mercredi 31 octobre 2012

Archie Shepp: The Complete Interview

Pendant les vacances de Toussaint on n'a pas beaucoup de concerts dans le région; peut-être prendre le temps de lire cet interview  sur le grand Archie Shepp??


                                                 Archie Shepp et Hamid Drake, Junas 2011




Archie Shepp: The Complete Interview

POSTED BY RICHARD SCHEININ ON OCTOBER 10TH, 2012 AT 2:34 PM | CATEGORIZED AS ARTSCONCERTSMUSIC
Last month, I spoke with saxophonist Archie Shepp, one of my heroes for more than 40 years now. Shepp spoke at length about growing up in Fort Lauderdale and Philadelphia. He told stories about John Coltrane and Lee Morgan. He discussed the current movement, led by trumpeter Nicholas Payton, to retire the term “jazz” from the lexicon, and instead to call it “BAM,” or Black American Music.
Here’s the complete transcript of my interview with Shepp, who performs Oct. 11-12 at Yoshi’s in Oakland, his first Bay Area club dates in about 20 years. What a trill, for me to speak with Shepp: In my mind, I can still see him so vividly, strutting onstage, sharp as can be, ready to fire up his soul-power at the John Coltrane Memorial Concert at New York’s Town Hall, in 1971. It was the first of many times when I’ve been privileged to see/hear this legendary figure – also a blues singer, a playwright, a poet and leader of the “new breed” that instigated the ‘60s black jazz avant-garde, the “fire music” from which one of Shepp’s classic albums takes its name.
He can play a ballad with tender beauty; almost excruciating to hear. His “Attica Blues” album, from 1972, was to jazz what “What’s Going on” was to soul music. But why even differentiate? Shepp is a soul man, a jazz man, a blues man. Now 75 years old, he divides his time between Paris, France, and Hadley, Mass, where he got on the phone to talk about his life in music.
This transcript expands considerably on a shorter version of this interview, recently published in the San Jose Mercury News.
Q: Archie, I watched a new video of you rehearsing your band and – just like 40 years ago – you were dressed in the sharpest suit and brimmed hat.
A: I grew up in a tradition where musicians were generally – they were sharp, they were well-dressed. I’m thinking of Ellington and Earl Hines, people who were models for me: Miles Davis, Roy Haynes, Max Roach. These were the people who were generally impeccably attired; it’s part of the ambiance of the music. Apart from the fact that they were playing beautifully, aesthetically they looked good.
People come to hear music. But as in the theater, they also come to see it. So there’s a visual aspect to the whole presentation.


plus sur: 

http://blogs.mercurynews.com/aei/2012/10/10/archie-shepp-the-complete-interview/





dimanche 28 octobre 2012

Interview Magma

Interview   Liberation de Bruno Pfeiffer avec Christian Vander de Magma




27/10/2012

vendredi 26 octobre 2012

L'Oeil de l'Eléphant

Video de l'Oeil de l'Eléphant ; des bons souvenirs du festival 2008 quand l'Oeil de l'Eléphant  était dans la carrière de Junas






L'Oeil de l'Eléphant - Sclavis, Portal,Texier, Marquet, Le Querrec 

Description
L’Afrique et le jazz ont toujours constitué des thèmes centraux chez Guy Le Querrec, célèbre photographe de l’agence Magnum. Ses saisissantes photos noir et blanc projetées sur un écran en fond de scène pendant le concert font écho au cocon imaginaire de sons tissé par quatre virtuoses majeurs de la scène jazzistique française.

Dans les années 90, le trio « Carnet de routes », constitué de Louis Sclavis, Henri Texier et Aldo Romano, a fait plusieurs tournées en Afrique. Le Querrec était toujours de la partie. Trois albums exceptionnels sont nés de cette aventure. Avec « L'Œil de l'éléphant », Romano est remplacé par Christophe Marguet, et maintenant que Michel Portal est venu rejoindre l’équipe, ce groupe réunit les deux souffleurs les plus expressifs de France.

