"Ser jazz es una manera sobre todo de vivir, pasear sobre el alambre de la casualidad para capturar una estrella fugaz, una manera de ir al encuentro de un imaginario que contiene siempre la improvisación, la curiosidad, que obliga a escuchar a los demás, a verlos, a estar disponible para contarlos mejor manifestando su propia poesía" Guy Le Querrec
Impromptus Cirque Violaine Arrouy_acrobacias aéreas Laure Gougeon_equilibrista alambre de hierro Caly Hays_equilibrista Amanda Righetti_acróbata sobre mât chinois Festival d'Altitude Jazz à Luz, Luz Saint Sauveur - Station Luz Ardiden - Barèges - Sers, 11 y 12.07.15
«... Spontanée, percussive, capricieuse, leur musique se passe de doctes commentaires. Le secret de leur recette ? Tout n’est pas retenu sur le papier à musique. Entre les lignes, c’est une entente télépathique qui se révèle dans toute sa splendeur...» La Liberté, Benjamin Ilschner, 24 avril 2010
Un año más comienzo la serie de conciertos de lo que dio de si la edición de este año del Festival d'Altitude Jazz à Luz, un espacio de total libertad de creación musical en pleno corazón del Pirineo francés, a las faldas del mítico Tourmalet. Esta edición, además, celebrando su 25º aniversario, por lo que nos depararon unas cuantas sorpresas curiosas en escenarios insólitos. Poco a poco lo iré desgranando. Como he dicho en más de una ocasión, el Festival d'Altitude de Luz es un espacio creativo al que hay que acudir desprovisto totalmente de todas las etiquetas posibles, abrir bien las orejas y el resto de sentidos y dejarse llevar! La serie se inicia con el concierto inaugural en las instalaciones, como viene siendo habitual, del Cèveo, del dúo Donkey Monkey, formado por la pianista francesa Eve Risser y la baterista japonesa Yuko Oshima.
"(...) Given what a rare combination of artists this project brings, "As a chemistry experiment, the album is a knockout," exclaims the New York Times music critic Nate Chinen. And given how different Redman's style is from the trio's, "it is impressive how much vital presence he brings to the Bad Plus without altering the band’s dynamic." This proves true straight through the end of the album, "Silence Is the Question." "Beginning in a hush and slowly building to a roar," says Chinen, "it’s the album’s closing track, for good reason: By the all-important metric of group cohesion, it couldn’t be any more convincing." Read the complete review at nytimes.com.
The album is "a roaring and beautiful summit meeting," says NPR's Tom Moon. "The ideas are impressive by themselves, but become more powerful as Redman and the rhythm section go about developing them ... [T]he real triumph of The Bad Plus Joshua Redman: It exhibits genuinely fresh thinking." The album, he concludes, "draws on a range of old ideas (as old as Chopin nocturnes and '60s rock) as fuel for a journey into the murky, terrifying, thrilling unknown." Texto íntegro en la web de Joshua Redman
"(...) I remember when we started out, when everyone was saying “Go get a manager,” we had friends. We all had about, between the four of us, we had like maybe 10-12 close friends, and they were -- that was our infrastructure. They were the guys who helped push us. And the radio hated us at first because we were jazz musicians with big amplifiers playing as loud as we could possibly play, and fast. And we looked good, and we were smiling, so we didn’t look like the typical jazz musicians who were strung out, with their back turned to the audience, you know, downtrodden and all that kind of stuff that the jazz critics loved to write about back then.
And so we just pushed our way through because we had people that believed in us. And I am still that type of idealist that believes that, when you have people who believe in you, it makes you greater. It makes you better and you just keep going. Now that’s what I would tell my kids (...)." Texto extraído de Stanley Clarke Interview: School Days Revisited for Bass Legend
