Berg.
Même si l’on sait que c’est sans doute Maurice Ravel, auprès de qui il sollicita vainement des leçons de composition, qui comprit le mieux son génie propre en l’encourageant à suivre sa voie personnelle plutôt que de tenter de prendre exemple sur lui — comme Nadia Boulanger aura l’intelligence de la faire, des années après, avec le jeune Astor Piazzolla.
Les bons maîtres sont donc ceux qui enseignent à s’affranchir d’eux, et la fidélité désobéissante que Foltz et Oliva cultivent vis-à-vis de Gershwin prouve qu’elle est tout simplement juste. Aussi ne trouvera-t-on, dans leur relecture de la Rhapsody in Blue, aucune trace de ce stupéfiant glissando de clarinette introductif qui en est comme l’emblème trop voyant, mais un savant tuilage de thèmes secondaires et de contrepoints qui est l’essence même d’une rhapsodie. Tout comme le trop célèbre Summertime, ici éclairé de l’intérieur par la marche harmonique du Prélude n°2, comme si le lien entre le Gershwin « classique » et le Gershwin « jazz » n’avait jamais été rompu que dans l’esprit étroit des fabricants de frontières, ou dans ce Fascinating Rhythm pneumatique et bondissant dans lequel s’invite la silhouette étrange de Thelonious Monk.
Cet art du silence éloquent, de la révérence sans déférence, rappelle souvent l’étrange duo de Chet Baker et Paul Bley sur l’époustouflant Diane, de 1985, mais, au-delà, on croisera aussi les ombres familières de Lennie Tristano, de Jimmy Giuffre, voire l’écho de la rencontre historique entre Duke Ellington et John Coltrane.
Soit un « ange de l’histoire » cher à Walter Benjamin, posant son aile protectrice sur les rares élus qui, à un moment, préfèrent tutoyer les cimes du silence plutôt que d’aligner des notes, fussent-elles joliment tournées, parce que la musique, comme la vie, est bien plutôt une histoire de souffle ; jusque dans son exténuation.
Gilles Tordjman
Somehow (Stephan Oliva)
The Man I Love
Fascinating Rhythm / Someone To Watch Over Me (to Woody Allen)
I’ve been singing with French pianist Stephan Oliva since 2000, doing a few concerts per year, mostly playing duo. These concerts have always been special to me, they felt like fleeting night music. We were never in any rush to record, enjoying very much the intense and elusive moments concerts are. In 2006, I was invited to record two tracks on Stephan’s album “Miroirs” (his other duo partners on this record including Joey Baron, Linda Sharrock, Jean-Marc Foltz). And last year, he invited me to be part of an entire record, together with Norwegian drummer and percussionist Øyvind Hegg-Lunde. We really love Jimmy Giuffre and Don Cherry: Their playing, but also very much their compositions. For a singer, to be invited into a collective, where the voice is a very equal part of the group, is a privilege. It allows me to develop different shades of musicianship, and I truly enjoy it. “Princess” will be released on the French independent label “Vision Fugitive” (I am appearing courtesy of ECM Records) by the end of the month. We will be playing concerts in Arles (Jazz à Arles, May 11), Paris (Duc des Lombards, May 12), Porquerolles (Festival, July 7) and Sint-Niklaas (Belgium, Festival, February 18, 2018). Susanne Abbuehl
Alessandro d’Episcopo was born in Naples. Italy. Already at the age of 13, he decided to devote his life to music and to become a jazz musician. He studied classical music at the Conservatory of San Pietro a Majella in Naples. In 1979, he moved to Milano, which was the heart of the Italian jazz at that time. Chick Corea and Keith Jarrett have influenced d’Episcopo formation since his earliest youth as vivid examples for musical diversity and curiosity. He has worked with various musicians such as: Tullio De Piscopo, Larry Nocella, Gigi Cifarelli, Chet Baker, Tony Scott, Gianni Basso, Billy Cobham, Toots Thielemans. He played at the jazz festivals in Umbria, Clusone, Sant’Anna Arresi, Padova, Livorno, Cagliari