Spuma Zilelor e o carte excelenta. nu stiu cum se descurca Boris la jazz, dar pentru cartea asta primeste doar laude.Deena wrote:Boris Vian is perhaps best remembered for his novels L'?©cume des jours (1947)
JAZZ
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Bio: Louis Armstrong
One of the foremost musicians of the 20th century, jazz pioneer Louis Armstrong, was born in New Orleans on August 4, 1901 and grew up poor, often singing on the street for change. In 1912 he was arrested for firing off a pistol on New Year's Eve and was remanded to a youth home. It was there Armstrong first learned to play the coronet -- a trumpet-like brass instrument -- and when he was released in 1914 he began playing in local jazz bands. He soon caught the attention of jazz godfather King Oliver, who found Armstrong jobs in more prominent groups. In the early '20s Armstrong joined Oliver's group, with whom he made his earliest recordings, then moved to New York to work with Fletcher Henderson's jazz orchestra. Throughout the 1920s, Amstrong recorded a series of classic singles, both with Henderson's group and with noted blues and jazz singers. He later formed his own bands, the Hot Five and the Hot Seven, and earned the nickname "Satchmo" -- short for "Satchel Mouth" -- thanks to his huge, trumpet-inflated cheeks.
In 1927 Armstrong switched from coronet to trumpet; that same year he popularized nonsense-syllable "scat" singing with the single "Heebies Jeebies." As the years wore on, Armstrong's popularity only grew, as his swinging style and unique, gravelly voice dominated the radio airwaves, making him the most famous jazz musician. In the mid-'30s he toured Europe, the first of many foreign tours that introduced the entire world to America's most vital new musical style. Armstrong's trumpet style and vocal phrasing became enormously influential for both jazz musicians and pop singers; in addition, his prominent solos transformed jazz from an ensemble form of music to one based heavily on solos and the interplay of individual musicians. Unfortunately by the mid-1940s jazz had begun to shift towards "bop," and Armstrong's style was no longer considered current. Breaking up his big band, Armstrong founded a sextet called the All-Stars, a Dixieland/swing group with a humorous stage-presence, and continued touring until his death in New York on July 6, 1971. As popular as ever, Satchmo has been honored on a postage stamp, and his music remains widely available, with nearly ever cut he ever recorded available on countless loving reissues.
One of the foremost musicians of the 20th century, jazz pioneer Louis Armstrong, was born in New Orleans on August 4, 1901 and grew up poor, often singing on the street for change. In 1912 he was arrested for firing off a pistol on New Year's Eve and was remanded to a youth home. It was there Armstrong first learned to play the coronet -- a trumpet-like brass instrument -- and when he was released in 1914 he began playing in local jazz bands. He soon caught the attention of jazz godfather King Oliver, who found Armstrong jobs in more prominent groups. In the early '20s Armstrong joined Oliver's group, with whom he made his earliest recordings, then moved to New York to work with Fletcher Henderson's jazz orchestra. Throughout the 1920s, Amstrong recorded a series of classic singles, both with Henderson's group and with noted blues and jazz singers. He later formed his own bands, the Hot Five and the Hot Seven, and earned the nickname "Satchmo" -- short for "Satchel Mouth" -- thanks to his huge, trumpet-inflated cheeks.
In 1927 Armstrong switched from coronet to trumpet; that same year he popularized nonsense-syllable "scat" singing with the single "Heebies Jeebies." As the years wore on, Armstrong's popularity only grew, as his swinging style and unique, gravelly voice dominated the radio airwaves, making him the most famous jazz musician. In the mid-'30s he toured Europe, the first of many foreign tours that introduced the entire world to America's most vital new musical style. Armstrong's trumpet style and vocal phrasing became enormously influential for both jazz musicians and pop singers; in addition, his prominent solos transformed jazz from an ensemble form of music to one based heavily on solos and the interplay of individual musicians. Unfortunately by the mid-1940s jazz had begun to shift towards "bop," and Armstrong's style was no longer considered current. Breaking up his big band, Armstrong founded a sextet called the All-Stars, a Dixieland/swing group with a humorous stage-presence, and continued touring until his death in New York on July 6, 1971. As popular as ever, Satchmo has been honored on a postage stamp, and his music remains widely available, with nearly ever cut he ever recorded available on countless loving reissues.
Bio: Duke Ellington
Composer and bandleader Duke Ellington led one of the most remarkable and self-defined orchestras in jazz for 50 years. It not only held to a consistent musical vision that sprang directly from his own work as a composer, but it sustained for decades with a loyal core of soloists who made their own marks on jazz history.
Within the context of running a band, Ellington also became the only figure from the jazz world ever to make an imprint on the American popular song book comparable in breadth and depth to that achieved by Gershwin, Rodgers, Berlin, Arlen and others. Songs such as "Mood Indigo," "Solitude," "In A Sentimental Mood," "Don't Get Around Much Anymore" and many others were widely performed and became American pop standards widely known today.
