festival

nusica.org presents

Jazz Area Metropolitana 2017

Let's welcome together this new music and arts network

which involves different towns into the Veneto area!

16th March 2017, h 10.00 am

Istituto Comprensivo di Martellago 

HYPER+ TRIO" 

Nicola Fazzini (sax)

Alessandro Fedrigo (acoustic and electric bass, effects)

Luca Colussi (drums) 

meeting for Junior High School students

17th March 2017, h 9.00 pm

Teatro di Villa Belvedere, Mirano 

in collaboration with Palazzo Trevisan degli Ulivi - Pro Helvetia 

and Mirano Musica

THE GREAT HARRY HILLMAN 

Nils Fischer (reeds)

David Koch (guitar)

Samuel Huwyler (bass)

Dominik Mahnig (drums)

 Four very strong individual musicians come together to create a very personal style of music that could only exist through time invested band chemistry (Jim Black, 2015)

19th March 2017, h 6.00 pm

Ca’ della Nave, Martellago 

in collaboration with Fondazione Banca Santo Stefano

Roberto Pianca "Sub Rosa" 5et

Dan Kinzelman (tenor sax, clarinet)

Roberto Pianca (guitar)

Glenn Zaleski (piano/Fender Rhodes)

Stefano Senni (doublebass)

Luis Candeias (drums)

International young talents plying between jazz, rock, pop and contemporary music... 

25th March 2017, h 5.00-8.00 pm 

Jazz in the Shops: concerts into the streets and the shops of Dolo 

h 6.00 pm, Libreria Morelli 1867 - Dolo

interview with Evan Parker

26th March, h 6.00 pm, Ex Macello di Dolo

WORKSHOP WITH EVAN PARKER "EVAN PARKER – SAX SOLO"

PERFORMANCE OF WORKSHOP PARTECIPANTS

A jazz "hero" who changed the music history. Thanks to Evan Parker the "free jazz" came into the European music and turned it to a fast and important growth.

ALL CONCERTS ARE FREE ENTRY. BOOKING IS APPRECIATED.

info@jazzareametropolitana.com

+39 347 5793170

Website: www.jazzareametropolitana.com/jam 

Facebook: www.facebook.com/jazzareametropolitana 

Blaer - Out of Silence (MORPHEUS RECORDS 2017)

Nach der Veröffentlichung ihres Debutalbums im Jahr 2014 legt BLAER mit OUT OF SILENCE ihr zweites Album vor. Die Kompositionen der Bandleaderin Maja Nydegger vereinen Einflüsse aus leisem, reduziertem Jazz, sphärischem Pop und Minimal.

1. Until You Fade 07:13

2. In Passing 04:43

3. Strokkur 07:45

4. Caught By Transience 05:06

5. Out Of Silence 17:10

6. Neverland 06:54

7. Afterglow 10:04

Maja Nydegger: Piano

Nils Fischer: Altsax, Bass Clarinet

Claudio von Arx: Tenorsax

Simon Iten: Bass

Emanuel Künzi: Drums

Megalodon Collective - Animals (JAZZLAND RECORDINGS 2017)

Perhaps Megalodon Collective's description of themselves is the most straightforward ... "sixty feet of prehistoric terror".

Yet that doesn't quite capture what this Norwegian Grammy-nominated septet unleashes upon the world. Their compositions and improvisations build with slow majesty and release a fiery rain of sonic chaos. Contrapuntal insanity creates illusions of order, while high urgency solos and lizard rhythms create illusions of disorder. They seamlessly leap from sounding like the Mingus Dynasty band trapped on a star cruiser with controls set for the heart of the sun to the pit orchestra from hell performing the soundtrack to a Keystone Cops movie directed by Quentin Tarantino.

This is traditional jazz with some non-western inflections in a bubbling broth of mercurial whimsy, tungsten-hard swing, gear-grinding factory noise, decimated funk, a stilt-walking Samba band parading through a burning free jazz session, extended musical techniques that mere mortals fear to play or hear, interstellar Dixieland cakewalking through a psychedelic reimagining of 1950s Chicago, and an exquisitely beautiful and delicate cacophony. Moments of tenderness, sweet melody and placid contemplation suddenly dissipate, and the band become a troupe of mediæval minstrels running across a bed of hot coals to joyously leap into the Nietzschean abyss.

