Category Archives: Musicians

Down Beat press article by Peter Margasak

Eve Risser

Público press article by Gonçalo Frota

Carta-branca para a trompete de Susana Santos Silva

Susana Santos Silva

Em poucos anos, Susana Santos Silva despontou e criou uma linguagem autónoma da Orquestra de Jazz de Matosinhos, tornando-se uma trompetista a que o mundo da música improvisada está atento. A sua colaboração com os belgas De Beren Gieren é apenas a ponta de uma criatividade e de uma actividade febris.

Susana Santos Silva não tem uma memória furiosamente enciclopédica.
Não pertence àquele grupo de músicos de jazz que sabe de cor fichas técnicas de centenas de discos e consegue seguir milagrosamente o rasto do mais secundário dos instrumentistas, citando sem dificuldade as suas maiores proezas num autêntico lodaçal de edições. Tem, por exemplo, uma vaga recordação de ter começado a tocar trompete, ela e todos os irmãos e primos, por influência do avô, e da sua estreia em concerto logo aos oito anos com a Banda Marcial da Foz do Douro. Mas já inquiriu a família para perceber se a trompete foi, de facto, escolha sua. Pela amostra das respostas recolhidas convenceu-se que ninguém a forçou ou a empurrou na direcção do instrumento. Seria até inverosímil que uma criatividade tão febril e livre pudesse brotar de uma imposição.

A memória menos longínqua diz-lhe com clareza, no entanto, que em 2011, no ano em que se estreou à frente do seu quinteto com o álbum Devil’s Dress, a sua irrelevância para o mundo do jazz era quase total. Dos muitos emails e contactos que tentou na altura estabelecer com festivais internacionais, esforçadamente promovendo a sua música, raras foram as respostas que obteve. Uma ou outra, mais simpática, dava-se ao trabalhar de agradecer dizendo que “não, obrigado, não pode ser”. Era o primeiro passo da sua afirmação – o ano de Devil’s Dress mas também do primeiro álbum do trio LAMA, partilhado com Gonçalo Almeida e Greg Smith, formado por alturas da ida de Susana Santos Silva para Roterdão atrás de um mestrado em Jazz Performance. O que encontrou foi, afinal, uma cena musical que desconhecia, uma liberdade de mexer no jazz e não ter medo de sujar as mãos, uma facilidade de circulação que não obrigava a adoptar o mainstream ou o vanguardismo sem ficar marcada com um carimbo que lhe limitasse os movimentos. “Abriu-me portas e horizontes e, de repente, comecei a perceber que havia espaço para mim, que não era tolinha de todo”, ri-se.

Tudo mudaria muito rapidamente. Em pouco tempo, a participação na European Movement Jazz Orchestra, ao lado de músicos alemães e eslovenos, daria frutos que ultrapassavam em muito a acção de uma orquestra que não demorou a ser desactivada – embora não extinta – devido aos elevados custos de cada concerto. Depois, a gravação do segundo álbum dos LAMA, com a participação do saxofonista Chris Speed, no Portalegre Jazz Fest de 2012, coincidiria ainda com o momento em que se cruzou com o contrabaixista sueco Torbjörn Zetterberg. Pedro Costa, da editora portuguesa Clean Feed, apadrinhou o encontro ao enfiar os dois dentro de um jipe e avançar pelo campo fora, evitando vacas e outros animais pelo caminho. A experiência acabaria por dar nome a um dos temas (Cow Safari) que gravaram num álbum em duo, Almost Tomorrow, um sumptuoso registo realizado durante a primeiríssima partilha musical entre os dois. São duas pessoas a conhecer-se, a tactear-se, a perceber como as suas linguagens se encaixam, complementam ou contradizem. Tudo a quente, com a intuição a ditar o rumo de cada desvio.

O primeiro tema de Almost Tomorrow funciona então também um documento da primeira vez que tocaram juntos, ignorando ainda se a empatia a dois saberia encontrar caminho para a relação negociada com os instrumentos. Puseram a gravar, entabularam as primeiras notas e saiu Knights of Storvålen. “Às vezes [um encontro destes] resulta musicalmente, mesmo que a nível pessoal a relação não seja brilhante”, testemunha a trompetista. “Mas a longo prazo, para ter um projecto a acontecer, com quem se viaja e toca concertos e passa montes de tempo na estrada, é muito importante haver essa empatia.”

As raízes na orquestra
Não é fantasia de Susana Santos Silva ou manifestação de um sonho remoto esta menção a passar muito tempo na estrada com outros músicos. Quando o ÍPSILON a apanha no skype, acaba de chegar a Berlim vinda de Estocolmo, onde esteve a gravar o novo álbum do sexteto de Zetterberg. Na capital alemã tem cinco concertos a bordo de diferentes formações com músicos locais, agendados para aproveitar uma semana entre o estúdio na Suécia e as apresentações na Bélgica com o trio local De Beren Gieren, com quem lançou recentemente The Deteour Fish, magnífico exercício de gestão de estilhaços estilísticos inspirado pelo Quinteto A Truta, Op. 114, de Franz Schubert. Em Bruxelas, aproveitará ainda para continuar a colocar mais uns tijolos na construção de um duo que se estreará em disco este ano, com uma das mais estimulantes pianistas da actualidade, a eslovena Kaja Draksler.

http://www.publico.pt/culturaipsilon/noticia/cartabranca-para-a-trompete-de-susana-santos-silva-1683520?page=1#/follow

Jesús Gonzalo Best of 2013 list (Cuadernos de Jazz)

Las listas anuales son una especie de aduana por la que tienes que pasar sí o sí. Desconozco lo que sucede con detalle en otros géneros, pero si llegan a la mitad de lo que, en sólo cinco títulos, podemos resumir en el jazz, la música vive uno de sus mejores momentos…

