Saturday, July 31, 2010

Calouste Gulbenkian Foundation, Jazz em Agosto 2010 Festival

Jazz em Agosto 2010 Festival encompasses the reality of European Jazz, observed in its dialogue with the original American jazz.

Friday, 6 Aug, 2010, 21:30 - Anfiteatro ao Ar Livre
John Surman + Jack DeJohnette (UK, USA)
John Surman (soprano saxophone, baritone saxophone, electronics), Jack DeJohnette (drums, piano, electronics)

Saturday, 7 Aug 2010, 18:30 - Auditório Três
Han Bennink «Hazentijd» (Netherlands)
Documentary film by Jellie Dekker and Dick Lucas (2009, 58’)
 
Saturday, 7 Aug 2010, 21:30 - Anfiteatro ao Ar Livre
Steamboat Switzerland (Switzerland, Greece )
Dominik Blum (Hammond B-3, analogic electronics), Marino Pliakas (electric bass, live electronics), Lucas Niggli (drums, percussion)
 
Saturday, 8 Aug 2010, 15:30
Auditório Dois
Open Speech Trio (Portugal, Germany)
Carlos Bechegas (flutes, processor), Ulrich Mitzlaff (cello, live electronics), Miguel Feraso Cabral (percussion, objects)
 
Sunday, 8 Aug 2010, 18:30 - Auditório Dois
Guus Janssen + Han Bennink (Netherlands)
Guus Janssen (piano), Han Bennink (drums)

Sunday, 8 Aug 2010, 21:30 - Anfiteatro ao Ar Livre
Evan Parker Electro-Acoustic Ensemble (UK, USA, Japan, Spain, Netherlands, Italy)
Evan Parker (soprano saxophone), Peter Evans (trumpet, piccolo trumpet), Ko Ishikawa (shô), Ned Rothenberg (clarinet, bass clarinet, shakuhachi flute), Philipp Wachsmann (violin, live electronics), Agustí Fernández (piano, prepared piano), Barry Guy (double-bass), Paul Lytton (percussion, live electronics), John Russell (acoustic guitar), Peter van Bergen (contrabass, piccolo clarinet), Aleks Kolkowski (stroh viola, musical saw), Lawrence Casserley (signal processing instrument), Joel Ryan (sample, signal processing), Walter Prati (computer processing), Richard Barrett (live electronics), Paul Obermayer (live electronics), Ikue Mori (live electronics) , Marco Vecchi (sound projection), Kjell Bjørgeengen (image processing)

Friday, 13 Aug 2010, 21:30 - Anfiteatro ao Ar Livre
Louis Sclavis «Lost on the Way» (France)
Louis Sclavis (clarinet, bass clarinet, soprano saxophone), Matthieu Metzger (soprano saxophone, alto saxophone), Maxime Delpierre (electric guitar), Olivier Lété (electric bass), François Merville (drums)

Saturday, 14 Aug 2010, 17:00 - Auditório Três
Albert Mangelsdorff «Die Posaune des Jazz» (The Trombone of Jazz) (Germany)
Documentary film by Thorsten Jess (2005, 52’)

Saturday, 14 Aug 2010, 18:30 - Auditório Dois
Red Trio (Portugal)
Rodrigo Pinheiro (piano, preparad piano), Hernâni Faustino (double-bass), Gabriel Ferrandini (drums)

Saturday, 14 Aug 2010, 21:30 - Anfiteatro ao Ar Livre
Sol 6 (Netherlands, Germany, UK, Australia)
Veryan Weston (piano, voice), Luc Ex (acustic bass guitar), Ingrid Laubrock (tenor saxophone, voice), Hannah Marshall (cello, voice), Mandy Drummond (viola, voice), Tony Buck (drums)

Sunday, 15 Aug 2010, 17:00 - Auditório Três
Talk by Francesco Martinelli (Italy)
Subject: «European Jazz and American Jazz: an uninterrupted dialogue»

Sunday, 15 Aug 2010, 18:30 - Auditório Dois
Thomas + Strid + Thomas (Sweden, UK, Australia)
Pat Thomas (piano, live electronics), Raymond Strid (drums), Clayton Thomas (double-bass)

Sunday, 15 Aug 2010, 21:30 - Anfiteatro ao Ar Livre
Circulasione Totale Orchestra (Norway, Sweden, South Africa, USA, UK)
Louis Moholo-Moholo (live electronics), Fröde Gjerstad (alto saxophone, clarinet), Morten J. Olsen (live electronics, percussion), Anders Hana (electric guitar), Nick Stephens (double-bass), Paal Nilssen-Love (drums), Ingebrigt Håker Flaten (electric bass), Børre Mølstad (tuba), Sabir Mateen (alto saxophone, clarinet), Bobby Bradford (trompet), Kevin Norton (vibraphone), Lasse Marhaug (live electronics), John Hegre (sound design)