Theirs is a whirling cabaret of lightning and brimstone, cascading diamonds and crumbling bedrock. They are incomprehensibly familiar and understandably alien; they elude description and categorization like a mythic lake monster ... So ...

Perhaps they were right to begin with: Megalodon Collective are, indeed, "sixty feet of prehistoric terror"!

01. Animals

02. Plutonia

03. Rasande Roland

04. När Blev Du Så Gammal (Och Ful)

05. Encouraging Dylan

06. Daymare

07. Moby

08. Intro

09. Finding Megalodon

10. Black Bike

11. Tree Of Redemption

12. On The Beach

13. Black Bear Creek

Based in Trondheim, Megalodon Collective are:

Karl Hjalmar Nyberg - saxophone

Martin Myhre Olsen - saxophone

Petter Kraft - saxophone

Karl Bjorå - guitar

Aaron Mandelmann - upright bass

Andreas Winther - drums

Henrik Lødøen - drums

Owls - Crumbling Light (ATS RECORDS 2017)

Rooted in Jazz, but unafraid to deviate from it. With open ears and a sensitivity to sound, three Austrian musicians present themselves.

The trio met in Vienna and started a collaboration soon afterwards; Simon Oberleitner (piano),
David Ambrosch (double bass) and Konstantin Kräutler (drums) release their debut album, crumbling light, in spring 2017. “In a way, the album can be interpreted like an exhibition or collection of many small illustrations.

The title song Crumbling Light is just one of these pictures,” Oberleitner explains.

Together they founded the Jazz-piano trio “Owls” in autumn 2015 and recorded their CD in November of the same year. The result justifies the timeline – the simple pieces full of ambient depth (all written by Oberleitner himself) are played with elegant sincerity and chamber music-like intimacy, and leave no doubt as to the musicians’ aptitude.

“It was of great importance to me that the music came to the fore, rather than the arrangements. The compositions were only the motifs, so to speak, which we painted. The way we went about them, which tones we used – that should take centre stage. In David and Konstantin I found
the truest companions for such an enterprise.”

1. Echoes from Syria, Pt. 1 8:01

2. Echoes from Syria, Pt. 2 4:55

3. Echoes from Syria, Pt. 3 3:49

4. Time Shift 4:52

5. Crumbling Light 5:28

6. Dancing Child in a Foggy Landscape 5:50

7. Overture to Genesis 3:19

8. One Day with a Squirrel 2:43

9. Last Dance 10:23

Simon Oberleitner, piano & compositions

David Ambrosch, double bass

Konstantin Kräutler, drums

Mike Richmond Cello Quartet - The Pendulum (SteepleChase Records 2017)

Mike Richmond, Grammy Award-winning bassist with vast experience with leaders such as Miles Davis, Stan Getz, Horace Silver, Jack DeJohnette, Gil Evans, Chet Baker to mention a few, leads here his own group with cello as his instrument for the first time. Cello as a jazz instrument is still a rarity but its history goes back to the 50s when Oscar Pettiford broke new ground. Richmond put together this all-Pettiford-composition album to honor the pioneer.

“…Dance for Andy is one of those rare CDs that sustain interest through a 70-minute-plus duration.” (Richard Cook & Brian Morton – The Penguin Guide on SCCD 31267)

“Richmond is as nimble fingered and resourceful a bassist we have heard in some time.” (New York Daily News)

01 THE PENDULUM AT FALCON’S LAIR 6:43

02 CELLO AGAIN 6:21

03 TWO LITTLE PEARLS 8:59

04 LAVERNE WALK 6:18

05 WHY NOT? THAT’S WHAT? 7:29

06 TRICOTISM 7:01

07 TAMALPAIS LOVE SONG TO THE WINDS 7:33

08 MY LITTLE CELLO 6:39

09 OSCALYPSO 8:53

MIKE RICHMOND cello

PETER ZAK piano

JAY ANDERSON bass

BILLY DRUMMOND drums

Bob Hanlon & Mark Minchello - Camaraderie (SteepleChase Records 2017)

Camaraderie – a partnership of organist Mark Minchello and saxophonist Bob Hanlon – is a follow up to their first Steeplechase release Trinomial. This CD features the outstanding guitar work of Vic Juris and Bob Devos as well as newcomer Charlie Sigler and drummers Andy Watson and Pete McDonald.

