Sunday, April 4, 2021
Chitarrista di formazione autodidatta, si specializza negli anni ‘80 nella tecnica del fingerpicking con Duck Baker, Stefan Grossman e John Renbourn. Approfondisce in seguito lo studio dell’improvvisazione e del linguaggio jazzistico grazie alla frequentazione di stages tenuti da Mick Goodrick, Jim Hall, Lee Konitz e Dave Holland. Dopo essersi messo in luce nei corsi estivi di Siena Jazz ’90, dal 1991 è direttore della scuola di musica Thelonious, di Vicenza. Conosce il sassofonista canadese Robert Bonisolo, e con lui guida un quartetto completato da Lorenzo Calgaro, contrabbasso, suo fratello, e Gianni Bertoncini, batteria, che registra nel 1995 per la Flex Records «The Edge», con ospite Paolo Fresu.
Suona quindi nei gruppi di Claudio Fasoli (quartetto e trio) e nella Lydian Sound Orchestra diretta da Riccardo Brazzale, con cui registra tre dischi. Collabora inoltre con Kenny Wheeler, Manfred Schoof, Erik Truffaz e Claudio Roditi, ma anche con alcuni dei migliori jazzisti italiani, come Mauro Negri, Paolo Birro, Pietro Tonolo. Ha suonato nel disco e nel tour di «Del Magico Mondo», un ambizioso lavoro del cantautore Federico Zecchin, cui hanno partecipato Rossana Casale e Giorgio Albertazzi.
Oltre a guidare proprie formazioni, Calgaro suona spesso con la cantante chicagoana Cheryl Porter e nel Monkgomery Quartet, assieme all’amico chitarrista Sandro Gibellini. «Round About Monk» è quindi il primo disco firmato da Michele Calgaro come unico leader (in «The Edge» le scelte musicali erano infatti condivise con Bonisolo). L’originalità del lavoro, in cui ci vengono offerte delle personali rivisitazioni del repertorio monkiano (più un brano originale, Lazy Cats), sta nella varietà delle formazioni assemblate dal chitarrista vicentino, che vanno dal trio all’ottetto, senza tralasciare una parentesi per sola chitarra (Crepuscule with Nellie).
Suggestive sono soprattutto le esecuzioni dell’ottetto, da Bemsha Swing a Monk’s Mood, grazie ai preziosi arrangiamenti di Calgaro, capaci di bilanciare sapientemente gli insieme orchestrali dei fiati ed i brillanti assoli degli musicisti coinvolti nel progetto, da Kyle Gregory a Robert Bonisolo, da Ettore Martin a Beppe Calamosca. Due brani (Let’s Cool One ed il già citato Lazy Cats) sono eseguiti in trio con Lorenzo Conte ed Eliot Zigmund, vero e proprio maestro della batteria, per anni al fianco dell’indimenticato pianista Bill Evans.
1. Bemsha Swing 06:16
2. Ugly beauty 06:06
3. Epistrophy 06:21
4. Let's Cool One 05:18
5. Four In One 05:18
6. Monk's Mood 07:50
7. Crepuscole With Nellie 02:28
8. Brilliant corners 05:13
9. Lazy Cats 04:40
Michele Calgaro (chitarre)
Lorenzo Calgaro e Lorenzo Conte (contrabbasso)
Mauro Beggio ed Eliot Zigmund (batteria)
Robert Bonisolo ed Ettore Martin (sax tenore)
Kyle Gregory (tormba)
Beppe Calamosca (trombone)
Dario Duso (tuba)
MOVE (feat. Sjöström / Kaufmann / Pultz Melbye / Narvesen / Gordoa) - MOVE in Moers (April 2021 Fundacja Słuchaj)
From the opening strike of metallic percussion, the oscillator-like wave of soprano saxophone, the burble of electronics, a resonant piano bass string, the shimmering decay of a gong and the broad-toned brilliance of the trumpeter’s brief melody-then-feint-to-intermittent-oscillation, we are in the special ‒ spectral and material ‒ world of Evan Parker’s ElectroAcoustic Ensemble (EAE), a band over 50 years in the making, its official existence 30 years. It is, in an era-defining way, both a great moment in the history of late-20th century music and the early-21st century’s, a unique response to the notion of large-scale free improvisation that, rather than the cultish practice of a disaffected elite, is a signifying laboratory for human interaction, social, meditative, meaning-defining and edge-blurring, a forward probe in the necessity for calm that sees atheists going on pilgrimage, the tone-deaf joining choirs and an explosion in sales of fashions for fitness in which to sit around and drink coffee, no qualitative judgement here, all perhaps equally beneficial. It is a moment of collective definition, an episode of a group mind in which shared concentration gives meaning and form to shared time and space, the period of its making and its later listening.