Droits photo : © Sergine Laloux
Crédits
• Artistes : Louis Sclavis: Klarinette/clarinette, Bassklarinette/clarinette basse, Sopransaxophon/saxophone soprano - Michel Portal: Klarinette/clarinette, Bassklarinette/clarinette basse, Sopransaxophon/saxophone soprano, Altsaxophon/saxophone alto - Henri Texier: Bass/basse Christophe Marguet: Schlagzeug/batterie Guy Le Querrec: Fotos/photos • Production : hr 

mardi 23 octobre 2012

Exposition de Partitions de Jazz à Bruxelles




Peter de Greef, injustement méconnu, fut un des grands artistes de l’art pictural belge. A l’Académie Royale de Bruxelles, il suit les cours de Constand Montald, Herman Richir, Jean Delville,…Il y rencontre René Magritte qui deviendra un ami intime. De 1922 à 1950, Peter sera un des plus grands illustrateurs de partitions. Parti d’un style moderne très art-déco, il évoluera vers un style proche de la bande dessinée naissante. Son approche personnelle se retrouvera également dans ses affiches, publicités, caricatures, lettrages, couvertures de livres et plus tard de disques. Féru de music-hall et de jazz, il en sera le principal illustrateur en Belgique. Nous vous invitons à découvrir ce personnage hors du commun et sa formidable carrière...Nous vous invitons à découvrir cet artiste exceptionnel.
                                      
Bonjour, bienvenue sur ce petit site. Belgatone est une nouvelle maison d'édition. Nous publierons des médias (livres, cd's,...) afin de populariser et préserver les arts populaires du passé - musicaux et picturaux - nous ciblerons plus particulièrement la période allant des années 20 aux années 50. Etant belges, nous choisirons surtout  les artistes nationaux et congolais, notre histoire étant liée très étroitement durant cette période. Ces choix ne seront toutefois pas exclusifs. Musicalement vôtre, Christian Van den Broeck


dimanche 21 octobre 2012

Gilad Hekselman Quartet au Vigan

Comme l'association de Jazz à Junas avait déjà écrit:

La fine fleur du Jazz new-yorkais débarque au Vigan

Et avec grand succès; la salle était remplie; le Quartet plein d'énergie new-yorkais qui se faisait bien attendre par  le jeu du guitariste Gilad Hekselman  et ces propres compositions, en changeant avec le grand saxophoniste Mark Turner qui répondait ' by his dedicated  horn' et tout cela tenu par le contre-bassiste Reuben Rogers et le batteur explosive d' Obed Calvaire!

Voilà quelques photos pendant la balance












                                                        Photos noir et blanc par Daniel Sartor

Mort de David S.Ware à 62 ans


David S. Ware, Adventurous Saxophonist, Dies at 62


Joshua Bright for the New York Times
David S. Ware in New York in 2009 after a kidney transplant.