“AH! The Hammond B3 trio with sax and drums, and Hammond hitter Mark Minchello makes the team wheeze, groove and fog up an interesting and well thought collection of tunes. They keep away from the blues and instead venture into uncharted waters by doing tunes not usually associated with this genre.” (George W. Harris – Jazz Weekly on Trinomial SCCD33117)

01 WILL YOU STILL BE MINE (Matt Dennis) 7:38

02 LOVESSENCE (Bob Hanlon) 6:50

03 SAMBESQUE (Mark Minchello) 7:09

04 JAZZ ORBITS (Bob Hanlon) 6:33

05 CLOSE YOUR EYES (Bernice Petkere) 8:49

06 EVERYTHING HAPPENS TO ME (Matt Dennis) 11:41

07 A SOUND FOR SORE EARS (Jimmy Heath) 6:49

08 YOUNG AND FOOLISH (Albert Hague) 6:01

09 FLAT TIRE BLUES (Bob Hanlon) 5:40

MARK MINCHELLO Hammond B3 organ

BOB HANLON tenor saxophone

PETE MACDONALD drums (track 7, 8 & 9)

ANDY WATSON drums (track 1, 2, 3, 4, 5 & 6)

VIC JURIS guitar (track 1, 2 & 3)

BOB DEVOS guitar (track 4, 5 & 6)

CHARLIE SIEGLER guitar (track 7 & 8)

ANTON DENNER alto saxophone (track 9)

Yury Markin - On a Large Scale (FANCY MUSIC 2017)

MONTRÉAL EN LUMIÈRE: Isabelle Boulay in concert for the next edition of MONTRÉAL EN LUMIÈRE!

Isabelle Boulay makes her passionate return to the stage with magnificent original songs written by some of the greats. Marking her 25th year as an artist, Isabelle has surrounded herself with veteran musicians to create a uniquely emotional moment for her audience. A major singer/performer and her singular voice in her element, treating us to her greatest hits and the terrific songs from her latest album. The real deal!

Alessandro La Corte 5et - Smile in Winter (ALFA MUSIC 2017)

Alessandro La Corte has been actively performing for over a quarter of a century, and he is an important animator of the jazz scene in Salerno and the Campania region of southern Italy, where this pianist and arranger has orientated himself with ease (and still does so) and where he has had the opportunity to play with almost all of the great jazz musicians of this part of the world. La Corte’s musical heart seems to beat to the piano rhythms of McCoy Tyner, especially the less academic and studied style that the latter adopted when playing with various groups in the seventies, when his creative maturity as an instrumentalist, soloist and composer had reached the summit of its development.

In this album this fact is absolutely evident not only in the track specifically dedicated to the African American artist, but also in the harmonic approach, and in the peculiar spirit of the modal-tonal game that Tyner made famous and that has remained his trademark. This is a dense kind of music with a crescendo of emotional intensity that La Corte has created in his role as the leader of a quintet, within which he leaves ample room for the solo piano, for the canonical trio featuring double-bass and drums, and for displaying his great talents as an arranger. When he writes for a big band, La Corte alternates fullness and emptiness, and he gives the wind instruments a sound that is compact and rich, but also light, and almost fluffy in the parts for the horns. The use of the baritone sax, which clearly stands out in almost plastic relief from the unified orchestral sound, is very distinctive.

The music that La Corte has written for the jazz quintet has a particularly pressing and closely-knit rhythm, which always keeps the pace of the gradual crescendos of intensity and the changing directions of his music. He makes the most of two saxophonists – Jerry Popolo and Carla Marciano – each of whom has a very different style and with whom he can emphasise the creative contrasts that so strongly distinguish his own approach to making music. The former draws nourishment from the great tradition of the jazz tenor sax, while adopting a modern style, expressing himself with warmth and melodic clarity, and giving his phrasing a spacious sound that is full of harmonics, which add a special depth and emphasis to each individual note. The latter, who is also the pianist’s partner and companion, clearly sees John Coltrane as her main point of reference and she uses the saxophone with great intensity, with a torrential, lacerating and penetrating flow with of notes, supported by an excellent technical approach to the instrument.