This listening, I’m 19 minutes in, to a piece I’ve listened to perhaps 20 times, and I’m in a space I can’t recall hearing before, a space where a room’s locating echoes are sufficiently vast to suggest the distance between planets or solar systems, national economies or, for the cognoscenti, the musical instruments and appurtenances floating as a space station in a brown cosmos in Richard Jenning’s (aka “Prophet”) painting on the original 1961 release of Eric Dolphy’s Out There. There is nothing undemanding, jejune, simplistic, coddling, easy about this music. It asks just enough to challenge, and when you’ve met that reward, it asks just enough to challenge again, leading you into a world of increasing grandeur, intensity and, strangely, intimacy, like being alone in a room with Guernica, Des canyons aux étoiles or the Grand Canyon itself.
The EAE is one of the great bands of improvised music with a prehistory of over twenty years before it formed in 1992, and with a history of nearly thirty years since. In its later forms, it’s a big band; in its beginnings, a duo. Reflecting on this latest form, Parker remarks that only he and Paul Lytton are left from the original. That references the 1990s sextet of Toward the Margins (ECM) but it could suggest the 1969 Parker-Lytton duo, whose performances sometimes added previous performance tapes.
A notion of the double is essential. If there’s a clear parallel for the EAE, it’s Ornette Coleman’s Double Quartet of Free Jazz (1960), in which Coleman paired each member of his then-current quartet with a musician playing the same instrument. To create the EAE, Parker matched an electronic musician, each processing an individual signal, to the members of his trio with Lytton and bassist Barry Guy.
Each successive episode balanced the physical and the abstract, the acoustic and the electronic. Eventually, it would assume a global element. By 2010, an 18-member version appeared in a Lisbon concert. Earlier technologies were supplemented with other developments, including an Apple MacBook, as well as precursors, like a Stroh violin and an electric guitar.
Stefano Bollani / Orquesta Sin Fin / Exequiel Mantega - El Chakracanta (Live in Buenos Aires) 2021 Alobar
El Chakracanta is a dynamic live record from Italian pianist Stefano Bollani, with two original works of his for piano and orchestra and two tangos by Ástor Piazzolla and Horacio Salgán.
Stefano Bollani's Concerto Azzurro (2017) and Concerto Verde (2019) can be considered works of "classical" composing, in the sense that Bollani has written them for piano and classical orchestra and has, as tradition wants, classically structured them in four movements of distinct character of melody and rhythm, but both compositions are strongly informed by Bollani's very own exhilarating jazz genius and idiom, favouring playful moments of improvisation and freedom that disobey the rules that demand that a pianist shall stick to the rigorously immutable score.
Concerto Azzurro was commissioned by visionary Kristjan Järvi and the MDR Leipzig Radio Symphony Orchestra. Azure is the colour of the fifth chakra, associated with self-expression and communication. Concerto Verde premiered and recorded with the Sin Fin Orchestra directed by Exequiel Mantega in Buenos Aires in June 2019 for the album El Chakracanta, refers to the colour of the fourth chakra, associated with love.
Both concertos were recorded live in Buenos Aires: Azzurro at Centro Cultural Kirchner on 17th June 2018; and Verde, next to Piazzolla's Libertango and Salgán's Don Agustin Bardi at Teatro Coliseo on 19th June 2019. With Bollani (piano) and the Orquesta Sin Fin, directed by Exequiel Mantega.
Don Agustin Bardi
Concerto Azzuro (Prologue)
Concerto Azzuro (First Movement)
Concerto Azzuro (Second Movement)
Concerto Azzuro (Third Movement)
Concerto Verde (First Movement)
Concerto Verde (Second Movement)
Concerto Verde (Third Movement)
Concerto Verde (Fourth Movement)