“…tagnacht voll schwirrender lungen…”
" …Night of day full of hissing lungs…"
The history of the hallucination jazz you can start with Bix Beiderbecke, who was considered "a degenerated musical" for his vocation self-taught, passing by large-scale personalities interpretative, as Billie Holiday, with its innate tearing; tradition and modernity together in Charlie Parker; the promptings of Bud Powell; the dissonances extravagant of Lennie Tristano; the displaced accents of Monk or the rantings of lucid Chet Baker, until you reach the ‘enfant terrible’ Ornette Coleman, with the insolence of the rebels with a cause.
They are not few the awestruck in the current jazz, and it is in this scaffolding where meeting the composer and saxophonist italian Carla Marciano. Let us recall once again the young Bix: " The humor of the jazz is rich, and full of esfumaturas. There is a style of jazz that is so banal that makes you laugh to the chickens. The other jazz, on the other hand, is subtle, ironic and bitter. It can sometimes be grotesque and be filled with anguish…" This 'other' jazz is the one that embodies Carla, plus their preference for a certain sound uprooting. On the sopranino has complex and wonderful moments of outrageousness. In the alto sax, his mark on the force and phrasing baby, joyfully, of the waters of Eric Dolphy Kids.
In your recording of the month of December 2004, "A Strange Day", in the company of his quartet, Carla stars, erudition musical, its unlimited pulse and respiration of amazing coltreana lineage. His sentence is seductively orgiastica, lyric breath, breath of vigorous, showing its rich in technical exploration in "Dance of Mine". The perception that Marciano has the saxophone is amazing, not to say of dionysian levitation.
The piano baladistico of Alessandro the Court gives entry into "Far Away" to the gesture of the alto sax, offering its facet inhabited of serenity and calm its interpretative recreation. His change of tone does nothing more than express the abolition of the jazzy limits. Its pace is sufficiently flexible, adapting to the movements that dictates the structure of the song, with its handful of force/phrasing of which she is known possessing. Here its melody has a idyllic message, reminding me some passages clearly dolphynianos. I love this loudness of fine lineage coltreana.
In "From Where", she is splashed us with x-rays, always sunny, of the sopranino, in a diction more than shiny. Strokes that prints on the colossal score of his inspiration. What is the feeling of a soul by the obsessive purity? I believe that if. Since this is part of the music, especially jazz: leave the musician and the listener clean after each execution, after each hearing. His sentence is seductively orgiastic, lyric breath, breath of vigorous, showing its rich in technical exploration. I love this loudness of fine lineage coltreana.
" A Strange Day" is a song that comforts us with the most vivid history of american jazz, with its aroma of new yorker night club, where Carla glitters more recursive in its alto sax, with figures more elastic. You have more ideas. The double bass part the atmosphere with a cozy swing, joining the intimacy of the drummer Gaetanio Fasano. As I listen to this work, I sought, incessantly, that song that shine.
"Around Steps" (an allusion to Giants Steps of Trane? ), is expectant in its internal explosion, with the piano accents in the own of a McCoy Tyner and the unavoidable reference of that famous quartet that for the seal will boost his immortal mark. Carla Marciano becomes, then, in the risk and the certainty that his breath is sample of his delirium, his febrile temperature.
"Pennies From Heaven" has a calm beautiful, without interacting with the typical 'mood', the mood that passes through the American Heart, from blues to before the emergence of the anger free. The alto sax is for her an enchantment in his speech, and for us, the sonority of its lush warmth. Pleasantly surprised me how the italian is twinned with the spirit of Rimbaud: "Ma vie serait trop inmense toujours pour être/ devouee to force et to the beauté".
"Spiritual Game", title suggestive, is a topic fertilized in and by the spirituality of Trane, priest so naturally poisonous. The Italian composer is the flame haughty in its relentless contexture aesthetics, thanks to his technical mastery. It is beauty in their fertility burning. She embodies for me that zeal which i burn out is urgent, as is the case with the great jazzmen who left their fire for posterity.
Their recurrence in the format of the ballad in "I try to remember" weighs the morning mist, giving it a dye of nostalgic thickness. His style is relaxed, ringer little markup and a constant swing that transforms your virtue ( the lucidity wound of the saxophone ) by the formal expression of a strange warmth with traits from which something is going to happen. Expectation that keeps us in musical tension.
This tour ends with "Russian Meanwhile", the rhythmic 'swallows' our spirit: regains a 'tembop' (mixture of tremor and bebop), deploying its jazz intelligence. At the confluence of these four musicians reveals a re-creation of the torn spirit of Trane, with overtones of remarkable individualities who discuss on behalf of their musical independence in the highly competitive Italian jazz scene. The poet William Blake said, "the path of the excess leads us to the palace of wisdom".
This production "A Strange Day" is devoid of the frugality of the excess ( the fiber of interpretative Carla Martian ) and leaves us at the threshold of the drunk, the one that was in 'once', his letter of submission, but even so, opens us immense expectations and fills us with sincere praise to a woman who has by heart a volcano. "She knows: be goddess is to imagine the life, prefigurla, pre-view, well buttered from the images so that she can become a reality. That and only that is creation. She seeks him because he knows that this and ¡this!" *
* Martha Cecilia Vélez Saldarriaga en “ Las Vírgenes Energúmenas”
Twitter: @jazzero Diciembre 16 de 2013
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