Popolo and Marciano work together to create a broad palette of many different colours and they complement each other by giving an orchestral feel also to pieces written for a small ensemble, thereby showing how very congenial they are to the pianist’s attitude. After all his choice of musical partners has to be based on the characteristics of the music as well as his own plans and intentions in his role as the frontman or leader, because he can only achieve his artistic goals in the company of musicians whose attitude is perfectly in harmony with his own ideas. This record has therefore been realized with musicians who are intimately involved in the project. Its historical reference points are very clearly stated, with some precise expressive connotations. In addition it is plainly based on a desire to bring the concert dimension of the music and the sense of growing climax that is typical of the live performance into the recording studio. (This is also why the tracks have a rather long duration, which is in any case necessary for this type of music).

These then are the main elements of this record and you may or may not like them, or you may criticize La Corte for declaring his sources of inspiration so frankly. (But is this really a such a bad thing?) You will however be bound to recognize the value of his aesthetic coherence and the indisputable clarity of his creative approach. These are qualities that can also be found in the versions of two famous pieces by Paul Simon and the Beatles, and thus from the world of pop music, which have been revisited and revamped by a genuine jazz philosophy, rather than by the usual pseudo pop attitude. In the case of “Yesterday” La Corte perfectly succeeds in the difficult task of turning this indisputable masterpiece, which is about as far from jazz as one can possibly imagine, into an authentic jazz ballad. Maurizio Franco

1 Smile In Winter 8.56

2 The Sound of Silence 12.48

3 Unknow Tone (Annotone) 8.40

4 Yesterday 10.36

5 One for McCoy 9.16

6 Live on Keaps 10.45

7 Blues At 25 CM 10.19

Alessandro La Corte piano & Fender Rhodes

Carla Marciano alto & sopranino sax

Jerry Popolo tenor sax

Marco de Tilla double bass

Gino del Prete drums

Raffaele Carotenuto trombone on "One For McCoy"

Brass Section on "Smile In Winter"

Ciccio Verrengia trumpet

Nicola Coppola trumpet

Carla Marciano alto sax

Peppe Plaitano ten sax

Raffaele Carotenuto trombone

Alfonso Deidda baritone sax

Carla Marciano sopranino sax (overdubbed)

Recording Data

Recordings: Elios Recording - Castellammare di Stabia - Naples

Sound engineer: Carlo Gentiletti

Mix and mastering: Luca Bulgarelli

Final mastering: AlfaMusic Studio – Rome

Sound engineer Alessandro Guardia

Arketypos Trio - Arketypos Trio (ALFA MUSIC 2017)

Music is an archetype of humanity.

It may have preceded verbal language.

While Dancing humanity created music, or from the music did

he starting dancing...?

For us jazz is like painting: classical, expressionist, realist, mannerist,

impressionist, surrealist, symbolist or any other style.

In front of a painting, initially, one allows himself to be carried away by

the emotion transmitted by the vision as a whole, then slowly began to

delve deeper into the details and, analyzing them, the free association of

ideas gives rise to the “free communication” process between the artist’s

intention and the sensibility of the observer.

So, as Miles Davis once said: “A song tells you what to think with the

lyrics. But with an instrumental composition you can think about whatever

you want”.

For a jazz musician composition and improvisation are two aspects

of the same instinct: the first is more thoughtful and conceptual, while

the second is emotional and spontaneous. In any case, the objective is

the non-verbal communication, beyond the words, using the universal

language of music.

In this sense, Arketypos or rather archetype, expresses the true essence

of sensible matters, transcending them; a primordial image contained in

the collective subconscious. Music, in this manner, returns to its origins to

reactualize and renew itself.

1 Mediterranean Fight Song

2 Nerano

3 Remembering

4 Coixedda

5 The Wait

6 The Giants

7 Lydian Song

8 Electric Riot 

Antonio Carboni - guitar

Luca Primo - electric bass

Gianluca Costa - drums

Recording Data

Recording: Groovefarm Studio - Rome

Sound engineer: Davide Abbruzzese

Mix: Superdry Recording Studio - Rome

Sound engineer: Fabrizio Frezza

Mastering: AlfaMusic Studio – Rome

Sound engineer: Alessandro Guardia