The volcanic passion of the sound. It is the most faithful way to refer to the Italian saxophonist Carla Marciano. If the profane is a act stripped of religious significance, the style of the interpreter is a fierceness that earthly is installed in the sacred, even with the historicity of the brief presence of woman in the history of Italian jazz, and especially if we are referring to the alt sax. In his sound coltreano, Carla Marciano invites you to retrieve the powerful world, pure and fresh, as the attentive viewer carnal before a performance. Its dramatic beauty seems to be arising from the force of a courtship baquico. This musical discourse is installed in the enjoyment of the tremor, shaking. In the manner of Pagan School of Baudelaire, his alt sax emboldened, loquacious and irascible projected a poetics, philosophy a jazz. This is the license of the interpretative passion, with their rhythms and forms. It will be that the madness of art is equal to the abuse of the spirit, as was attested to by the poet of the parisian 'spleen ' ? Tragic heroin or hetaira báquica. It is hasty designating the saxophonist with Italian as philosophic adjectives? She is undoubtedly the own reincarnation of John Coltrane. Or at the time of the American musician we found an imitator of this stylistic scale. Nor in the force of a Sonny Rollins or much less on the ideas of an Albert Ayler. Carla Marciano delivery if we figure that Sonora and himnica, own of Trane. A musical legacy that brings us to listen to the old Greek philosopher Epicurus: "I am calling to pleasures continuous, not virtues empty and foolish that involve uncertain hopes for the future". Well we know that there are pleasures incompatible with us humans, that do not belong to us, who claim a settlement, yes, but not ours, stated Fernando Savater. Appreciate to Carla Marciano is being immersed in the other logical sense, in another area of musical enjoyment that exceeds our provincial field of pleasure. That is why the warrior stood as companion of Bacchus, or an accomplice of battle of Dionysus. To paraphrase Marcus Aurelius, the art of interpreting of Carla Marciano is more similar to the struggle that to the dance. It is paradoxical, but so we understand your commitment. Away from the monotony of the jazz prevailing today, of the typical signs of the festivals of the world where the stylistic variety is saturated with uniformity, the singing of Carla does not have universality pretentious but passionate vocation, autonomy of free distinction
Gustavo Bustamante Mesa - Octubre 20 2013
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