  • FACEBOOK
  • TWITTER
  • GOOGLE+
  • E-MAIL
  • SHARE
  • PRINT
  • REPRINTS

David S. Ware, a powerful and contemplative jazz saxophonist whose career began in the early 1970s but who did not make a significant name for himself until 20 years later when he helped lead a resurgence of free jazz in New York, died on Thursday in New Brunswick, N.J. He was 62.
ArtsBeat
Breaking news about the arts, coverage of live events, critical reviews, multimedia and more.
Arts & Entertainment Guide
A sortable calendar of noteworthy cultural events in the New York region, selected by Times critics.
The cause was complications of a kidney transplant in 2009, said Steven Joerg, Mr. Ware’s manager and record producer. The musical world in which Mr. Ware traveled has few breakout stars, but he was one. In 1995 a review of his album “Cryptology” received the lead slot in Rolling Stone, which rarely reviews jazz albums. In 2001, after the release of his album “Corridors & Parallels,” Gary Giddins of The Village Voice called Mr. Ware’s quartet “the best small band in jazz today.”
Mr. Ware was a large man with a big sound. Among his influences were the breadth of tone Sonny Rollins could invest in a single note and the ferocity John Coltrane could put into a hundred of them. He wrote his own music, performed some jazz and pop standards (“Yesterdays,” “Angel Eyes,” even “The Way We Were”) and sometimes improvised within standard harmony. But for the most part he played less conventionally, planning his strategies and diving in deeply.
“I’m not interested in chord changes,” he said in a recent interview for a short film produced by the David Lynch Foundation. “I don’t need that. I work on concepts.”
He could roar, and he could unsettle. One landmark of his recording career was “Flight of i,” from his album of the same name in 1992: the piece is one unbroken, tremulous, nearly five-minute tenor saxophone cry, a feat of circular breathing. Still, he insisted that his music not be mistaken for aggression or pain. He practiced yoga and meditation from his early 20s on and said he sought a state of balance from which he could observe intense emotional states.
David Spencer Ware was born in Plainfield, N.J., on Nov. 7, 1949, and grew up in nearby Scotch Plains. He started playing alto saxophone at the age of 10, and music soon became his primary focus. By 14 he was making trips with friends into Manhattan to hear jazz in nightclubs.
After he introduced himself to Mr. Rollins at a gig, the two practiced together in Mr. Rollins’s Brooklyn apartment. The two developed a bond. Mr. Rollins taught Mr. Ware circular breathing techniques, and later talked with him about Eastern religion.
“We were close,” Mr. Rollins said in a telephone interview on Friday. “He was a very conscientious young fellow.”After graduating, Mr. Ware switched to tenor saxophone, his main instrument thereafter. He studied at the Berklee College of Music in Boston in the late 1960s, and during that period met the pianist Cooper-Moore and the drummer Marc Edwards, with whom he performed through much of the 1970s in the free-jazz group Apogee.
He later looked back on that time and described himself as an “avant-garde purist”; instead of building solos, he said in 1991: “I’d come out just blasting. I’d come out like I was coming out of a cannon.”
In 1973 Mr. Rollins invited Apogee to open for him at the Village Vanguard. “I got a lot of mean looks from my fans in the club,” Mr. Rollins said in on Friday.
By 1973 Mr. Ware had moved to New York, where he became part of the SoHo loft-jazz scene. He performed and recorded with the pianist and composer Cecil Taylor and also collaborated with some of the new jazz’s better drummers, including Andrew Cyrille, Beaver Harris and Milford Graves.
By the late 1980s Mr. Ware was recording as a leader, but he was still not well known outside certain small circles. Through that period and into the 1990s, while living in Scotch Plains with his wife, Setsuko S. Ware, who survives him, he drove a cab in New York to make ends meet.
Mr. Ware is also survived by his sister, Corliss Olivia Farrar.
In 1991 Mr. Ware began recording for the Japanese label DIW. Through a temporary licensing arrangement in the 1990s, his DIW album “Flight of i” was released in the United States by Columbia Records. In 1997 he was signed outright to Columbia by the saxophonist Branford Marsalis, then working for the label, for two more records, “Go See the World” and “Surrendered.”
All that, as well as the start of the annual Vision Festival in 1996, brought new attention to the culture around the free jazz scene in New York and to Mr. Ware’s music. His headlining gigs in New York became more frequent, and the documentation of his changing bands kept pace. From 2001 onward he recorded 10 records for Aum Fidelity, the label owned by Mr. Joerg, including an album-length version of Mr. Rollins’s 1958 “Freedom Suite.”
Mr. Ware developed kidney failure in the late 1990s and underwent self-administered dialysis for almost a decade; by 2009 a transplant was required to save his life. Mr. Joerg made a plea to Mr. Ware’s fans and friends, and one, Laura Mehr, offered hers.
The operation was that May, and Mr. Ware performed again in October, unaccompanied, at the Abrons Arts Center on the Lower East Side. That concert was recorded and quickly released by Aum Fidelity as “Saturnian (Solo Saxophones, Vol. 1).” Four more albums followed before his death, ending with “Live at Jazzfestival Saalfelden 2011,” from his final performance, in Austria in August of last year.







