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Articles Reviews Events Artists Lessons Gallery New York MorePRESS : James Senese e i Napoli Centrale in "E Fernut ‘o Tiempo" al Moro Jazz Club I like Ferrara Lucio Quintet Florian 1. Certificate in 6 / 4 - 5:29 2. In the South - 6:42 3. TYW - 4:20 4. Tutatitaià - 6:32 5. Blat (F. Giampaoli) - 7:17 6. Florian - 7:23 7. Brunzsezes (F. Giampaoli) - 7:19 8. Remember - 7:13 Compositions of Lucio Ferrara Ferrara Lucio guitar Maurizio Piancastelli trumpet, flugelhorn Alessandro Bosetti, soprano sax Francis Giampaoli low Stephen Storace battery Splasc (h) Records (h725)The summer of Florian "I embraced the summer dawn ... the path now full of fresh and pale gleams ..." Arthur Rimbaud was to write thisrecord. But the dawn of Ferrara Lucio is not like all the rest: the romance fades slowly and if he does play with the grin of a summer knowsthat the prospects of the world. And the joke.The guitar in Ferrara is not an instrument of meekness and lonely melody is pretty, the crossbow searching for a sense of almost laid down,edgy because sudden, unexpected, clever in avoiding every possible preparation. It will seem strange, but the unexpected is an art to which theleader feels it give without restraint: a point that jolts the listener to find themselves tracked, chased, caught by the notes in the multiplicity ofchoices directions. Ferrara, in short, is a thief (gentilmusicista seems to best define it) atmospheres that do not actually finding them alreadymade, it creates them in his mind, subtracts to their own size, you and fantastic on the fumes of rhythm changes following . The melody of theartist (sweetness AC) do not deceive you, because its hard to be light and ethereal music and if its author does not know or understand eachshare. The sound of Ferrara is a bit like this: know seems to understand the meaning of the transformations. But when it comes to such aconcept to be contained within the guitar itself to open up the listener made in all his "madness". And we must admit that it eats the guitarcharged: in "Tutatitaià" flickers like the light of a lantern that would light up the city.The stamp is as dense as the pitch (Ferrara, no doubt, also knows the history of rock and its derivatives) and scratched the anger of those whowant to hear: for your beauty too, and maybe even more, for extravagance of his genius perched like a shadow that haunts us. The soprano andthe trumpet and flugelhorn Bosetti Piancastelli worthy comrades of the six-string: sometimes, as they say, give it the "the" in this "Florian" isamazing for the rage of the changes so timely yet linked by a line of light that is not always easy to understand in all its spicy docility. They arethe ones to move like the swaying of a modest petticoat: modest, however, until at some point.N and a jazz seems to slide out on me, gentle and airy as a ferry boat. This intersection of ebb and flow is gained the freedom of a music almost"cat", which leaves caress, that seems ambiguous and opportunist, but is also ready, suddenly, to accept the abandonment of certainties to wintheir identity. Or, rather, to emphasize the essence and content reserved. Here begins the story of Florian from a fable in six quarters (whichseems written with the pen Bacalov of Troisi), the sunny South, and a mystical poem that takes advantage of a guitar in the balance betweenpast and present, Charlie Christian and John Scofield.David Ielmini - May 2000 Sidero Louis - All About Jazz Florian is a particular disc, a blinding light on the edge of shadows and darkness. At first listen, in fact, the feeling that prevails is that of a reassuring warmth, the warmth of a live between the notes, but making more careful, you can see, between the meshes of this dress soft, angularity and hardness first escaped the ear. This is because the general atmosphere is that of a slow and peaceful journey to "the South" (also the title of a composition), as firemeant that southern soul and sultry passion, a theme of inspiration for many musicians.Eight would be the stages of this path, except that sometimes it seems that the intention of Lucio Ferrara is not to fall back to that warm sun, butto follow other directions, abandoning the path of the Mediterranean shores, and other places.An example of this is intentional lost the song "Tutatitaià" despite having a clear mind and peculiarities, is a thunderclap, or rather a definitedarkening of the sound plot. If you think the clarity of "TYW", heard just before, with the catchy theme chasing bouncing between guitar andtrumpet, one can not but notice the stark contrast with the stamp of the most scathing, almost rock, the fourth track.All other compositions are (more or less, except for "Brunzsezes" inspired hardbop) contours in those brushed by opening and closing songs, as if toclose a series of small paintings musical "Gift in 6 / 4" and "Memories", in fact, are very similar: both rely on the lyrical soprano sax for the displayof themes really well constructed and give the impression of clarity and brightness (the first, also relies on rhythmic momentum given by a time asthe 6 / 4).How to trace a route, then become co-stars, along with the guitar, the trumpet and flugelhorn Piancastelli Mauritius, in a continuous into thedepths of the most remote musical feeling, until you get to the slow and feline "Blat", in which the flugelhorn finds its ideal size, or sigh visions of"Florian" (with tasty guitar effects).All songs are on hold for most solo performances of Ferrara, rarely repetitive and predictable, always pleasantly seeking to paint a world known and
Review: Florian 26/01/12 17.16 AAJ: Italy search advanced search NewsletterBookmark - regular update contact - for editors Florian Lucio Ferrara Quintet (Splasc (h) Records - Italy - 2000) Louis Sidero Florian is a particular disc, a blinding light on the edge of shadows and darkness. At first listen, in fact, Florian the feeling that prevails is that of a reassuring warmth, the warmth of a live between the notes, but making more careful, you can see, between the meshes of this dress soft, angularity and hardness first escaped the ear. This is because the general atmosphere is that of a slow and peaceful journey to "the South" (also the title of a composition), as fire meant that southern soul and sultry passion, a theme of inspiration for many musicians. Eight would be the stages of this path, except that sometimes it seems that the intention of Lucio Ferrara is not to fall back to that warm sun, but to follow other directions, abandoning the path of the Mediterranean shores, and other places. An example of this is intentional lost the song "Tutatitaià" despite having a clear mind and peculiarities, is a thunderclap, or rather a definite darkening of the sound plot. If you think the clarity of "TYW", heard just before, with the catchy theme chasing bouncing between guitar and trumpet, one can not but notice the stark contrast with the stamp of the most scathing, almost rock, the fourth track. All other compositions are (more or less, except for "Brunzsezes" inspired hardbop) contours in those brushed by opening and closing songs, as if to close a series of small paintings musical "Gift in 6 / 4" and "Memories", in fact, are very similar: both rely on the lyrical soprano sax for the display of themes really well constructed and give the impression of clarity and brightness (the first, also relies on rhythmic momentum given by a time as the 6 / 4). How to trace a route, then become co-stars, along with the guitar, the trumpet and flugelhorn Piancastelli Mauritius, in a continuous into the depths of the most remote musical feeling, until you get to the slow and feline "Blat", in which the flugelhorn finds its ideal size, or sigh visions of "Florian" (with tasty guitar effects). All songs are on hold for most solo performances of Ferrara, rarely repetitive and predictable, always pleasantly seeking to paint a world known and popular, but the quintet becomes in practice, many times, a trio of guitar or sax / trumpet. Rating: * * * ! Site of Splasc (H) Records: www.ijm.it / Splasc (H) Track List: 01. Gift 6 / 4 - 5:29 02. In the South - 6:42 03. TYW - 4:20 04. Tutatitaià - 6:32 05. Blat (F. Giampaoli) - 7:17 06. Florian - 7:23 07. Brunzsezes (F. Giampaoli) - 7:19 08. Remember - 7:13 Compositions of Lucio Ferrara, Musicians: Bob Ferrara (guitar) Maurizio Piancastelli (trumpet, flugelhorn) Alessandro Bosetti (soprano sax) Giampaoli Francis (bass) Stephen Storace (drums)http://translate.googleusercontent.com/translate_c?hl=it&ie=UTF8…reviews/r0201_040_it.htm&usg=ALkJrhgHwzDjoA1zm7TPG-8-seRlKvrVwg Pagina 1 di 2
Lucio Ferrara | Its All Right With Me 26/01/12 17.03 HOME REVIEWS ARTICLES NEWS GALLERY UPCOMING RELEASES Welcome to the Free MP3 Blog Videos Resources monthly Downloads Search advanced search contact us | for writers | newsletter Its All Right With Me GALLERY Lucio Ferrara | MMC Productions - Live Tuscia in Jazz (2011) by Roberto Paviglianiti Review Its All Right With Me is the result of three different moments in the career of Lucio Ferrara, a good strong guitar tone, excellent technique and great Recent expressive figure. All Frontiers I - II Five songs in the lineup - including Omer Avital include "Twelve Bars for MB" for Bill Evans snappy interplay millimeter and successful overall - JMR Mountain Trio resulting from a recording session in the New York, which Peter King was also attended by Antonio Ciacca on piano, Yasushi Marraffa-McDonas-Giust Nakamura on bass and Ulysses Owens on drums. Music Christian McBride formally paid to a well-packed jazz mainstream, able to Memoirs of Hadrian pass a smooth and comfortable listening delineated, as in John Surman "Lagos Blues," an