No se engañen, la muerte de la música, del jazz, de la cultura, la crisis social, todo esto ha sucedido antes, desde el siglo XIV con el Ars Nova (luego lo retomamos) al XX con el dodecafonismo o el mismo free jazz, y ya con la Segunda Guerra Mundial ni hablamos… Otra cosa es ese pequeño e incómodo obstáculo (inaudito en los países avanzados) del 21% gravando la cultura…

Cierto, el (anti)Festival de Jazz de Madrid sirve de modelo de (indi)gestión e ilustra el tono gris marengo que va adquiriendo la capital, salvo por los museos… A evitar. Por contra, en Andalucía (ya saben, esa tierra de oportunidades “señaladas”) se reflota uno internacional y se pone en marcha otro. En otro sentido, se confirma una tendencia de mercado. Sin la cobertura del tejido público, los clubes españoles son los que promueven jazz en directo. Ellos ponen las condiciones (…) y es legítimo que no arriesguen dinero. Las propuestas más avanzadas son las más perjudicadas en esta coyuntura. Si esto sigue así, a finales de 2014 se hablará -ya mismo- de un nuevo renacimiento del flamenco-jazz…

La lista de discos, en qué estaría yo pensando… A ver, cinco, ¿no? Vale, pues, como el año pasado, pondré sencillamente los que más he escuchado, que se supone son los que más me han gustado. El orden no importa. Abro y cierro con dos publicaciones de Clean Feed, ya saben, música mu moerna.

CINCO DISCOS
(Sit in) The Throne of Friendship; Nate Wooley Sextet (Clean Feed)
The Transylvanian Concert; Lucian Ban & Mat Maneri (ECM)
Woman Child; Cécile McLorin Salvant (Mack Avenue)
A Mirror to Machaut; Samuel Blaser Consort in Motion- (Songlines)
Hammered;Ches Smith and These Arches (Clean Feed)
CF 280Nate Wooley – (Sit in) The Throne of Friendship
Nate Wooley, no se crean, entrega un disco que facilita un montón de ángulos de visión sobre la actualidad y algunos prismas para entender el pasado (años 60) con un septeto atípico, en línea con el Canada Day del aquí también protagonista a la batería Harris Eisenstadt. En realidad el grupo gira como quinteto, y esta primavera lo harán por Europa, pero no, no pasarán por aquí. Con Wooley han sido tres los trompetistas destacados este año. Ralph Alessi con Baida, cuenta con el apoyo mediático de ECM que no ha tenido Kirk Knuffke con Chorale en SteepleChase (Russ Lossing, Michael Formanek y Billy Hart), a mi gusto mejor disco, menos frío y programático que el debut de Alessi y su supergrupo en el sello de Eicher.

Alemania… ECM acaparando mercado en tiempo de crisis, haciéndose con lo más interesante de la escena neoyorquina. Desembarcos recientes como los de Tim Berne (entregó segundo Snakeoil), Michael Formanek, luego Craig Taborn (podría estar en la lista su Chants a trío), ahora para este año, y quitándoselo a ACT, Vijay Iyer es la nueva estrella ECM. ¿Y qué me dicen del frustrado (quizá por su ambición) trabajo de Chris Potter o del estimulante cuarteto neoyorquino (pasa temporadas allí) de Tomasz Stanko? ¿Y del regreso del trío de Keith Jarrett? Somewhere… sometime… in another time… A mí el que me ha sorprendido, siendo mucho más modesto, es el Transylvanian Concert de Lucian Ban y Mat Maneri (venían del proyecto sobre George Enesco), una invitación a soñar con un encuentro entra la música de cámara europea y el protojazz, entre finales del XIX y principios del XX, con matices de folclore (blues o centroeuropeo) e improvisación contemporánea, Duke Ellington y Busoni, Ran Blake cuando el piano se pone sombrío.

Eso me recuerda, y lo pongo en el lector de cedés, los maravillosos duetos que hizo Blake con Anthony Braxton y Enrico Rava, recupérenlos. Ha sido un año de excelentes dúos… Ahora mismo sale el de Angélica Sánchez con Wadada Leo Smith. En diciembre lo hizo el de nuestro (in)combustible contemporáneo, Agustí Fernández, con Ken Vandermark; pero antes fueron los de Mark Feldman y Sylvie Courvoisier, Marilyn Crispell y Gary Peacock (escuchen ambos) o los más especiales de Matt Mitchell con Ches Smith y Myra Melford con Ben Goldberg. 2013, año de la pareja…

ACONTECIMIENTO, NOTICIA…
CF 253En la lista del 2012 destacaba un disco cuyo proyecto he tenido ocasión de ver en directo. El quinteto de cámara electroacústico Particula del portugués -de Oporto- Hugo Carvalhais. Es un concepto que se desarrolla con gran plasticidad y juego cromático a varios niveles descriptivos, basándose en la creación del Cosmos, en el espacio, el silencio y en sus partículas elementales o celestes. Mucho menos sutil, o si lo prefieren con otra “sutileza” más gruesa, es “la cosa” que The Thing XXL (ocho músicos haciendo barbaridades, entre ellos Peter Evans) puso en órbita -más bien arrasó- Lisboa el pasado agosto. ¿Ruido? No, punk marciano… Hablando de dos miembros de The Thing, renovado sonido el de ese engranaje orgánico y cerebral llamado Atomic en There Is a Hole in the Mountain, que pasaron por Madrid y Barcelona.