Further information: http://www.musica.gulbenkian.pt/jazz/index.html.en

Wednesday, April 28, 2010

The 27th edition of Jazz em Agosto once more brings to Lisbon the other side of jazz

Calouste Gulbenkian Foundation
The 27th edition of Jazz em Agosto once more brings to Lisbon the other side of jazz by presenting musicians who, by having an attentive eye on the social and technological transformations going on all around the world, reflect the innovative tendencies of contemporary jazz.

It is in this space of independence and resistance that Jazz em Agosto 2010 presents, in the open-air amphitheatre, two historic figures of contemporary jazz who establish a peculiar and rare dialogue, the saxophone and clarinet player John Surman and the drummer and pianist Jack DeJohnette, a veteran duo that takes us to the sonic ambience of electronics.

The British saxophone player Evan Parker gets on stage with his Electro-Acoustic Ensemble, through which along the last decade he has ventured to explore the limits of electronic music and of improvisation. This time, the band is bigger than ever – 18 musicians – with solo musicians like Peter Evans, Agustí Fernández, Paul Lytton, Richard Barrett and Ikue Mori taking part in a multimedia concert where images and music establish a dialogue.

The quintet of the French clarinet player Louis Sclavis presents us their most recent project, Lost on the Way, inspired by Homer’s Odissey, a musical journey that highlights Sclavis’ uniqueness and approaches us of the universes of Miles Davis and Eric Dolphy, revealing us a new generation of French jazz.

Circulasione Totale Orchestra, founded by the saxophone and clarinet player Frode Gjerstad and featuring musicians like Louis Moholo, Paal Nilssen-Love, Sabir Mateen, Bobby Bradford and Kevin Norton, forms a multinational and multidimensional orchestra that has gone through two decades in continuous evolution, congregating generations and celebrating a libertarian and festive improvisation.

Still in the open-air amphitheatre, the trio Steamboat Switzerland and Luc Ex’s sextet Sol 6 will showcase peculiar developments in the ways of contemporary jazz: the first evolves around a formula called power trio as it evokes free rock alongside with jazz on a Hammond B-3 organ complemented by a rhythm section; the latter combines jazz and radical improvisation with punk and groove, syncopated with non-conventional songs.
 
Jazz em Agosto 2010 is completed by the presentation of the following concerts and complementary activities:
 
Open Speech Trio, a formation dominated by the distinguished flutist Carlos Bechegas, pioneer of Portuguese musical improvisation with a vast projection abroad, who in his most recent project pushes the limits of his instrument.

The pianist Guus Janssen and the drummer Han Bennink, legendary figures from the Amsterdam jazz scene, in an intimate yet extraverted dialogue.

From Lisbon, Red Trio, piano/contrabass/drums, a classic jazz formation of recent notoriousness that explores a less conventional way, based on the prepared piano.

Establishing possible contrasts, a second piano/contrabass/drums trio, Pat Thomas / Raymond Strid / Clayton Thomas, improvisers of repute, emphasizes creative interactions.

The documentary film Hazentijd by Jellie Dekker, on the universe of the drummer Han Bennink, who has dedicated his life to music and painting, emphasizing the duality of the world he inhabits between Nature and Metropolis.

Die Posaune des Jazz [The Trombone of Jazz] by Thorsten Jess, a movie that remembers one of the major trombone players in European jazz, Albert Mangelsdorff (1928-2005), in a document that reveals the new ways inaugurated by this musician, consecrated by the new instrumental techniques he explored.

European jazz and American jazz; a never interrupted dialogue is the motto of a lecture given by the Italian journalist, critic and theoretic Francesco Martinelli on the nature of this year’s programming.
 
06/08, friday 6 August 2010, 21:30 — Anfiteatro ao Ar Livre
John Surman (uk)

Jack DeJohnette (eua)
Two historic figures of contemporary jazz who along the two last decades have been cultivating the introspective form of duet. The impression left behind by both in various celebrated contexts, past and present, makes this dialogue peculiar and rare, confirmed on only two records and sporadic public appearances. Two organic musicians whose imagination runs through the legacy of jazz while subtly transforming and boosting it in an electronic spider web.

07/08, saturday 7 August 2010, 18:30 — Auditório 3
“Hazentijd” on Han Bennink
In a movie its authors want to be a bird’s eye view on the artistic growth of this unique drummer, banner of an aesthetics, besides his relevant musical beginnings, we also get acquainted with his visual oeuvre, which emphasizes the duality of the world he inhabits, in counterpoint between Nature and Metropolis.