original signed by Ciacca reflecting a Gonzalo Rubalcaba singable melody and its appeal. Italy | USA The uncommitted "Oh Lady Be Good" and bubbly "Silver" are extracted from a sitting Roman, with the excellent Mannutza Luke Hammond and Nicola Angelucci on drums. We are also here in the territory of a certain formal and customary Ferrara is widely appreciated as a caregiver leaves, alternating with the sound nicely vintage designed by Mannutza. Chapter in the reading of "Body and Soul," in that shooting live in Sorrento in 2008, in which he tracks down a good leader and soloist of the moment where we find a formidable Lee Konitz, inspired and passionate. Visit the Ferrara Lucio . Rating: 3.5 stars Track List: 1. Twelve Bars for MB, 2. Who Can I Turn To 3. Perhaps 4. Beatrice 5. Lagos Blues 6. Body and Soul 7. Silver 8. Oh Lady Be Good. Musicians: Ferrara Lucio: guitar, Lee Konitz: alto sax (# 6); Antonio Ciacca: piano (# 1-6), Ulysses Owens: drums (# 1-6), Kengo Nakamura: bass (# 6), Yasushi Nakamura: bass (# 1-5), Luke Mannutza: Hammond organ (# 7.8) Nicola Angelucci: drums (# 7.8). Style: Mainstream Published: 26/05/2011http://translate.googleusercontent.com/translate_c?hl=it&ie=UTF8…p/article.php%3Fid%3D6855&usg=ALkJrhiGTrnkO4YOvvcZS5PqQLIVpb9JtQ Pagina 1 di 3
Skip to contentThe capital plays Jazz Home Jazz Club Jazz Calendar: Upcoming Events in Rome House of Jazz Who we are Work with us ContactsThe Jazz between two worlds - Interview with LucioFerraraApril 15, 2011tags: House of Jazz , its all right with me , Live Music , Luke Mannutza , Lucio Ferrara , Nicola Angelucci , Rome Jazzby Charles CammarelleIt a project by an international flavor clear what we have heard yesterday in the House of Jazz , an album thatencompasses years of travel and work full of enthusiasm. Lets talk about the last work of guitarist Lucio Ferrara, "Itsall right with me", presented yesterday in one of the most beautiful locations in the capital. Along with him were Nicola
Angelucci (drums) and Luke Mannutza (Hammond), two musicians that Lucius knows, with whom he shared manyexperiences and who took part in a project started half a world away, in the U.S. . Thus, a disk which was attended,besides the names just mentioned, artists such as Lee Konitz, Anthony Ciacca, Ulysses Owens, Kengo Nakamura andYasushi Nakamura. Ferrara Lucio told us first hand experience.Lucio, I wanted to start talking from the genesis of this project: "Its All Roght with me." Why was recordedseveral places, between Sorrento, Rome and the state of New Jersey?"Lets say theres a reason. What I chose were the groups with sonare as I prefer the piano quartet, the trio with Hammondand the quintet with saxophone. The real choice was the idea of !a record in New York, but in the end I decided to add twotracks with two musicians, Nicola Angelucci Mannutza and Luke, which are year-round. With them was a real friendshipbecause we constantly see, and experience with American musicians are occasional moments in which we meet once ayear in New York. "So, we could say that there is a soul in this project internationally?Exactly, we say that this project is out of my international related to labor relations and constant travel. It something thatactually represents the last years of my career. And the title of yourproject this is perhaps related to your particular mood?"Its definitely related to the positivity that I encounter when I work with the Americans in the United States andquellincoraggiamento they have towards life. This project is all the positivity that I feel when I go in this country. It atime when I hear one in which air and breathe in another environment. With this title I have openly tried to describe thisstate of mind. "The fact of not having a stable formation is probably related to the fact of looking at music as something changing?"Yes, surely there is the advantage of playing with other musicians and find out how the music comes out in anincreasingly different. Obviously the ideal thing would be to play with a band fixed to work with for a lifetime becauseonly in this way reach a unique Interplay, but there are also aspects related to innovation. Playing with different peoplelearn from all experiences and collections that help you grow. "So, we could say that the approach with the musicians sounds linked precisely to the concept of Interplay?"I think so, I live it well. The way I play also depends on other musicians, the defendants continued to send me and thecontinued development of the idea of !Interplay. "And the fact that he traveled a lot as it may have influenced your music?"It certainly has affected a lot. Traveling is essential because at some point, when you think you know everything, youdiscover that there are some new. To grow you need to seek new experiences. "And if we were to make a parallel between the experience live in America and one in Italy ...