No soy un avezado lector de poesía, y menos la que tiene ver con el jazz, excepto por la obra de Langston Hughes y la “neoyorquina” de GarcíaPortada: Jazz. Nueva York en los locos años 20 Lorca. Con Fruta Extraña (Fundación José Manuel Lara, edición Vandalia), el profesor de literatura inglesa y norteamericana Juan Ignacio Guijarro selecciona 130 autores españoles y una creación inspirada en el jazz a lo largo de casi un siglo. Una antología que ha sido todo un regalo. Y pese a las críticas que ha recibido, sigo defendiendo Jazz, Nueva York en los locos años 20 (Taschen), pues no se trata de un sesudo ensayo, no es su pretensión; la suya es ilustrar una época y servir de precioso objeto divulgativo. Si quieren un trabajo comparado, mejor El Canon del Jazz (Turner) de Ted Gioa, y verán más abiertas la puertas del periodo neoclásico que se avecina.

A mí se me abrieron de par en par, y reconozco que lo he disfrutado, con el trabajo desenfadado y brillante, con regusto clásico y atrevido de Cécile McLorin Salvant. Con ese apellido y cierta refinación afrancesada, el sur del jazz, Nueva Orleans, está conquistado. A medio camino entre la voz de Sippie Wallace y Sarah Vaughan, la esencia y la refinación que ofrece Woman Child (atención al pianista Aron Diehl) es el mejor antídoto para dejar atrás el 2013. Desde Nueva York, donde fue nominado por la crítica entre los mejores de la temporada, despidió Samuel Blaser el año reformulando su cuarteto y fundando un nuevo proyecto J.A.S.S (John Hollenbeck, Alban Darche, Sebastian Boisseau y él). Con la segunda entrega de Consort in Motion, A Mirror to Machaut, y al margen de acercamientos retóricos que restan personalidad a una obra emancipada, el trombonista suizo descubre nuevos ámbitos de interpretación y composición sobre la música antigua de entre épocas, antes fue el prebarroco de madrigales y ahora la polifonía gótica.

CF 270Ches Smith and Thse Arches – Hammered
Ches SmithPara terminar con mi lista, Ches Smith & These Arches en Hammered, el segundo trabajo de un grupo que aumenta con un miembro más (Tim Berne) y que ya destaqué el año pasado. Se trata de un sonido nuevo y avanzado, de una vanguardia underground que conecta pop-rock, free jazz y composición contemporánea, fronteras de estilo que están mucho más cerca que la distancia que ponen ente ellos los aficionados más conservadores de estas corrientes. Una dimensión nueva (Berne, Malaby, Halvorson, Parkins, Smith) del trío de Ellery Eskelin con Jim Black y, claro, Andrea Parkins. Un disco que hace vudú con las fronteras de estilo, aunque baste mirar la escena en la que se mueve para entender qué músicos son los únicos capaces de hacer esto (que no lo intenten otros).

Ah, lo olvidaba, y John Zorn, el “enfant terrible”, cumplió 60 años… No sé si se dedicará a publicar discos de celebración como cuando cumplió 50… Creo que no. Lo que cambia todo en diez años…
http://www.cuadernosdejazz.com/index.php?option=com_content&view=article&id=2911:opinan-los-criticos-jesus-gonzalo&catid=10:general&Itemid=11

Best of 2013 Jazz.PT

Melhores de 2013 – Jazz.PT
Aqui estão as escolhas da equipa jazz.pt relativas a mais um ano de música, em disco e ao vivo. São estas as nossas votações finais, bem como as listas individuais dos colaboradores que participaram nesta selecção do melhor que foi acontecendo em 12 meses repletos de bom jazz e boa improvisação. Boas festas e continuem a passar por estas páginas.

Melhores discos internacionais
CF 283WAYNE SHORTER QUARTET: “WITHOUT A NET” (BLUE NOTE)
Charles Lloyd / Jason Moran: “Hagar´s Song” (ECM)
São Paulo Undergound: “Beija Flors Velho e Sujo” (Cuneiform)
Matana Roberts: “Coin Coin: Chapter Two: Missisippi Moonchile” (Constellation)
Pascal Niggenkemper Vision7: “Lucky Prime” (Clean Feed)
Wadada Leo Smith & TUMO: “Occupy the World” (TUM)
CF 278Joe McPhee: “Sonic Elements” (Clean Feed)
Tim Berne’s Snakeoil: “Shadow Man” (ECM)
Nate Wooley: “Seven Storey Mountain III and IV” (Text)
Trespass Trio & Joe McPhee: “Human Encore” (Clean Feed)
Lotte Anker / Rodrigo Pinheiro / Hernâni Faustino: “Birthmark” (Clean Feed)

Melhores discos nacionais
CF 281RED TRIO: “REBENTO” (NOBUSINESS)
Rodrigo Amado Motion Trio & Jeb Bishop: “The Flame Alphabet” (Not Two)
Susana Santos Silva / Torbjörn Zetterberg: “Almost Tomorrow” (Clean Feed)
Luís Lopes Humanization 4tet: “Live in Madison” (Ayler Records)
CF 275Lama & Chris Speed: “Lamaçal” (Clean Feed)
Timespine: “Timespine” (Shhpuma)
Big Bold Back Bone: “Clouds Clues” (Wide Ear)
Joana Sá: “Elogio da Desordem” (Shhpuma)
João Hasselberg: “Whatever It Is You’re Seeking, Won’t Come in the Form You’re Expecting” (Sintoma Records)
Nelson Cascais Decateto: “A Evolução da Forma” (Sintoma Records)
João Firmino: “A Casa da Árvore” (Sintoma Records)
Ernesto Rodrigues / Ricardo Guerreiro / Christian Wolfarth: “All About Mimi” (Creative Sources)
João Paulo Esteves da Silva & Orquestra Jazz de Matosinhos: “Bela Senão Sem” (TOAP/OJM)
SHH 007Eduardo Raon: “On the Drive for Impulsive Actions” (Shhpuma)
Eitr: “Trees Have Cancer Too” (Mazagran)
Joana Sá / Luís José Martins: “Almost a Song” (Shhpuma)
Le Syndicat & Sektor 304: “Geometry of Chromium Skin” (Rotorelief)
Luís Vicente / Jari Marjamaki: “Alternate Translations” (MiMi Records)