David Spencer Ware
La nature du premier disque qu’il acquiert – The Bridge, de Sonny Rollins – finit de convaincre le jeune David Spencer Ware de négliger les instruments auxquels il a d’abord été initié (flûte, saxophones alto et baryton) au profit du ténor. Étudiant à la Berklee School of Music de Boston, il monte au début des années soixante-dix le groupe Apogee en compagnie du pianiste Gene Ashton – rebaptisé depuis Cooper-Moore – et du batteurMark Edwards, avant de s’installer à New York où il côtoie Rollins et commence à fréquenter les figures charismatiques d’une avantgarde musicale alors dispensée en lofts :Andrew CyrilleMilford GravesDavid MurrayHamiet Bluiett ou Bill Dixon. Fait membre d’un grand orchestre que Cecil Taylor emmène en 1974 sur la scène du Carnegie Hall, le saxophoniste intègre ensuite l’Unit du pianiste, avec lequel il part donner concerts en Europe et enregistre le disque Dark to Themselves en 1976. S’il signe les années suivantes les premières références de sa discographie personnelle (Birth of a Being et From Silence to Music), il lui faudra attendre une dizaine d’années – pendant laquelle il trouvera quelque occupation auprès de CyrilleGraves ou Peter Brötzmann – pour étoffer celle-ci : enregistrement de Passage to Music en 1988 en compagnie de William Parker et Mark Edwards. La même année, le trio accueille le pianiste Matthew Shipp pour devenir David S. Ware Quartet, formation réunie une première fois en studio en 1990 et avec laquelle le saxophoniste a délivré depuis l’essentiel de son message. Si ce n’est lorsqu’il s’essaye à une musique électroacoustique maladroite, Ware n’en finit plus de personnaliser sa sonorité singulière dans une confidentialité difficile à justifier. Guillaume Belhomme, Giant Steps. Jazz en 100 figures, Le mot et le reste, 2009.






mercredi 17 octobre 2012

Concert le vendredi 19 Octobre Massillargues-Attuech

Concert Guillaume Séguron Trio à Massillargues-Attuech le vendredi 19 octobre à 18.30 à la Cave Coöperative


Profitant de la disponibilité et de l'engagement de ces artistes aux côtés de Jazz à Junas pour cette résidence, le groupe se produira la veille à l'occasion d'une découverte des vins nouveaux (récolte 2012) en conversion bio et conventionnel 




                                           Le Guillaume Séguron Trio aux Allègre les Fumades


lundi 15 octobre 2012


Concert Gilad Hekselman Quartet feat Mark Turner; Le Vigan 20 Octobre


GILAD HEKSELMAN QUARTET avec MARK TURNER
La fine fleur du Jazz new-yorkais débarque au Vigan !





Né en Israël en 1983, Gilad a étudié le piano classique dès l’âge de six ans et la guitare à l’âge de 9 ans ! À 15 ans, il entre dans la prestigieuse Thelma Yellin School of Arts, où il obtient son diplôme avec excellence, du département de jazz. Depuis son arrivée en 2004, Gilad Hekselman a partagé la scène avec certains des plus grands artistes de la scène jazz new-yorkaise dont Chris Potter, Mark Turner, John Scofield, Anat Cohen, Ari Hoenig, Sam Yahel, Jeff Ballard, Gretchen Parlato, Avishaï Cohen, Watts “Tain” Jeff, Tigran Hamasyan, Parcs et Aaron Hutchinson Greg…et devient ainsi un des guitaristes les plus prometteurs de sa génération.
Le dernier opus de Gilad est fait de contrastes : il juxtapose simplicité et profondeur. Privilégiant l’émotion et la sincérité, son nouvel opus nous présente l’un des groupes de jazz les plus enthousiasmant de la scène new-yorkaise actuelle. Inspirée de musique très diverses comme les musiques rock, classique, indienne, africaine, israélienne pour n’en citer que quelques unes.
Chance inouïe pour ce concert, le grand saxophoniste Mark Turner sera présent aux côtés du groupe pour apporter son talent au service des compositions de Gilad Hekselman.
Avec :
Gilad Hekselman : guitare
Reuben Rogers : contrebasse
Obed Calvaire : batterie
Mark Turner : saxophone