Vendita Online Pantaloni Pantaloni Griffati con Sconti fino al 70%. Iscriviti Gratis a BuyVip! Promo.buyvip.com/Pantaloni Italy Wedding Photography Creative reportage, fashion & fine art photo & video in Italy & Europe www.alfonsolongobardi.com Nuove Collezioni 2011 Scopri online i nuovi arrivi su Leam - Luxury Shopping Online www.leam.com/Fendi Articles Reviews Events Artists Lessons Gallery New York MorePRESS : Paul Simon and Wynton Marsalis al Jazz at Lincoln Center in Aprile I like 17 Interview with Lucio Ferrara June 2011 Alceste AyroldiPuglia, Bologna, Rome, New York, all places that you have had - or still have - a special role: to whom you are closest to?At each site are linked for several reasons. Puglia is my region, the place where I was born and raised. I moved to Bologna to study at university andthere I was trained musically. Rome is the city where I live now. New York is the city of my dreams, I go at least once a year and I stop for a fewmonths.Are you a self-taught, but youre a professor and director of seminars. With hindsight, therefore, believe that it is important to study jazz?What I like to do is give my contribution to the growth of the knowledge of this music. In all theseminars in which they are involved there are teachers who are first of all musicians who are ableto inspire students, focusing particularly on the swing, interplay, respect for tradition and theimportance of listening , directing them to the understanding of jazz music and its exponents. Inthis direction I think it is important to study jazz.Your beginnings are linked to Brazilian music: how did this passion? Today you have set aside atall?Besides New York, Rio de Janeiro has always had an influence on me, I love Brazilian composers,from Jobim to Gismonti, I love the classic samba, choro until Paulinho da Viola. After my trip toRio de Janeiro I was a little away from the kind dedicated entirely to jazz. I hope soon to record aCD of this repertoire.When you "love" of jazz music? What was the first song you heard?The first song I heard and I was forever marked "In Your Own Sweet Way" played by Wes Montgomery. Then there was a void, you know I lived in avillage where it was not easy to find material and fans to listen to, until I arrived in Bologna where I started listening to Miles and Coltrane, WesMontgomerys records with Shearing.Who are your guitar of reference? And what is the artist with whom youd want to collaborate?I listened to all guitarists, from the great contemporary. I have already spoken of Wes Montgomery. In fact, many guitar players do not listen. WhenI listen to my attention is directed to the swing, are more interested in the music instrument. Id like to play with many musicians, a few of my idol,I was lucky enough to sound like Lee Konitz (see the about the last disc of Ferrara, Its All Right With Me, published by the Tuscia in Jazz Rec, whichis discussed below).Are you also a director of seminars Orsara Music and the festivals artistic director and conductor of workshops Tuscia in Jazz and La Spezia. Wantto talk about these experiences, these activities?The seminars were born Orsara my proposal with the crucial support of Orsara Music Festival, which organizes the longest twenty-three years inApulia. After a year as an experiment we decided to continue and together with Antonio Ciacca we brought musicians like Lee Konitz , BennyGolson, Steve Grossman, but Wes Anderson, Billy Harper and Bergonzi this year. We arrived in the eighth edition. With Tuscia in Jazz and, thisyear, with La Spezia Jazz, of which I am the director of the seminars, there is a special feeling because the atmosphere is similar to that of Orsara;with the Artistic Director Italo Leali we are perfect tune from the choice of style and art teachers and the way in which one of jazz education, suchas enhancing young talent.
as enhancing young talent.In your artistic life seems to have been of great importance your meeting with Antonio Ciacca: would you talk about?With Antonio we have grown musically together, listening to the same music and we started playing togethertwenty years ago. There is an interplay that is reached only after years. Antonio has always believed in meand has always supported and encouraged. As soon as there is a chance we play together with his band, alsobecause they are always fantastic. Anthony, among other qualities, has the ability to play the band as they dojust a little how did the Great Miles."Its All Right With Me" is your last record, with the participation of Lee Konitz. How did this match?Lee Konitz is one of my favorite improvisers. He plays by ear, "risk" when everything suddenly. Im going tofind almost every time I go to New York. We played together when we were in Sorrento for a concert I askedLee how do you never play a pattern or licks. And Lee said to me simply because I do not play licks littlememory, thats it!Given the excellent experience of your teacher, how would you rate the level of preparedness of young jazzmusicians?The preparation is excellent in my opinion, the level is very high. But perhaps they are too fast and skip somesteps.What tips from - or would you - to a young musician?Listening to the great masters, study, respect, humility and professionalism.And, again by virtue of your experience, what rating the current jazz scene is Italian, and European and, later, the U.S.?As I said before, preparation is high in Italy and in the U.S., Americans are professional musicians, playing deeply love, know and respect the historyof jazz. Musicians upload basses and amps in meters, starting from Brooklyn or Queens to get only a couple of songs in a jam. In Italy, manymusicians are too focused in trying to do something original at all costs, forgetting that sometimes you just do little and swing to make great music,but fortunately there are excellent musicians. Id like that in Italy there was more courage to play music that does not fill the theaters.Who are they, in your opinion, todays most interesting musicians? And why?There are so many interesting musicians in Italy and abroad, and not all are known as they should. Many Americans do not get talent in Italy. I thinkRyan or Bill Charlap Kisoro or Joe Cohn. In Italy there are good musicians, Dado Moroni , John Amato, Andrea Pozza , with whom I had the goodfortune to play occasionally, Nicola Angelucci and Luke Mannutza who have played in my last CD. If we look around I think, therefore, that the Jazznow enjoys excellent health, In my last U.S. tour I played with musicians very "interesting" like Lew Tabackin, Joe Magnarelli, Rodney Green, PaulGill, John Webber and Joe Farnsworth, Andy Farber, Ben Wolfe, along with Antonio Ciacca that was the glue and many other talents.What are your future plans?I intend to spend much more time in New York to develop and learn better the true nature of jazz. Being more and more essential, direct and notlose the love for this music with the help of festivals and clubs with the hope that they rely a bit more to quality than to the success of ticket sales.Your current playlist ...Prelude to a Kiss Strayhorn. Songs like: Ill Be Seeing You or Who Can I Turn To, Poor Butterfly. Something Monk never fails, Ligia Jobims originals ......