Melhores reedições
KEITH JARRETT: “CONCERTS: BREGENZ/MUNCHEN” (ECM)

Melhores concertos
EVAN PARKER (JAZZ AO CENTRO – ENCONTROS INTERNACIONAIS DE JAZZ DE COIMBRA)
Peter Evans Octet (Jazz em Agosto)
The Thing XXL (Jazz em Agosto)
John Zorn Electric Masada (Jazz em Agosto)
Anthony Braxton Falling River Music Quartet (Jazz em Agosto)
Rodrigo Amado Motion Trio & Peter Evans (Teatro Maria Matos)
Zanussi 5 (Jazz ao Centro – Encontros Internacionais de Jazz de Coimbra)
Hugo Antunes / Carlos “Zíngaro” / Miguel Mira (Espaço APAV & Cultura)
Elephant9 feat. Reine Fiske (Jazz em Agosto)

Melhores músicos ou grupos internacionais
Jason Moran, Okkyung Lee, John Zorn, Fire! Orchestra/Mats Gustafsson, Barry Guy New Orchestra, Burkhard Stangl, Wadada Leo Smith.

Melhores músicos ou grupos nacionais
Rodrigo Amado Motion Trio, Sei Miguel, Gabriel Ferrandini, Susana Santos Silva, Hugo Antunes, Clocks and Clouds, Rodrigo Pinheiro.

Acontecimento do ano
A polémica entrevista concedida por Rui Neves, programador do Jazz em Agosto, à Rua de Baixo, conduzida por Pedro Tavares, também colaborador da jazz.pt.

http://jazz.pt/artigos/2013/12/15/melhores-de-2013/

El Intruso – Sixth annual international critics poll

SEXTA ENCUESTA ANUAL A PERIODISTAS INTERNACIONALES
(SIXTH ANNUAL INTERNATIONAL CRITICS POLL)

MusicoMÚSICO DEL AÑO / MUSICIAN OF THE YEAR
NATE WOOLEY (35 Votos)
Mary Halvorson (30 Votos)
Wayne Shorter (27 Votos)
Wadada Leo Smith (24 Votos)
Ivo Perelman (21 Votos)

Musico RevelacionMÚSICO REVELACIÓN / NEWCOMER MUSICIAN
MATT MITCHELL (44 Votos)
Kaja Draksler (26 Votos)
Jonathan Finlayson (26 Votos)
Cécile McLorin Salvant (18 Votos)
Melissa Aldana (15 Votos)

GrupoGRUPO DEL AÑO / GROUP OF THE YEAR
MOSTLY OTHER PEOPLE DO THE KILLING (31 Votos)
Fire! Orchestra (20 Votos)
Tim Berne’s Snakeoil (19 Votos)
The Thing (15 Votos)
The Claudia Quintet (13 Votos)

Grupo RevelacionGRUPO REVELACIÓN / NEWCOMER GROUP
BLACK HOST (26 Votos)
Rocket Science (18 Votos)
Jonathan Finlayson & Sicilian Defense (16 Votos)
Carate Urio Orchestra (9 Votos)
Wheelhouse (8 Votos)

AlbumÁLBUM DEL AÑO / ALBUM OF THE YEAR
MARY HALVORSON SEPTET – ILLUSIONARY SEA (Firehouse 12) (20 Votos)
Matana Roberts – Coin Coin Chapter Two: Mississippi Moonchile (Constellation) (13 Votos)
Nate Wooley – Seven Storey Mountain III and IV (Pleasure of the Text Records) (13 Votos)
Wadada Leo Smith & TUMO – Occupy the World (TUM Records) (13 Votos)
Fire! Orchestra – Exit! (Rune Grammofon Records) (12 Votos)
Tim Berne’s Snakeoil – Shadow Man (ECM Records) (12 Votos)

COMPOSITOR / COMPOSER
WADADA LEO SMITH (39 Votos)
John Hollenbeck (26 Votos)
Matana Roberts (21 Votos)
Darcy James Argue (20 Votos)
Anthony Braxton (17 Votos)

BATERÍA / DRUMS
CHES SMITH (40 Votos)
Gerald Cleaver (38 Votos)
Harris Eisenstadt (20 Votos)
Mike Pride (16 Votos)
Matt Wilson (15 Votos)

CONTRABAJO / DOUBLE BASS
MARK DRESSER (35 Votos)
Pascal Niggenkemper (28 Votos)
William Parker (26 Votos)
John Hébert (22 Votos)
Dave Holland (21 Votos)

BAJO ELÉCTRICO / ELECTRIC BASS
STEVE SWALLOW (33 Votos)
Ingebrigt Haker-Flaten (22 Votos)
Devin Hoff (20 Votos)
Skuli Sverrisson (17 Votos)
Stomu Takeishi (13 Votos)

GUITARRA / GUITAR
MARY HALVORSON (109 Votos)
Brandon Seabrook (17 Votos)
Bill Frisell (16 Votos)
Marc Ribot (15 Votos)
Marc Ducret (14 Votos)