LE VIGAN, Samedi 20 octobre 21h00
Auditorium du Lycée André Chamson




GILAD HEKSELMAN
Hearts Wide Open”
(Le Chant du Monde)
Gilad Hekselman, a young Israeli musician living in New York, has become important over the last five years — if not yet to jazz listeners in general, at least to the serious-minded subculture of jazz-guitar students. In that time he’s performed almost constantly with his trio and guest players at the West Village clubs Smalls and Fat Cat, and one can tell: he plays the long sweeps of notes, harmonically mobile and emotionally humid, that have grown like vines in those places.
Fifteen years ago he probably would have been signed to a major label. You might already have read about him in a men’s magazine, or seen his face on a display rack at Tower Records. But the jazz business is more modest and artist-directed now. Since 2007 he has made two fine records (“SplitLife” and “Words Unspoken”) without much notice. His third, “Hearts Wide Open,” brings a better group sound, better tunes, better soloing. This is where you, the listener, should come in.
Mr. Hekselman’s rhythm section includes the bassist Joe Martin and the drummer Marcus Gilmore. They’ve been performing these original songs for a while, and they know their dynamics, supporting quiet music with authority. (Mr. Gilmore, in particular, rushes into the available spaces like water, complementing the guitar’s rhythmic shapes with his own.) The tenor-saxophonist Mark Turner plays on most of the album too, and opens hidden rooms of his talent; on the second half of the track “Understanding,” the music turns almost gospel, and an even-tempered musician goes credibly gutbucket.
Crucially, this record isn’t only understandable as jazz-guitar music, a maze of speed and soloing. Some of these tracks — particularly “Hazelnut Eyes,” his high mark so far, with its beguiling chorus that helps seven and a half minutes fly by; the folklike “Flower”; and the short, free-rhythm “Will You Let It?” — are actually songs, singable, playable on other instruments. They are melodies that stay with you.
He’s also found a further refinement in his improvising: at places, among all the displays of study and practice, he’s able to detach from a song’s chord changes and the rhythm and play more freely, in a manner that suggests Paul Bley or Ornette Coleman (whose melody for “Blues Connotation” he keeps gesturing toward in “The Bucket Kicker”). He’s on a good road, and he’s still moving. BEN RATLIFF


Gilad Hekselman  avec le Saxophoniste Mark Turner au Vigan 


Jazz saxophonist Mark Turner is known for his intense, intellectual musical style, as well as his deeply thoughtful approach to life. Although he has been heralded by critics, some note that his music may be too rarefied for the commercial market; he produced several albums with Warner Bros, before losing his contract with that label at the end of 2001. Since that time, he has continued to play and to reassess his musical goals.

Turner was born on November 10, 1965, in Fairbom, Ohio, but moved to Orange County, California, with his family at the age of four. As a child, he was equally interested in music and art and initially planned to become an illustrator, although he began playing alto saxophone in high school, and took up tenor saxophone two years later. Turner’s parents were both music lovers and jazz fans, so he was exposed early to recordings of some of the finest jazz musicians. The first saxophone recordings he owned were by John Coltrane, Sonny Stitt, and Gene Ammons.

Turner studied design and illustration at Long Beach State University, but in 1987 transferred to the Berklee College of Music in Boston. In a biography on his agent’s website, Turner said, "Obviously the mediums are different, in that music happens in the moment and art doesn’t in the same way. But I see similarities in the creative processes."

At Berklee, Turner studied with noted saxophonists, including Billy Pierce, Joe Viola, and George Garzone, and made connections with other musicians who would eventually play on his albums. They included guitarist Kurt Rosenwinkel, drummer Jorge Rossy, saxophonists Joshua Redman, Chris Cheek, Seamus Blake, and Antonio Hart, pianists Geoff Keezer and Anthony Won-sey, and bassist Dwayne Burno.

In a press release issued by his agent, Turner described this period: "We’d play all the time… That thing of playing and practicing, having a place to just play, and then go back and practice, then have another session, the balance of those two is a perfect circle. I was also around people who were doing things I couldn’t do, people that I wanted to learn from."