Official Digi-Key Site Search Our Huge Selection of Electronics Components Here! www.digikey.it Hai più di 30 Anni? Hai 30 anni e non hai la Laurea? Questo messaggio è per Te! Info ora www.laurea.cepuonline.it Traduttore Italiano Traduce da/in italiano ogni lingua con un clic. Scaricalo gratis ora! www.Babylon.com Articles Reviews Events Artists Lessons Gallery New York MorePRESS : James Senese e i Napoli Centrale in "E Fernut ‘o Tiempo" al Moro Jazz Club Lucio Ferrara Its all right with me Bruno Chevillon in "Improvisation does not happen suddenly," master class at the CEMM of Busselton For your trip to the U.S., the largest book American concerts: tickets for Alicia Keys , American Idols Live , Tom Petty . Or do not miss the latest from Broadway shows such as Billy Elliott , South Pacific and Gypsy ! Multiculture X Anniversary "Contest Europe." Competition for groups across Tuscia in Jazz Live 2011 Europe to free participation. 1. Twelve bars for MB Registration before May 5, 2012. 2. Who Can I Turn To Enrolment at the 3. Perhaps European Jazz 4. Beatrice Contest 2012, now in 5. Lagos Blues its fifth edition. 6. Body And Soul Conad Jazz Contest in 7. Silver the first edition of the national competition 8. Oh Lady Be Good in search of new talents among young Italian musicians Lucio Ferrara - Guitar Jack De Johnette, Von Lee Konitz - sax Freeman, Charlie Haden, Sheila Jordan Antonio Ciacca - piano and Jimmy Owens won Ulysses Owens - piano the prestigious NEA Kengo Nakamura - bass Jazz Masters 2012 Yasushi Nakamura - bass In the Luke Mannutza - hammond organ premiere, the Nicola Angelucci - drums sensational Sarah Jane Morris presents the brand new "Cello Songs" on the occasion Guitarist of great interest and high-impact, Lucio Ferrara is the general public with this record of exquisite workmanship, great of the tenth usability and sophisticated construction. Anniversary of Multiculture 2012 The idea comes straight off the disc in an afternoon in Manhattan when Ferrara, the first of a departure for Italy, gathers traveling The winners of the companions with whom he shares the music for many years, Ulysses Owens, Antonio Ciacca and Yasushi Nakamura, to record disk referendum Top Jazz 2011: Marcotulli R., L. after the experience of many concerts together. The idea appeals to everyone, and two days later, on the night of March in the study Minafra, F.D Andrea, Kaleidoscope Sound in New York, takes the form "Its All Right With Me", guitarist, leader of the second disc from Puglia. To complete G. Falzone, Bearzatti the record the extraordinary presence of Lee Konitz , a song recorded live in Sorrento, and two talents made in Italy as Mannutza Luca F., L. Malaguti, E. Pietropaoli, Z. De and Nicola Angelucci , these two tracks "Roman". Rossi, MPDe Vito, F. Sigurtà Van der Noot Cultured and elegant music breathes the eight tracks that make listening to "Its all right with me", headed by interpreters rich and D. Betti S. Pastor imagination, skill and passion. Scott Colley & In addition to the extraordinary reinterpretation of five standards, among which the fantastic "Body And Soul", in which appears a Antonio Sanchez on March 5 and March 22 monumental Lee Konitz very inspired, and "Oh Lady Be Good" in which the talented Luke Mannutza Hammond B3 gives a real essay of Gretchen Parlato lyricism and excellent technique, the remaining original songs, most of the same signed by Ferrara, confirming the successful creative guests of Saint Louis in Rome side of this guitar, traveling between America and Italy, always traveling, always listening and musically never stopped. Ferrara demonstrates a refined and eclectic guitarist who knows perfectly dosed his outstanding technical qualities to the passion and lyricism to all shades giving very specific and extremely original, full of personality. The musicians that make up the rhythmic give their contribution to the success of this excellent disc with dynamism and expertise Ten Events that without ever overdoing it, or want to excel. The solos are original, with no repetitions and rich in expressiveness. The harmony and the investigate the Jazz in interplay is pure, well-balanced distribution of species in space and time variation. every nuance and every level: from January 27 to February "Its All Right With Me" is an extremely enjoyable, well-maintained and high moments of jazz, but mostly it is just another proof of what 26 edition of the Xixa the Italian jazz is alive and pulsating. Valdarno Jazz Winter Festival Alessandro Carabelli for Jazzitalia He died at the age of 88 years, the saxophonist-composer Sam Rivers. I like Likes to 8 people. Register to see what your friends like.