and Genova. At the age of 30, he moved to Zurich to further broaden his musical development and career, studying classical music with Rudolf Am Bach. At the same time, he attended courses of Thierry Lang at the Conservatoire of Montreux, obtaining after two years his diploma in Jazz Performance. D’Episcopo has always been - and still is - eager to passionately explore all the various stylistic directions. Driven to go forward and to experience new dimensions, he studied Jazz Improvisation with Charlie Banacos (Boston/USA) for many years. His urge for musical freedom and his enthusiasm induce him to participate in most diverse events and to work with different musicians like George Robert, Franco Ambrosetti, Marianne Racine, Benny Bailey, Peter Appleyard, Julio Barreto, Phil Wilson, Charito, etc. With his own Trio or with other bands Alessandro has performed at numerous Jazz festivals. In Italy: Sorrento, Moncalieri, Serravalle, Serre, Ciampino, Milano. In Switzerland: Montreux, Liechtensteig, Riva San Vitale, Caliente Festival Zurich, Piano Off Stage Lucerne. In Romania: Bucharest, Sibiu. In France: Midem Cannes. In Greece: Larissa.
“North Clouds” is the result of the Italian-Danish experience completed by Fabio Giachino that blends music influences from melodic mediterranean tradition together with the north european one. Stunning Jazz trio performance enriched by the presence of two important guests: Benjamin Koppel on saxes and Paolo Russo on bandoneon. Through these original songs, Fabio Giachino highlights its outstanding capabilities both as a composer and improviser from trio combo to quintet ensemble.
“North Clouds” by Fabio Giachino. Class of 1986, is considered one of the most promising talents to appear on the Italian music scene in the past few years. Born in Alba, but taking Turin as his home town, he was awarded important Italian and European prizes, gaining recognitions both nationally and internationally. As a soloist he won the “Premio Internazionale Massimo Urbani 2011”, the “Premio Nazionale Chicco Bettinardi 2011”, and the “Revelation of the year 2011″JazzUp Channel Red Award. With his trio he was awarded Special Prize as “Best Band” at the “Bucharest International Competition 2014”, the “Fara Music Jazz Live 2012” prize (as best soloist and best band), the “Barga Jazz Contest 2012” prize and the “Premio Carrarese Padova Porsche Festival 2011”.
In 2013, 2012 and 2011 he was among the best 10 Italian pianists according to the “JazzIT Awards” referendum, organized by the magazine JAZZIT. In 2013 his trio was also among the best 10 Italian bands. His debut album “Introducing Myself”, recorded with his trio and featuring the sax player Rosario Giuliani, was included in the 2012 “100 Greatest Jazz Album” selection, compiled by the magazine JAZZIT.
In parallel with his accademic classical studies, which led to a Music Diploma in Organ in 2006 and a second level Music Degree in 2009, he also sudied jazz, through private lessons and workshops with the following musicians: A.Faraò, D.Moroni, R.Zegna, D.Rea; F.D’Andrea, S.Battaglia,G.Trovesi, P.Tonolo, F.Di Castri (Siena Jazz 2007, where he was awarded a scholarship for 2008); B.Harris (Felt Club Roma), J.Calderazzo, K.Rosenwinkel, S.Colley, J.T.Watts, S.Bonafede (Saint Louis College Rome). In 2012 he got a Master of Jazz Music Degree at the “G.Verdi” Conservatory of Turin, with F.Di Castri e D.Moroni. In 2011 he flew to Detroit with Emanuele Cisi on a study exchange trip between the Jazz Department of the Conservatory of Turin and the Wayne State University of Michigan, where he performed with the University’s big band and their professors.
In 2012 and 2009 he took private lessons from Fred Hersh e Hal Crook. He has performed in festivals and clubs in France, Belgium, Switzerland, England, the Czech Republic, Poland, Turkey, Rumania, U.S.A. and in innumerable places in Italy.