PIANO
MATTHEW SHIPP (49 Votos)
Craig Taborn (38 Votos)
John Tilbury (25 Votos)
Kris Davis (25 Votos)
Matt Mitchell (24 Votos)

TECLADOS / KEYBOARDS
JAMIE SAFT (38 Votos)
Craig Taborn (21 Votos)
Dr. Lonnie Smith (19 Votos)
Landon Knoblock (16 Votos)
Cooper-Moore (15 Votos)

SAXO TENOR / TENOR SAXOPHONE
INGRID LAUBROCK (37 Votos)
Jon Irabagon (27 Votos)
Evan Parker (23 Votos)
Joe McPhee (21 Votos)
Ken Vandermark (21 Votos)

SAXO ALTO / ALTO SAXOPHONE
TIM BERNE (53 Votos)
Darius Jones (43 Votos)
Rudresh Mahanthappa (42 Votos)
Matana Roberts (28 Votos)
Steve Coleman (19 Votos)

SAXO BARÍTONO / BARITONE SAXOPHONE
MATS GUSTAFSSON (86 Votos)
Josh Sinton (36 Votos)
Gary Smulyan (30 Votos)
Charles Evans (20 Votos)
Brian Landrus (19 Votos)

SAXO SOPRANO / SOPRANO SAXOPHONE
EVAN PARKER (57 Votos)
Wayne Shorter (42 Votos)
John Butcher (40 Votas)
Jane Ira Bloom (32 Votos)
Sam Newsome (21 Votos)

TROMPETA – CORNETA / TRUMPET – CORNET
PETER EVANS (69 Votos)
Nate Wooley (67 Votos)
Taylor Ho Bynum (46 Votos)
Wadada Leo Smith (30 Votos)
Kirk Knuffke (20 Votos)

CLARINETE – CLARINETE BAJO / CLARINET – BASS CLARINET
BEN GOLDBERG (60 Votos)
Joachim Badenhorst (29 Votos)
Oscar Noriega (27 Votos)
Ken Vandermark (26 Votos)
Waclaw Zimpel (26 Votos)

TROMBÓN / TROMBONE
SAMUEL BLASER (51 Votos)
Steve Swell (37 Votos)
Roswell Rudd (34 Votos)
Jeb Bishop (32 Votos)
Curtis Hasselbring (24 Votos)

VIOLÍN / VIOLA
MAT MANERI (35 Votos)
Mark Feldman (34 Votos)
Jason Kao Hwang (33 Votos)
Jenny Scheinman (27 Votos)
C.Spencer Yeh (14 Votos)

CELLO
OKKYUNG LEE (55 Votos)
Erik Friedlander (54 Votos)
Fred Lonberg-Holm (54 Votos)
Hank Roberts (17 Votos)
Ernst Reijseger (11 Votos)

VIBRÁFONO / VIBRAPHONE
JASON ADASIEWICZ (104 Votos)
Matt Moran (57 Votos)
Mattias Ståhl (29 Votos)
Chris Dingman (22 Votos)
Warren Wolf (19 Votos)

ELECTRÓNICOS / ELECTRONICS
SAM PLUTA (48 Votos)
Ikue Mori (34 Votos)
Rob Mazurek (20 Votos)
Jan Bang (15 Votos)
Ben Vida / Lasse Marhaug (13 Votos)

OTROS INSTRUMENTOS / OTHER INSTRUMENTS
NICOLE MITCHELL: Flauta / Flute (72 Votos)
Rhodri Davies: Arpa, Arpa Electrónica / Arp, Electronic Arp (22 Votos)
Gordon Gridina: Oud (15 Votos)
Andrea Parkins: Acordeón / Accordion (12 Votos)
Susan Alcorn: Pedal Steel Guitar (11 Votos)

CANTANTE FEMENINA / FEMALE VOCALS
FAY VICTOR (39 Votos)
Cécile McLorin Salvant (38 Votos)
Gretchen Parlato (16 Votos)
Sofia Jernberg (16 Votos)
Sidsel Endresen (15 Votos)

CANTANTE MASCULINO / MALE VOCALS
THEO BLECKMANN (60 Votos)
Gregory Porter (33 Votos)
Andy Bey (29 Votos)
Phil Minton (19 Votos)
Dorian Wood (11 Votos)

MÚSICO – GRUPO EN CONCIERTO / BEST BAND LIVE
MOSTLY OTHER PEOPLE DO THE KILLING (25 votos)
John Zorn (The Dreamers, Electric Masada, Moonchild, etc.) (23 Votos)
The Thing / The Thing XXL (19 Votos)
Wadada Leo Smith Golden Quartet (13 Votos)
Darcy James Argue’s Secret Society (12 Votos)

SELLO DISCOGRÁFICO / RECORD LABEL
Clean FeedCLEAN FEED RECORDS (85 Votos)
ECM Records (38 Votos)
Firehouse 12 Records (35 Votos)
No Business Recors (32 Votos)
Pi Recordings (13 Votos)

Han participado de la votación los siguientes periodistas (por orden alfabético):

Alain Drouot, Alberto Gutierrez, Andrey Henkin, Antonio Branco, Carlos Iramain, Cayetano López, Cisco Bradley, Clifford Allen, Christopher Monsen, Craig Premo, Dan Bilawsky, Dan Sorrells, David R. Adler, Esteban Arizpe Castañeda, Eyal Hareuveni, Francis Davis, George Grella, Gordon Marshall, Guillaume Belhomme, Guy Peters, Hank Shteamer, Hrayr Attarian, James Hale, John Eyles, Karl Ackerman, Kevin Lynch, Laurence Donohue-Greene, Lyn Horton, Marcelo Morales, Marco Paolucci, Mark Corroto, Matt Marshall, Michael Nastos, Miguel Copon, Mike Borella, Nikola Markovic, Paul Acquaro, Pedro Tavares, Pete Butchers, Ralph Miriello, Raúl da Gama, Roberto Barahona, Sean Fitzell, Sergio Piccirilli, Stef Gijssels, Stuart Broomer, Tim Niland, Troy Collins

http://elintruso.com/2014/01/15/encuesta-2013-periodistas-internacionales/

Downbeat article by Bradley Bambarger

Harris Eisenstadt, Intellect and Emotion
Any encounter with drummer Harris Eisenstadt—whether in person or through his music—provides evidence that he is a “thinking man,” to borrow a phrase from trumpeter Nate Wooley.