TUTTE LUCIO FERRARA: IT’S ALL RIGHT WITH... YOU! [ 06/06/2011 ]EDITORIALE ANNO: 2011 REDATTORE : Diego LibrandoGOLD SOUNDI REMEMBER...INTERVISTEORSARAJAZZ FESTIVALPOMIGLIANOJAZZ FESTSENZA ORARIOSOUND FLASHBACK Abbiamo “inseguito” Lucio Ferrara fino a New York, dove ormai e di casa e da doveSOUND RAID tornera appena in tempo per l’appuntamento ormai consolidato con l’Orsara Musica Jazz Festival. Dai suoi racconti (sugli esordi, sui fortunati incontri musicali, sui viaggi) emergeSOUND TALES soprattutto un grande amore per la musica, amante perfetta e da non tradire mai…SPECIALIUMBRIA JAZZ Sound Contest: Cominciamo dall’ultimo disco. “It’s all right with me” registra presenze importanti (Lee Konitz) e altre, altrettanto significative, che pero sono piu legate al tuo giro di amicizie musicali storiche (Antonio Ciacca). Da quali esperienze nasce questo disco? Lucio Ferrara: Il disco e stato registrato a New York, Sorrento e Roma. Roma e la citta dove mi sono trasferito da poco e dove vivono i musicisti con cui suono nei miei progetti in Italia. New York e l’altra citta importante dove ho registrato gran parte del cd con Antonio Ciacca, Ulysses Owens e altri. A Sorrento, invece, abbiamo suonato con la band del cd in studio piu Lee Konitz, tre giorni fantastici parlando e studiando con Lee, il mio idolo. S.C.: Concettualmente e un lavoro molto organico. Prima un quartetto che tocca l’apice con l’inserimento del maestro Konitz. Poi un trio al quale sei molto legato. E’ cosi? L.F.: Le tre formazioni sono gli organici che ho sempre amato e i musicisti che suonano li amo allo stesso modo. Il quartetto con il piano di Antonio Ciacca e la formazione piu familiare, potrei suonare per giorni interi con Antonio senza annoiarmi. Il trio con l’organo arriva dall’ascolto dei dischi di Wes Montgomery. In quintetto con Lee Konitz, invece, e come essere al fianco di un poeta che riesce a trovare sempre le parole giuste per descrivere un sentimento senza cadere mai nella banalita e nello scontato. S.C.: Piu che mai in questo ultimo lavoro vengono fuori le tue peculiarita stilistiche. Uno stile pacato, pulito, attento al fraseggio senza inutili manierismi, che si inserisce nella lezione piu autentica del bop. Che evoluzione ha registrato questo disco nel tuo modo di fare musica e nel tuo stile da “Florian”, tuo disco d’esordio? Quali sono i musicisti di riferimento che hanno forgiato il tuo stile e a quali guardi nel fare musica? L.F.: Da “Florian” sono passati molti anni, anni di esperienze molto significative. Lo stile credo sia rimasto simile, ma le esperienze che ho avuto mi hanno maturato moltissimo da tanti punti di vista. Ascolto molta musica in giro nei club e nei teatri di Roma e New York, ma quando sono a casa non manca mai la musica di Louis Armstrong, Ella Fitgerald, Frank
ma quando sono a casa non manca mai la musica di Louis Armstrong, Ella Fitgerald, Frank Sinatra, Parker e Ellington, solo per citarne alcuni.INSERIRE LA PAROLA DA CERCARE S.C.: Quando e come e entrata la musica nella tua vita? Cerca Che percorso hai seguito? Quando hai capito che ricerca avanzata sarebbe stata la tua professione? L.F.: Mi sono avvicinato alla musica all’eta di sette anni. I miei due fratelli maggiori suonavano la chitarra e mi hanno insegnato le cose basilari oltre che ad amare la musica in generale. Per i primi due terzi della mia vita sono stato un autodidatta, ideando un mio personale modo di suonare. Poi a Bologna, durante i primi anni universitari, ho sentito l’esigenza di approfondire la musica jazz dopo aver seguito l’ultima grande rassegna del Festival Jazz di Bologna: c’erano Winton Marsalis, Max Roach e le jam session con Sal Nistico e Steve Grossman. Ho amato la musica di Errol Gardner, Wes Montgomery, Bill Evans, Oscar Peterson e Miles con Coltrane, dividendo molto studio col grande pianista e amico Antonio Ciacca. I seminari di Barry Harris mi hanno offerto una visione piu chiara di come avvicinarmi e studiare il jazz. Nel 1998 ho vinto il concorso Iceberg, sez. musica jazz, e ho realizzato il mio primo CD “Florian”. Successivamente ho conseguito il diploma in Musica Jazz al Conservatorio di Bologna e la relativa laurea specialistica al Conservatorio di Andria. Parallelamente alla mia carriera di leader ho portato avanti quella di sideman al fianco di molti musicisti bolognesi e per un periodo ho approfondito la musica brasiliana, bellissima esperienza. Dal 2004 sono docente di chitarra all’Orsara Musica Jazz Festival ed attualmente sono anche direttore dei seminari. Ho insegnato anche in alcuni Conservatori italiani. Quando ho capito che la musica sarebbe stata la mia professione? Sono stato lultimo a capire che avrei fatto il musicista, intorno a me tutti lo sapevano. Ricordo in particolare un giorno, mentre parlavamo del nostro futuro con i miei amici, dissi : non so ancora cosa faro da grande… mi guardarono tutti perplessi e dissero: Lucio... tu farai il musicista, nessuno ha mai avuto