07/08, saturday 7 August 2010, 21:30 — Anfiteatro ao Ar Livre
Steamboat Switzerland (switzerland / greece)
Adept of Brute Art, this provocative and torrid trio is nonetheless meticulous in its progression, catalyzed by the characteristic Hammond B-3 organ and complemented by a herculean rhythm section. Perambulating along the boundaries of rock, the austere music of the trio evokes memories of four decades of jazz deviations.
 
08/08, sunday 8 August 2010, 15:30 — Auditório 2
Open Speech Trio (portugal / austria)
A prime musician on the Portuguese national scene of improvised music and one of its pioneers, a prolific flutist, detonator of landmark international events, Carlos Bechegas finds in this intimate association a vehicle to convey his vision, where electronics and experimentation are preponderant.
 
08/08, sunday 8 August 2010, 18:30 — Auditório 2
Guus Janssen (netherlands)

Han Bennink (netherlands)
Two landmarks of the lively improvisational scene from Amsterdam, called New Dutch Swing, who boast consumed empathy of a strong jubilatory sense and wisely balance standstill with explosion. An encyclopedic knowledge of jazz percussions allied to a prodigiously played piano, producing swing as well as spontaneous composition, tending towards abstraction and even satire, are some of their main assets.
 
08/08, sunday 8 August 2010, 21:30 — Anfiteatro ao Ar Livre
Evan Parker Electro-Acoustic Ensemble, (uk /usa /japan /spain /netherlands /italy)
Evan Parker’s innovations in the field of electro-acoustics keep on expanding ever since his premonitory sextet of 1997. In this concert, the recent version of the EAE reaches its paroxysm of 18 per se superlative musicians and a video dimension. The plethora of sounds of the collective marries technology and conventional instrumentation with clarity, the saxophonist conceptual exhibition.

13/08, friday 13 August 2010, 21:30 — Anfiteatro ao Ar Livre
Louis Sclavis Lost On The Way france
Complex, cerebral, angular melodic lines define Sclavis’ language on the clarinet, endowing him with a recognized musical identity, not far at all from the American patterns. Following others, the recent project, inspired by Homer’s Odyssey, which has Ulysses as its central figure and reveals a new generation of French jazz, proves that its relentless aspirations keep on proving their validity.

14/08, saturday 14 August 2010, 17:00 — Auditório 3
“Die Posaune des Jazz” The Trombone of Jazz
Albert Mangelsdorff
An icon to European and world jazz by his definitive contribution to the expanded trombone techniques, Albert Mangelsdorff (1928-2005) was an active party of the most prominent avant-garde jazz performances starting back in the 1960s. This movie documents rigorously the splendorous artistic career of a paramount musician.
 
14/08, saturday 14 August 2010, 18:30 — Auditório 2
Red Trio (portugal)
A Portuguese trio, recently arrived on the scene, exploits with a mix of invention and audacity the consecrated formula piano/contrabass/drums, while doing which it maintains evident ties with jazz and cultivates non-orthodox instrumental techniques; the exploits, boasting a solid balance, reveal new sonic horizons.
 
14/08, saturday 14 August 2010, 21:30 — Auditório ao Ar Livre
Sol 6 (netherlands / germany / uk / australia)
The new project signed Luc Ex synthesizes a vast experience of musical situations lived all along his career and materializes in a hybrid chamber music group where various genres cohabit: cabaret, punk, groove, jazz and improvisation. With an unusual instrumental organization, the sextet is singular with its astringent lyricism which is constantly fractured by incursions on the outside of norms.

15/08, sunday 15 August 2010, 17:00 — Auditório 3
European jazz and American jazz; an uninterrupted dialogue lecture by francesco martinelli. (italy)
A journalist, a historian, a producer and a promoter, Francesco Martinelli, born in Pisa (1954), where he graduated in Chemistry, has a vast record of published texts on ways of thinking contemporary jazz in a more profound manner. This lecture, based on a permanent exchange between two continents, lays out and justifies the conception of the programming of Jazz em Agosto 2010.

15/08, sunday 15 August 2010, 18:30 — Auditório 2
Pat Thomas (sweden)
Raymond Strid (uk)
Clayton Thomas (australia)
Three notorious and recognized improvisers for whom jazz is not far away and who, by way of the classic trio, in profound interaction and driven by a continuous creative stimulus, assume their marked personalities as a whole.
 