The prolific Eisenstadt leads multiple bands, with Wooley a member of his most longstanding group, the quintet Canada Day. Wooley traded horn for pen to write liner notes for the eponymous first album by another of Eisenstadt’s groups, the September Trio, which features saxophonist Ellery Eskelin and pianist Angelica Sanchez. Wooley wrote: “He doesn’t produce unneeded complexity in his compositions or his playing to give us mental gymnastics to follow; he instead puts his incredible natural energy and intelligence into creating music that is thoughtful, unique, well-constructed, meaningful
and somehow simple sounding.”

CF 276There is indeed a balance of thought and feeling in Eisenstadt’s music, particularly with the September Trio. That first album features wonderfully
atmospheric, poetic ballads. Eskelin’s tenor has a husky lyricism, while Sanchez’s harmonic choices eschew cliché. Eisenstadt’s playing reveals a drummer
with a composer’s ear, for whom color is as vital as propulsion. The group’s second release, The Destructive Element (Clean Feed), ups the ante; the album is melody-rich and blue-hued but more volatile that its predecessor.

Seated outdoors at a bar in Ditmas Park, the charming Brooklyn neighborhood he calls home with his family, the 38-year-old Eisenstadt talked about his open style of composing for the September Trio: “Ellery plays the notes, but his distinctive sound and sense of time shape the music. For the new record, I encouraged Ellery to be as bluesy as he wanted to be and for Angie to be as gospel-y as she wanted. Both of them can deal with lyrical material but naturally subvert it, too, through timbre and by expanding forms. The idea is to meld lyricism with abstraction—it doesn’t have to be either/or.”

Eskelin, a veteran bandleader in his own right, was drawn to the ballad-like aspect of Eisenstadt’s writing for the trio, as well as the sense of space and freedom. “As a saxophonist, that setting is really conducive to going for a fuller tone—there is a lot of air around each instrument, and this becomes part of the fabric of the band’s sound,” Eskelin said. “Harris also plays with close attention to dynamics, which I appreciate greatly in a drummer.”

Canada Day—which these days includes Wooley, tenor saxophonist Matt Bauder, vibraphonist Chris Dingman and bassist Garth Stevenson—has released three albums as a quintet, plus one as a textured octet with alto sax, trombone and tuba. Canada Day Octet (482 Music) begins with a drum solo, although it’s a characteristically singing, sculptural one. Eisenstadt’s music for Canada Day is compositionally oriented, yet has room for personal inflections in the playing.

Regarding Canada Day, Wooley said, “What Harris has done brilliantly is to keep the same band together over some years, which isn’t as easy as it seems. And he combines a growing knowledge of each player’s preferences for how they like to improvise with a talent for finding good ways to push us into new areas, to force us to think in new ways. He knows how to hear someone’s voice in a new context.
That has a lot to do with why his music always sounds fresh and vibrant.”

Eisenstadt’s newest band is the chamber-jazz outfit Golden State, with bassist Mark Dresser, flutist Nicole Mitchell and bassoonist Sara Schoenbeck. The group’s debut, Golden State (Songlines), is Eisenstadt’s 15th album as a leader since 2001. He has various connections with each member, most closely
with Schoenbeck, who is his wife. Reflecting on the genesis of the band, Eisenstadt said, “The unusual instrumentation of flute, bassoon, bass and drums was intriguing—like, ‘What’s this going to sound like?’ I wanted to hear it. There is that post-Ellington thing to what I do in that I write for specific players,
striving to take advantage of what the musicians can do.”

Continually expanding his palette, Eisenstadt has studied West African drumming, recorded an album with saxophonist Sam Rivers and percussionist
Adam Rudolph (as the Vista trio) and composed a concerto for multiple drummers that will be performed with the Brooklyn Conservatory Community Orchestra for its premiere in November. As he pondered the challenges of making music as a career, Eisenstadt mentioned composer Arnold Schoenberg, the modernist icon who provided germinal inspiration for a couple of September Trio pieces. Schoenberg was a famous intellectual, but Eisenstadt cited another of the composer’s traits—tenacity—which is certainly a necessity for any questing artist.
http://www.downbeat.com/digitaledition/2013/DB201311/single_page_view/22.html

Point of Departure interview by Troy Collins

Eric Revis: The Specter of Posterity

EricRevis'11-11_by_Petra_Cvelbar_DSC4674
Photo by Petra Cvelbar

Bassist Eric Revis first came to prominence supporting Betty Carter in the mid-1990s, shortly after completing formative studies with Ellis Marsalis at the University of New Orleans. Since then, Revis has become a key figure in the creative mainstream: as a stalwart member of Branford Marsalis’ Quartet; part of the collective trio Tarbaby (with pianist Orrin Evans and drummer Nasheet Waits); and a sideman to neo-traditional artists like JD Allen, Russell Gunn and Winard Harper.