In an interview in Jazz Weekly, Turner told Fred Jung that during this time, he particularly admired saxophonist John Coltrane because of Coltrane’s philosophy that musicians should focus not on ego but on "becoming a selfless musician and playing for more of a lofty purpose." Turner told New York Times writer Ben Ratliff that in school, he was completely absorbed in Coltrane’s music, saying, "I was fairly methodical. I almost always wrote out Coltrane’s solos, and I’d have a lot of notes on the side." He knew at the time that he would not end up copying Coltrane, that he would simply learn from him and move on to find his own sound. He also noted, "I noticed that if you looked at someone

else who was into Trane, and if you could listen through that person’s ear and mind, it would be a slightly different version. That’s who you are—it’s how you hear." After learning from Coltrane’s work, Turner focused his meticulous study on the work of Joe Henderson, Dexter Gordon, and Sonny Rollins.

In 1990 Turner moved to New York, where he met Warne Marsh, whose playing of the tenor saxophone emphasized long, linear, melodic improvisation, in contrast to the more aggressive sound of Turner’s earlier inspirations. In addition to Marsh, Turner discovered the music of Lester Young, whose style fell between these extremes. His first album, Yam Yam, was released in 1994; his self-titled second album, on the Warner Bros, label, included a mixture of musical genres, combining what Ron Wynn in Weekly Wire called "introspective unison exchanges with [saxophonist] Joshua Redman … to lush, passionate statements." Wynn also noted that pianist Edward Simon, bassist Christopher Thomas, and drummer Brian Blade didn’t "simply sit back and accompany the leaders. Constantly adjusting, prodding, and changing tempos, they help prevent Turner from coasting or losing steam." His third album, In This World, was also released by Warner Bros, in that same year. Turner told Jung, "I feel relatively good about it. I was happy with the way everyone performed on it." He viewed the record as a continuation of what he had done on Mark Turner, calling it "a nice progression."

In 2000 Turner released Ballad Session, a collection of pieces composed by other musicians. Although he planned to feature his own music on his next two albums, he told Jung, "I kind of wanted to [perform other people’s music] for the last time for a while and move on." In the Philadelphia City Paper, Nate Chinen wrote that Turner’s 2001 albumDharma Days "both extends and deepens the tenor saxophone’s distinctive oeuvre," and that Turner "improvises with the same alluringly elusive quality that distinguishes his compositions."

In December of 2001, after four releases with Warner Bros., Turner’s contract with the company expired and was not renewed. New York Times writer Ben Ratliff noted that this was a shock, since Turner’s "music is intellectual and rigorously composed, defined by long, flowing, chromatically complex lines that keep their stamina and intensity as they stay dynamically even." Ratliff also praised Turner’s use of the difficult higher notes of the tenor saxophone, noting that other musicians "can’t say a negative word about him" and that they admire the freshness of his music. However, Ratliff wrote, "In the end, Mr. Turner’s music may have been too rigorous for Warner Bros, and he isn’t the sort who might turn his music around to sell records."

A representative of the company told Ratliff that Turner’s contract wasn’t renewed because his records didn’t sell enough to satisfy the company. "It’s fine," Turner said to Ratliff. "I was considering trying to get out of [the contract] myself. Nothing against Warner, but I feel relieved and open and free." By June of 2002, though, Turner still had not had any calls from other record labels. This was not surprising, Ratliff noted, since many labels had cut or scaled back their jazz departments and moved into other kinds of music. Even labels like Verve and Blue Note, formerly jazz specialists, had begun emphasizing other musical genres.

In addition to fronting a group, Turner enjoys being a sideman to other musicians and told Ratliff that he wanted to be part of a cooperative band that shared composing and publishing credits. This modesty and self-effacement, Ratliff posited, might be why had trouble finding a label, quoting saxophonist Donny Mc-Caslin: "His demeanor is reserved, and his playing reflects that. He has an introspective sound. Maybe people aren’t seeing what’s there." Bassist Reid Anderson told Ratliff, "He uses harmonies that are the language of harmony; he hears the melody within those harmonies…. He’s dealing on that high level that perhaps only the initiated can appreciate."