15/08, sunday 15 August 2010, 21:30 — Anfiteatro ao Ar Livre
Circulasione Totale Orchestra (norway / sweden / south africa / usa / uk)
Founded in 1984 by Frode Gjerstad, CTO is a multinational and multidimensional collective that reunites generations and thrives under the sign of permanent free evolution. The excellence of its musicians, among whom we find historic figures side by side with an already recognized young generation, gives form to a body which is thoroughly organized, yet capable of all transgressions, whilst its powerful and expansive character gives form to an adequate closing event for Jazz em Agosto 2010.
fundação calouste gulbenkian (bookstore), Av. de Berna, 45A, 1067-001 Lisboa, Tel.: +351 21 782 3627 - Monday to Saturday, 10h00 to 17:45; open until 18h30 on concert days at Auditório 2

Tuesday, April 20, 2010

Popular Musical Instruments Portuguese - Ernesto Veiga de Oliveira

3rd edition: 2000, 496 pp., 2nd edition: 1982, 1st edition: 1964, 526 pp.

We just completed a new edition of Popular Musical Instruments Portuguese, Ernesto Veiga de Oliveira, a joint project of the Music Department of the Calouste Gulbenkian Foundation and the National Museum of Ethnology, introducing substantial changes concerning the previous editions.

This publication is of a dual meaning. The first is, of course, which comes from the replacement of a work in book editions of the Music Department that, after almost 40 years since its first edition, continues today to be one of the most important sources of popular culture organology and Portuguese.

To prove it is the demand that this work has always met with respect to either of its first edition, 1964, both the second since 1982, as well as interest in its reissue constantly expressed by the researchers and the general public. And because they have always been held that the book Popular Musical Instruments of the Azores, published in 1986, would be a complement to this first work dedicated to the mainland, we decided now to put together in one book, the author of two studies on Portuguese folk instruments.

Moreover, the new edition of this book is supplemented, in addition, a fact not least, the gift to National Museum of Ethnology's collection of musical instruments popular Portuguese owned, so far, the Calouste Gulbenkian Foundation, which will provide permanent public access a collection of great interest and one in Portugal. This is a set of specimens collected by Ernesto Veiga de Oliveira at the request of the Foundation, along with work in this field investigator conducted in the early sixties, and which would result in the publication of the first edition of this book.

The years of research that led to the formation of the collection of folk musical instruments - and the book that made itself known - are extremely significant for understanding the history of anthropology in Portugal and the National Museum of Ethnology. The team was formed around this and that, ever since 1947, touring the country and proceeded to be systematic withdrawals under the scientific coordination of Jorge Dias, set goals in which the collection and study of musical instruments came to be inserted so singular.

The primary objectives were for this group of anthropologists, the survey and systematic study of technologies, techniques and tools from a rural society in transformation and with them to account for the diversity of the country and its history. This was the ultimate reference of all research conducted over decades in the projects of the Center for the Study of Ethnology to the extensive work that brought together a cohesive team, Jorge Dias, Margot Dias, Ernesto Veiga de Oliveira, Fernando Galhano and Benjamin Pereira, referring to the main researchers who, until today, conducted research focusing primarily on Portugal.

So it was forming a vast corpus of information. The publication of most of the original assembled volume occurs between 1954 and 1960. It is then that starts the collection and study of musical instruments, by suggestion and proposal from the Music Department of the Calouste Gulbenkian, in the same years in which it anticipates, and prepares the creation of the Museum of Ethnology.

In the extensive work of researchers of the Centre, the musical instruments can therefore be read as the eruption of forms that are not confined to mere materiality of the objects, but allow more dimensions to reveal complex, unstable and humane practices of a traditional society that was sought seize and return to a more extended, and where the individual's role could be highlighted more general phenomena and larger categories that help to interpret it.

When the book is published (1964), its importance is immediately highlighted by the narrower field of experts who simultaneously followed the first collection and dissemination of research work of Michel Giacometti and Fernando Lopes Graça Both will then be the Revolution of April 25, 1974, object and instrument of work and intense emotional projection on the part of groups which then are collected, revealing the voices and the singing of a country in rediscovery.

So it was with the Cultural Action Group (1974), Almanac, Brigada Victor Jara (both 1975), or Earth to Earth (1977), among the first that appeared. This is the context that helps explain how this book became the reference work for all those who made and make the route of approach to musical forms and performative qualities in which they produce and are fruídas.

It is also what makes a warm personal relations are established between the author, Ernesto Veiga de Oliveira, and musicians, collectors and art teachers who come to give their input to the second edition of instruments or rely on your support CD's, as happened with the first disc of Julio Pereira, Cavaquinho (1981). This is how the social space that this work has come to demarcate an area frequented by ethnologists, ethnomusicologists and by those who, somehow, while musicians, promoters or simple amateurs to pore over the instruments and traditional musical forms.