dubbi su questo! Wow... ecco questo e linizio. Tornando ad oggi, oserei affermare che come chitarrista ho avuto la fortuna di suonare con musicisti che ho sempre ammirato e stimato, da Lee Konitz a Benny Golson. E da qualche anno mi reco sempre piu spesso a New York, dove non potevo non registrare una parte importante del mio ultimo CD. S.C.: Com’e nato il tuo legame con New York? Come ti ha maturato? Quali musicisti frequenti e quali locali? Da li certamente guarderai alla musica con occhio diverso rispetto all’Italia. Com’e la “situazione” del jazz e come sono visti i jazzisti italiani? L.F.: Il tramite e stato Antonio Ciacca, che mi ha spinto a visitare e conoscere questo posto in cui il jazz ha un significato profondo e maturo. Dall’Italia non si comprende il vero feeling di questa musica, l’abbiamo importata e come tutte le cose importate l’abbiamo modificata innestandola nella nostra cultura. E ora New York e diventata una della mie “case”. A giugno saro a New York con Antonio e la sua band al Rochester Jazz Festival con Lew Tabakin e Joe Magnarelli. Ho suonato con moltissimi musicisti negli Stati Uniti, al Dizzy’s jazz Club (Jazz At Lincoln Center) con Joey de Francesco, allo Smalls, allo storico Mynton’s e altri club newyorkesi con tanti altri splendidi musicisti. A New York c’e l’originale, c’e l’amore per il Jazz… c’e lo swing. S.C.: Oltre alla musica suonata la didattica occupa buona parte del tuo tempo. Dal 2004 poi dirigi i seminari internazionali dell’Orsara Musica Jazz Festival. Ci parli di questa esperienza? Cos’ha Orsara rispetto ad altri festival? L.F.: E’ nata sette anni fa. Volevo dare il mio contributo allo sviluppo della didattica del jazz in italia. Orsara Musica mi ha dato questa possibilita e credo che abbiamo fatto un ottimo lavoro e con questi risultati continueremo con sempre maggiore determinazione. Sono particolarmente legato a Orsara, perche sono nato e cresciuto in questo paesino della provincia di Foggia. Per raggiungere i risultati che stiamo ottenendo ci vuole molto lavoro e noi lo facciamo. Ospitiamo studenti da tutto il mondo, mandiamo i nostri allievi in giro a fare esperienza e ci prendiamo le nostre soddisfazioni perche i nostri studenti ricevono complimenti e riconoscimenti importanti. S.C.: Cosa state preparando per l’edizione 2011? I docenti cambiano o sono scelti docenti diversi ogni anno? Che rapporto creano con gli allievi? L.F.: Il 2011 sara un anno straordinario, gli allievi sono cresciuti di numero e di livello. Il paese sara invaso da un numero record di studenti provenienti dagli Stati Uniti,
Home AboutMark Shermans BlogMy life, my music, my family, my spirit, and everything I live for.August 10, 2011Orsara Jazz Camp and FestivalPosted by Mark Sherman under Antonio Ciacca, Jazz At Lincoln Center, jazz bass, jazz club, jazz drums,jazz education, jazz guitar, Jazz in Europe, Jazz In italy, JAZZ IN NEW YORK, jazz innovation, Jazzperformance, Jazz Piano, Jazz Saxophone, Jazz trumpet, Jazz Vibes, Jerry Bergonzi, Jim Rotundi, JoeFarnsworth, John Webber, Juilliard Jazz, Lincoln Center, Lucio Ferrara, Mark Sherman, Mark Sherman inItaly, Mark Sherman Quartet, miles high records, New England Conservatory, Original music, OrsaraJazz Festival, Practicing Jazz, Practicing music, Studio Music, The Juilliard School, Uncategorized | Tags:Antonio Ciacca, bass, drums, Italian jazz, Jazz, Jazz at Lincoln Center, jazz education, Jazz in FoggiaItaly, Jerry Bergonzi, Jim Rotundi, Joe Farnsworth, John Webber, Juilliard, Lucio Ferrara, Mark Sherman,New York studio scene, Orsara Jazz Festival, performers, Teaching Jazz, Vibraphone |Leave a CommentThe Orsara Jazz Festival Faculty BandI had just an amazing week in Orsara Italy from August 2-7. The faculty and band for the festival wasJerry Bergonzi, Jim Rotundi, Mark Sherman, Antonio Ciacca, Lucio Ferrara, John Webber, and JoeFarnsworth. Everyday we taught workshops, private lessons, and ran combos for 100 students at thecamp. At night there were concerts, and all night jam sessions, and of course the food as usual in Italy isamazing. We ate incredible meals every night and lots of wine. I am not a huge drinker, but it isimpossible to turn down. In fact if you try to say, “no thanks I don’t want any”, people look at you likeyour nuts. Anyway, I want to say something about each faculty musician individually.Jerry Bergonzi is a musician, and saxophonist who I personally have looked up for many years.Especially since the death of my colleague Michael Brecker, Jerry is certainly the closest living sax playerto Coltrane. Clearly he is deeply influenced by Coltrane, and of course all the great masters on hisinstrument. He has a deep understanding of the language, a fat fat sound on tenor sax, and the heart ofgiant. Deeply sensitive, and in touch with all the positive, and negative things happening in the worldtoday. I truly enjoyed bonding with Jerry, and of course sharing the bandstand, and the music with him.