Turner lives in New Haven, Connecticut, with his wife Helena Hansen, a doctoral candidate in anthropology at Yale University, and their two children. Turner, who is a Buddhist, told Jung that his introverted, introspective personality helped him to focus on his music, saying, "Silence and quiet time helps for that, at least for me, to center myself, just to figure out what my priorities are." Of his goals, he remarked that he wanted to "become a stronger musician, composer, and all that. But even more than that, just to be a giving, selfless person. Having a better understanding of the meaning of living. That is my main goal."

Selected discography
Yam Yam, Criss Cross, 1994.
Mark Turner, Warner Bros., 1997.
In This World, Warner Bros., 1998.
Ballad Session, Warner Bros., 2000.
Ballad Session (with bonus track), WEA, 2000.
Dharma Days, Warner Bros., 2001.

Sources
Periodicals
Guardian (London, England), May 29, 1999.
New York Times, June 16, 2002; July 2, 2002.



samedi 13 octobre 2012

Premier concert Jazz au Cratère d'Alès

Carmen Souza: c'est le premier concert de Jazz au Cratère d'Alès le vendredi 19 octobre pour la nouvelle saison 2012 - 2013






C’est un peu du Brésil, du Portugal et de l’Afrique que nous offre l’artiste internationale Carmen Souza. A l’occasion de la sortie de son nouvel album, elle viendra nous donner des forces pour affronter l’hiver et savourer son merveilleux cocktail énergétique qui mêle jazz, épices africaines, parfums sensuels du Cap-Vert et tradition portugaise. D’origine capverdienne, née à Lisbonne et habitant Londres, Carmen Souza chante en créole et en portugais. Pianiste et guitariste, elle mélange avec élégance, les rythmes africains et capverdiens traditionnels, au jazz contemporain et aux sons afro-latins. Passant de façon déconcertante des tessitures les plus graves aux plus aigües, sa voix chaude et maitrisée passe des ballades les plus langoureuses aux rythmes les plus déchainés. Enfin, sa présence, forte et sensuelle, ne laisse personne indifférent. Inévitablement, partout où elle passe, elle nous met des fourmis dans les jambes et nous donne furieusement envie de chanter avec elle !

Souza illumine, lie et mélange naturellement les musiques latines, africaines, arabes, le jazz américain et les musiques du Cap-Vert. Souza prouve définitivement la révolution qui a transformé la « world music ». All about jazz, USA //// Avec des chansons qui voyagent entre le Cap-Vert, le jazz et les autres mondes, Carmen Souza est la voix la plus originale de la nouvelle musique du Cap-Vert. Time-Out, Lisbonne //// Carmen Souza, de sa voix, embrase un incroyable feu d'artifice musical.  Hessischer Rundfunk, Allemagne //// La voix riche de Carmen Souza,  apaise autant qu’elle enflamme ! Time Out Chicago, USA //// Elle a tout : excellent répertoire, une voix agile et polyvalente qui passe sans effort dans toute la gamme des registres et une présence sur scène totalement captivante. De plus, elle « swing » comme l'enfer...  Bimhuis Live Review-De Volkskrant, NL ///

CARMEN SOUZA (CHANT, GUITARE, FENDER RHODES), THEO PAS’CAL (BASSE & CONTREBASSE), JONATHAN IDYAGBONYA (PIANO) ET MAURIZIO ZOTTARELLI (BATTERIE, PERCUSSIONS) 

http://www.lecratere.fr/fiche.php?id=337

vendredi 12 octobre 2012

En souvenir de John Tchicai par Hélène Collon

Quelques photos faites par Hélène Collon  en souvenir de John Tchicai


En souvenir de John Tchicai

  •  6 avril 2006, ESPACE 1789, SAINT-OUEN (Festival Banlieues bleues)
    JOHN TCHICAI WITH RODOLPHE BURGER, YVES DORMOY & FRIENDS :
    « Scénario pour la régulation de l’injustice »
    John Tchicai : saxophones
    Rodolphe Burger : guitare, voix
    Yves Dormoy : électronique
    Antoine Berjeaut : trompette
    Vitold Rek : contrebasse
    Makaya Ntshoko : batterie




  • jeudi 11 octobre 2012

    Concerts Guillaume Séguron Trio et Sylvain Luc

    Surtout n'oubliez les concerts du Trio Guillaume Séguron et Sylvain Luc en solo aux Allègre Les Fumades, Maison de l'eau 
    le vendredi 12 octobre à 21.00



    John Tchicai dans la presse française

    John Tchicai vient de nous quitter; la presse américaine  lui donne des honneurs d'un grand musicien en free jazz. Mais peu ce trouve dans la presse française malgré qu'il habitait près de Perpignan.
    Canalblog et TSF ont publié des petits articles à sa mémoire .