One fact of great importance accompanies this reissue of the popular Portuguese musical instruments, beyond those arising from technical and editorial translated into the inclusion of the book Popular Musical Instruments of the Azores, in the story of Benjamin Payne, or reproduction of color images of the instruments . With it the Calouste Gulbenkian Foundation has invited bids to the National Museum of Ethnology of all the instruments that were collected and, to date, his property on deposit at the Museum.

So is thickest senses a course in the history of that institution's own collection and ethnologists associated with it, enabling the convergence at the Museum who helped create and that gathered around the same project, all documentation that resulted from those years research and all activity which has now been developed around this collection. She has been the subject of numerous exhibitions since the first in the Calouste Gulbenkian Foundation in 1962 and 1964, all those that follow the second edition of the book between 1983 and 1986, the National Museum of Ethnology and various institutions and local country, or later in other exhibitions in Portugal and abroad, where some of the instruments were present.

With this new situation were created conditions for the establishment of an inventory program that accompanied the change in status brought the donation, and has already allowed its computerization, made by the young anthropologist, Paul Maximin, who now occupied the study of instruments while that participated in the collection of information that helps film documenting new situations in which these instruments are still players at a time of expansion and upgrading of reserve areas and services of the Museum.
Miguel Sobral Cid
http://www.musica.gulbenkian.pt/cgi-bin/wnp_db_dynamic_record.pl?dn=db_musica_estudos_musicologicos_en&sn=estudos_musicologicos&orn=203

In 2009, Jazz em Agosto reaches its first quarter century.....


In 2009, Jazz em Agosto reaches its first quarter century. In its 26th programme, devoted to Icons and Innovators, the festival presents contemporary jazz musicians who have forged new languages and identities in an ever changing, and ever richer, free music scene over the last twenty five years.

The history of jazz, stretching back almost a hundred years to 1923 and King Oliver, first credited with inventing the language, are replete with figures who have become icons: Louis Armstrong, Lester Young, Billie Holiday, Duke Ellington, Charlie Parker, Thelonious Monk, Miles Davis, Charles Mingus, John Coltrane, Eric Dolphy, Ornette Coleman, Sonny Rollins, Bill Evans, Paul Bley, to name a few, and Cecil Taylor, George Russell, Jimmy Giuffre, Steve Lacy, Muhal Richard Abrams who have performed at Jazz em Agosto since its founding in 1984. The musicians who forged the language, and therefore became icons, have been succeeded by others, down to the present day. Through the process of repetition characteristic of music, innovative artists have adopted and developed new patterns, over time and generations, moulding and transforming them until they instituted new languages. Contributing to transformation, different social, economic and political situations came into place, in an accelerating process which is now more conducive to fragmentation and fractality.

In its programming choices, Jazz em Agosto has sought to provide a historical perspective as well as a snapshot of the contemporary scene. This year's ten concerts offer a cross-section of jazz today as it explores new ground.

The Icons but also Innovators in the line-up for the 2009 Jazz em Agosto will be George Lewis, presenting his electroacoustic project, Sequel, the Nublu Orchestra, led by the master of style, Butch Morris; Dave Douglas & Brass Ecstasy, a brass band evoking the trumpet player Lester Bowie, the unexpected super-group Buffalo Collision, with Time Berne, Ethan Iverson, Hank Roberts and Dave King, Peter Evans' pioneering trumpet playing, in two dimensions, solo and quartet, and Rob Mazurek?s Exploding Star Orchestra, with Bill Dixon. The selection of musicians also highlights the importance of the jazz trumpet: Dave Douglas, Bill Dixon, Rob Mazurek and Peter Evans, continuing the line of trumpet playing which goes back to the original creators of the language, King Oliver and Louis Armstrong.

This focus on the American birth-place of jazz, at a time when belief in a new world balance is taking shape, is complemented by two examples of European innovation: the Propagations saxophone quartet (water, earth, fire and air), from France, and the electroacoustic voice and flute duo, Franziska Baumann and Matthias Ziegler, from Switzerland.

The programme is rounded off by experimental DJing, with Rough Americana by DJ Mutamassik and Morgan Craft, a talk by George Lewis on his recent monumental book on the Chicago AACM A Power Stronger Than Itself / The AACM and American Experimental Music, and two documentaries on iconic jazz musicians, Escalator Over the Hill by Steve Gebhardt and Imagine the Sound by Ron Mann, providing an overview of the main trends in jazz in the first decade of the 21st century.
http://www.musica.gulbenkian.pt/jazz/index.html.en