CF 266Released on Portugal’s Clean Feed Records, Parallax is his third effort as a bandleader, following the eclectic Laughter’s Necklace of Tears (11:11 Records, 2009) and Tales of The Stuttering Mime (11:11 Records, 2004), which offered colorful demonstrations of the bassist’s expansive compositional palette, featuring such unique instrumental sonorities as melodica, string quartet and washboard. Equally diverse, yet far more adventurous, Parallax is the debut of his 11:11 quartet – a virtual summit meeting of contemporary talent – featuring Revis, Waits and the drummer’s primary employer, pianist Jason Moran, performing alongside Chicago scene leader Ken Vandermark.

Revis is no stranger to such vanguard company; although often found supporting straight-ahead players like Lionel Hampton, Billy Harper and McCoy Tyner, Revis toured with Peter Brötzmann in 2009, serving with Waits as the renowned German firebrand’s dedicated rhythm section. Bolstered by longstanding relationships, Revis’ studied rapport with Waits in Tarbaby and Waits decade-plus membership in Moran’s Bandwagon trio provides this particular lineup with a deep sense of camaraderie far greater than the average super-group.

The quartet’s efforts encompass a wealth of inside-outside dynamics, seamlessly bridging the tenuous divide between traditions. The members’ shared enthusiasms for the stylistic nuances of prewar jazz draw a striking parallel to the genre-defying innovations of the AACM, most notably on stirring covers of Fats Waller’s “I’m Gonna Sit Right Down And Write Myself A Letter” and Jelly Roll Morton’s “Winin’ Boy Blues” – riotous interpretations that find aesthetic concordance in the equally raw, albeit cohesive collective improvisations “Hyperthral” and “IV.” Though spontaneously conceived, the intense focus of the latter pieces confirms the ensemble’s adroit interplay; Vandermark’s husky tenor refrains, Moran’s bustling two-handed runs and Waits’ careening downbeats effortlessly interlock with the leader’s pneumatic fretwork, lending the rhapsodic proceedings a wholly unified sensibility.

The diverse cast also enables Revis an opportunity to showcase his burgeoning compositional style, as exemplified by sophisticated ensemble numbers like the contrapuntal march “MXR” and opulent tango “Edgar.” His refined writing also informs his virtuosic solo technique, readily demonstrated by the ruminative bass soliloquies “Prelusion” and “Percival” – the former regaling with dervish-like arco, the latter blistering pizzicato.

Rounded out by stellar pieces written by his peers, including the rhythmically daunting “Dark Net,” penned by saxophonist Michaël Attias, and Vandermark’s sole contribution, the scorching free bop swinger “Split,” Parallax embodies a truly diverse microcosm of contemporary jazz styles. Intrigued by the album’s expansive continuum, I interviewed Revis in the winter of 2012.

****

Troy Collins: When comparing your sideman discography to the lineup featured on Parallax, the personnel seems a little surprising. Jason Moran and Ken Vandermark are widely revered for their creative virtuosity, but also for their leadership abilities in their respective metropolitan scenes; Moran in New York and Vandermark in Chicago, respectively. Can you explain how you managed to get these two leaders together as sidemen in a quartet setting?

Eric Revis: It was actually a pretty easy process. I called Nasheet, Ken, and Jason and asked them if they wanted to do a gig I had in NYC. Luckily everyone was available and the gig was great.

TC: Where was the gig held and did the set feature any of the tunes included on Parallax? If so, how have those pieces changed since their initial conception?

ER: The gig was at The Jazz Gallery in NYC. I believe we did the Fats Waller and Jelly Roll tunes on the gig and we played them pretty conventionally. As we did more gigs, I realized that when given the opportunity to document the band, this was a group I could take advantage of exploring the possibilities of the tunes I had been composing. All of the tunes other than the aforementioned songs on Parallax were brought in at the date.

TC: One detail that makes 11:11’s personnel a little less startling is your time spent touring with Peter Brötzmann. Can you describe how that gig came about and how it may have influenced 11:11, if at all?

ER: I have been a huge fan of Mr. Brötzmann for a long time. In ‘04-‘05 Nasheet and Peter were doing a series of dates as a duo. Around that time Nasheet and I were on the phone just catching up with each other and he mentioned that he and Peter were doing these shows and would be performing at the now defunct Tonic. I told him about me being a big fan of Peter and that I would definitely be down to see them. He told Peter about this and they actually invited me to do the gig. A year or two later I saw Peter in Austin, TX and he mentioned that he enjoyed the trio gig and that he’d been thinking about doing something with it. That resulted in a tour of that trio a year later and it was on that tour that I met Ken.

TC: Vandermark is well known for paying homage to a wide variety of artists, many of them musicians, but not all of them associated with jazz. As an artist with an equally eclectic background based in funk and rock music, how does that analogous aspect influence your writing and/or performing?

ER: I think anyone aspiring to a true artistic aesthetic is aware of and checks out a vast array of material. The more this is done, one starts to adhere to a certain universality of music and art devoid of the hierarchy that artists often attribute to one music over another. I think if one stays true to this ideal, those influences make themselves apparent and permeate (in a very organic way) any art one is involved in.

TC: There are a number of interesting intersecting relationships in 11:11; Waits is a member of Moran’s Bandwagon with bassist Tarus Mateen, while you and Waits play in TarBaby with pianist Orrin Evans. What differences or similarities do you notice in how these three ensembles function?

ER: I suppose the obvious similarity is that we are all committed to keeping Nasheet Waits working as much as possible (laughs).

I think that each of these groups represent a certain philosophical convergence of individuals who approach music and art in a similar fashion; with reverence for tradition as well as the commitment to an intelligent, artistic, forward-thinking trajectory.

Beyond that, Bandwagon and 11:11 are platforms for Jason and I to exact our particular voices in those settings/configurations. Tarbaby is a total collective effort.