    14 décembre 2010

    John Tchicai & Steve Dalachinsky au Souffle Continu (Claude Parle)

    John Tchicai - photo dolphy00
    10_12_03_36_John_TchicaiEn vidéo, la quasi totalité du court set, et quelques images fixes.
    En mots, l'hommage d'un musicien à d'autres artistes. C'est ce qu'égrène Claude Parle au fil de ses chroniques.

    Pour que vous ne manquiez de rien (quoique ...).

    John Tchicai & Steve Dalachinsky à "Souffle Continu" Vendredi 3 Decembre ...

    Sometimes, I've the eery feeling to be so far out, I'm in the core of an absolute dream I'll never escape ! ...
    C'est ce qui arrive de temps en temps à Souffle continu ...

    Archie Shepp, John Tchicai ... un jour sûrement, trébuchant sur l'improbable marche d'entrée du magasin, je vais me heurter à Johnny Dyani, et, me ruant en face pour boire une bière, ça va être Trane ... "Hey dude take care with thoses beers ..." A quelques mètres de là, au coin du block, des coups de feu, l’ombre d’un mec qui tombe … “Life with the Lions ” …

    Parler de Tchicai, c'est comme ouvrir le thésaurus d'une encyclopédie du Jazz ...
    Né à Copenhague (1936) pour s'installer à NY en 62, le Danois-Congolais devient une figure éclatante du Jazz d'avant garde ...
    Il enregistre avec Archie Shepp, Don Cherry, Coltrane, Cecil Taylor, Sun Râ ...

    Vendredi, il était là, tranquille en compagnie de Steve Dalachinsky ... un peu de monde, quand même, mais pas d'émeute ...

    Il embouche l'alto et, comme un prunier au vent printanier soudain s'empanache de fleurs de nacre, déroule ses notes précises, indicibles perles de santé et d'espoir ...
    Aucune tension, pas de démonstration, juste la sensation d'être là et de jouer, simplement ...
    Le tuilage avec les poèmes de Steve se fait tout naturellement, il faut dire que pour cet amoureux du Jazz et des musiciens auxquels il a déjà dédié tant de pages, c'est comme un exocet dans les embruns ! ...
    Les notes portent, prennent et s’adossent à l’espace sans l’attaquer, incisives découpes du lieu et du temps.
    C’est un peu prendre pied sur un canot dont la matière serait de textures et de lignes en lieu de bois …
    On n’ose à peine y poser l’oreille, on s’essaie à penser en intervalles, en traits …
    Il y aura des évocations bien sur, notamment d'Albert Ayler, Spirit rejoice, Ghost ... D'autres dont je ne garde que le sourire de l'allusion ...
    Et même, Tea for two ... qu'il développe tranquille, pendant que Steve reprend ses textes, dont une partie sera également écrite durant la performance ...
    Difficile de relever par les mots ces moments d'échange et de liberté créatrice ...

    Steve finira par un poème délirant dans une intensité croissante s'étirant dans une obsédante supplique : Ne prenez pas mes yeux, ne prenez pas mes yeux ! ....
    Sur un dernier trait très doux de l'alto ...
    Je serais tenté de dire : Qu'importe, prenez mes yeux pourvu que nos oreilles nous restent ! ...

    Merci Théo pour ces instants de temps suspendu …
     (C.P)
    La presque totalité du set est en ligne en deux vidéos. Presque.
    Un solo de John Tchicai tout d'abord :
    Puis le duo avec Steve Dalachinsky

    ...
    Pour finir, feuilletons ensemble l'album photos. Il suffit de cliquer sur l'image :
    10_12_03_20_John_Tchicai
    ...