He is gentle giant in the music, and his presence made it a very special week for me. It was really anhonor, and I look forward to touring with him next year in a quartet setting.Jim Rotundi is trumpet player that I certainly knew of as he has a huge reputation as a great player, but Ihad never really worked with him on the bandstand. It was great to meet him and play quartet with him ona separate concert in Foggia Italy sponsored by the festival. Jim is a humble, yet powerful player withincredible technique, and sound. And of course his language, and solo concept comes straight from theheart. I consider him one of the best trumpet players in the world. In addition he is a great guy, whoclearly cared about the students, and bonding with all the musicians. A great guy to have on thebandstand, or on the road. Currently he is a professor of trumpet in Graz Austria, where he has relocated,and surely is bringing his genius to that program.Antonio Ciacca is a truly fine pianist, arranger, and composer, and it was because of Antonio’srecommendation that I was chosen as a teacher, and performer at the Orsara Jazz Festival. I am quitegrateful for this. Heavily influenced by all the bebop piano masters like Bud Powell, Sonny Clarke,Tommy Flanagan, Red Garland, Oscar Peterson etc. Antonio and his wife Giusy have for many yearsbeen on the forefront of the jazz world as they together have a jazz booking agency call C-Jamproductions, and have promoted many huge jazz concerts, and tours with the likes of Elvin Jones and theJazz Machine, and many others. Because of Antonio’s extensive knowledge of the music history, andbusiness, he was chosen by Wynton Marsalis to be the director of programming for Jazz At LincolnCenter in New York City for the last 5 years. He is also on the Juilliard faculty with me, where he teachesthe business of music. These days however Antonio is all about playing as he has stepped up toperforming, and composing full-time. On Saturday August 6th the faculty band of the Orsara Jazz Festivalplayed a work Antonio wrote specifically for the festival, entitled “The Orsara Suite”, in which eachmusician was featured in a movement. A well-calculated work with great purpose that gave each of usmany solos on all the movements, but between each movement each one of us had an extended solofeature. We rehearsed it several times during the week, culminating with a kick ass performance, andrecording of the Suite on the Saturday night concert on the big stage. It was mobbed with maybe 1500-2000 people as we ripped through this piece. Antonio used a composing technique that we all often apply,in which he takes well-known tunes like “Woody And You”, or “Like Sonny”, and changes the melody,and or chord changes a bit, and turns it into his own version. It is quite effective, and of course we all hada ball playing this extended suite. It has been my great pleasure to work with, and befriend Antonio sinceI recently met him at the beginning of last school year at The Juilliard School. He is a fine musician.Lucio Ferrara guitarist, and director of the Orsara festival has only recently become one of mycolleagues. He is a fine guitarist, influenced heavily by guitar master Wes Montgomery, and truly plays asif he loves the music deeply. On Friday night August 5th Jim Rotundi, and myself were driven about 30minutes away from Orsara to the city of Foggia, where we played quartet with Luca Santaniello, and JoeLa Piore, two fine Italian jazz players currently living in New York. Lucio played trio with Luca, and Joebefore Jim, and I did our quartet segment of the evening’s festivities. I loved the deeply rooted bebopapproach that Lucio takes towards the music. Much like my close friend and colleague Rodney Jones whoalso comes out of Wes Montgomery, and Kenny Burrell. What better place to come from as a jazzguitarist today. As a director Lucio did an incredible job managing, and administrating the day to dayactivities of the festival, as his cell phone never stopped ringing, as with 100 students, and the faculty hehad to constantly deal with many issues that had nothing to do with playing the music, but when it wastime to play Lucio really sounded great. A crisp clear sound, with great command of the jazz language.John Webber is clearly one of the finest bass players around having performed with just about every bigname in the business. I know him from his work the great tenor saxophonist Eric Alexander. I reallyenjoyed hanging with John as he has a great sense of humor, and many great stories of his experienceshaving played with Benny Golson, George Coleman, Cecil Payne, Pharaoh Sanders Jon Hendriks, and listof jazz masters that goes on and on. He plays immaculately in tune with a great feel that sends themessage of authentic jazz. Flat out a fun guy to have around. His playing made me feel very comfortablewhich I see as the goal of any musician. When you walk into a playing situation make those around you