TC: How do personal and stylistic dynamics shape the inner workings of the group?

ER: My criteria for putting any group together (or being in a group), is pretty straight forward. Cool, intelligent, forward-thinking individuals. That and they are all phenomenal musicians … with very distinct personalities.

TC: Were any of the tunes composed specifically for these particular players, or were they more skeletal in conception?

ER: There is an inherent danger and limitation to composing for specific individuals. One of my goals over the past few years has been to distance myself from my “likes” and compositional proclivities in order to allow my compositions to dictate their own path. When one writes for a specific individual you are limited by your interpretation of that person’s sound. That being said, my implicit trust in the musicians to interpret the music in whatever way they deem fit insures that the outcome will be optimal. For this recording (and mind you, there are 10 additional songs in the can) … a lot of it was composed. There were a few sketches as well.

TC: Does that mean there will be a follow-up album of unreleased material? Regardless, do you plan on continuing to record with this particular line-up?

ER: I think that some of those songs will be released at some point however I am more interested in documenting the group in its present-tense.

TC: While the album’s over-arching orientation is fiercely modern, two classic covers – Fats Waller’s “I’m Gonna Sit Right Down And Write Myself A Letter” and Jelly Roll Morton’s “Winin’ Boy Blues” – are both given fascinating treatments; the former unfolds like a fever dream, the latter a rhapsodic revival. Can you describe your intention behind these bold interpretations of such venerated standards?

ER: One of the initial concepts I had for the band when we first got together was a “back-to-the-future” paradigm. Freely improvised sets peppered with songs from the “pre-standard” songbook. When you have a group of musicians that have reverence for the tradition as well as for the extemporaneous, you can do things like that in a very viable way.

The other thing is that so many of the songs from the “pre-standard” cannon are great songs that can be interpreted in a variety of ways and maintain their vitality. That was the impetus for “I’m Gonna Sit Right Down And Write Myself A Letter.” The arrangement of “Winin Boy” is an homage to Jelly Roll and the prison work song.

TC: The “back-to-the-future” paradigm finds obvious concordance in the AACM’s credo, “Great Black Music, Ancient to the Future.” I assume you’ve drawn inspiration from the Association’s advancements, but considering your current role as Branford Marsalis’ primary bass player and knowing his brother’s outspoken ideology, how you manage to balance the two worlds? Do you find any aesthetic disparities between playing with Peter Brötzmann and Branford Marsalis, for example?

ER: I think a few things should be addressed in order to properly answer this question. First off, yes the AACM has been a tremendous influence for me both musically and philosophically. I feel that the thoroughness of concept and fearlessness they exhibited in exacting their art and principles is something that every musician – particularly ones involved in the Jazz/Creative music diaspora – should really investigate. In terms of the “Marsalis factor,” I find it interesting and somewhat disturbing that both Branford and Wynton are held accountable and taken to task for things they said over 20 years ago. It seems as if no leeway is given to these men for possibly expanding their particular views from that of the 20-something-year-olds they were who were accorded a platform that deservedly (or not) was placed upon them.

As this relates to the question … Are there not aesthetic disparities in speaking, I mean truly communicating with people from different regions of a given area? I believe if one’s intent is honest and coming from a well-rounded perspective, the “universality” I spoke of before, shines through. The elements I hold musically dear … my musical criteria … (intelligence, fearlessness, selflessness, reverence for tradition, virtuosity of sound) are elements that I find to be indelible components on all music(s) of quality. At that point it just becomes a matter of context.

TC: I’m curious about context and how it relates to your actual approach towards performing with artists as different as Brötzmann and Marsalis. Do you rely on a different skill set or instrumental palette, depending on who you’re performing with? I assume there are techniques that are more appropriate in one context than another, and if so, how does that affect your decision making?

ER: There are definitely techniques I employ for different contexts. I am a firm believer in letting the punishment fit the crime. Yes, appropriateness is definitely key. Although, I must say that as I have explored and developed more “language” in the realm of extended techniques on the double bass, I do think I have organically incorporated those elements into other contexts more and more.

TC: Parallax seems to encompass all aspects of the tradition equally, and I’m curious if the 11:11 quartet is more liberating for you as a performer – i.e.; not being constrained stylistically in almost any conceivable way?

ER: 11:11 is very liberating in that I am able to exact the whole of my voice and artistic trajectory up to this point.

TC: What are your thoughts on studio recording versus live performance and how does that affect your playing in each situation.

ER: There is always the specter of posterity in the studio. That, and the fact that the musicians alone are responsible for the energy. The studio lends itself to being more meticulous.

TC: What are your thoughts on the state of the recording industry at large, especially in regards to archival hard copies versus ephemeral downloads?

ER: Although the convenience of the download is undeniable, I think that the overall artistic package that LP’s encompassed is sorely missed. A great deal of my music history was garnered from album covers. The fact that so much music has yet to be archived in download form and the sound quality of downloads is so poor, are but other disappointments in this age of the download.

TC: In light of the recording industry’s current complexities, do you find musical inspiration in any technological advances, stylistic movements or particular artists?

ER: I tend to be a little behind the curve when it comes to technological advances. This is something I plan to remedy sometime in the future. Even though I realize that some of these advances … music programs/apps and such … can be valuable tools, I at this point am really concerned with just getting better as a musician/composer and that is where I devote my time.

There are no particular “current” movements in music that I am into per se. My current listening involves: Alban Berg, Meshuggah, Odd Future, Grizzly Bear, Leron Thomas, Prokofiev, Darando, Julius Hemphill.
http://www.pointofdeparture.org/PoD42/PoD42Revis.html