Ellington was born April 29, 1899, and grew up in a middle-class environment in Washington, D.C. He began playing at seven and gravitated to the ragtime and stride styles. He came to New York with Elmer Snowden's Washingtonians, and soon assumed leadership when Snowden departed. This left Ellington with a charter group of players who would remain with him for years and follow him to the top: Sonny Greer, Otto Hardwick, Arthur Whetsol and Fred Guy. Before the end of the '20s, Harry Carney, Johnny Hodges and Cootie Williams had joined, each of whom would still be with Ellington in the 1960s.
Ellington's formative years cover 1924 to about 1935, when the various plunger devices were integrated into an ensemble structure of varied combinations and blends. The rhythm section that began as a choppy, chugging time-keeping tool smoothed out as bass and guitar replaced tuba and banjo. Lawrence Brown brought a unique trombone sound to the band. The period also yielded a combination of Ellington staples ("Rockin' In Rhythm," "Black And Tan Fantasy," "Creole Love Call") that would remain the repertoire until the end.
The mature period begins in the mid-'30s and works up to what many regard as the band's peak years from 1940-'45, during which time bassist Jimmy Blanton and tenor saxophonist Ben Webster became confirmed Ellingtonians. Essentials of the period include "Ko Ko," "Concerto For Cootie," "Jack The Bear," "Cotton Tail," "Harlem Airshaft" and "Take The A Train," all recorded for Victor. This period of intense creativity extends into Ellington's most ambitious foray into extended composition, the epic "Black, Brown And Beige," introduced in 1943. After the war the '40s sound survived, but the compositional intensity petered out until, by the end of the decade, Ellington lost much of his distinctive voices.
The modern period, or the Newport Era, if your prefer, begins around 1951 when Sonny Greer was replaced on drums by Louis Bellson and the band suddenly sprang to life with an astonishing new rhythmic alertness and vitality. Bellson stayed for about three years, ultimately to be replaced by Sam Woodyard. But the rhythmic buoyancy of the band was forever set on a modern track and inspired subtle improvements in the band's overall precision and musicianship. By the time Johnny Hodges returned after a five-year absence, Ellington was reinvigorated and ready to charge forward.
The historic performance of "Diminuendo And Crescendo In Blue" at the Newport Jazz Festival in 1956 opened a whole new era of prosperity for Ellington, who responded a revived commitment to composition and produced a succession of stimulating works, from "Such Sweet Thunder" (1957) to "The Far East Suite" (1966).
During the final years of the band from the late '60s to 1974, mortality whittled away at what had seemed for long to be immutable. Duke Ellington died of cancer on May 24, 1974, although the band continued irregularly under the direction of Duke's son, Mercer.
In 1956, Ellington was elected by the Readers to the Down Beat Hall of Fame, partly on the wave of accolades that followed his performance at Newport that year.
Composer and bandleader Duke Ellington led one of the most remarkable and self-defined orchestras in jazz for 50 years. It not only held to a consistent musical vision that sprang directly from his own work as a composer, but it sustained for decades with a loyal core of soloists who made their own marks on jazz history.
Within the context of running a band, Ellington also became the only figure from the jazz world ever to make an imprint on the American popular song book comparable in breadth and depth to that achieved by Gershwin, Rodgers, Berlin, Arlen and others. Songs such as "Mood Indigo," "Solitude," "In A Sentimental Mood," "Don't Get Around Much Anymore" and many others were widely performed and became American pop standards widely known today.
Ellington was born April 29, 1899, and grew up in a middle-class environment in Washington, D.C. He began playing at seven and gravitated to the ragtime and stride styles. He came to New York with Elmer Snowden's Washingtonians, and soon assumed leadership when Snowden departed. This left Ellington with a charter group of players who would remain with him for years and follow him to the top: Sonny Greer, Otto Hardwick, Arthur Whetsol and Fred Guy. Before the end of the '20s, Harry Carney, Johnny Hodges and Cootie Williams had joined, each of whom would still be with Ellington in the 1960s.
Ellington's formative years cover 1924 to about 1935, when the various plunger devices were integrated into an ensemble structure of varied combinations and blends. The rhythm section that began as a choppy, chugging time-keeping tool smoothed out as bass and guitar replaced tuba and banjo. Lawrence Brown brought a unique trombone sound to the band. The period also yielded a combination of Ellington staples ("Rockin' In Rhythm," "Black And Tan Fantasy," "Creole Love Call") that would remain the repertoire until the end.
The mature period begins in the mid-'30s and works up to what many regard as the band's peak years from 1940-'45, during which time bassist Jimmy Blanton and tenor saxophonist Ben Webster became confirmed Ellingtonians. Essentials of the period include "Ko Ko," "Concerto For Cootie," "Jack The Bear," "Cotton Tail," "Harlem Airshaft" and "Take The A Train," all recorded for Victor. This period of intense creativity extends into Ellington's most ambitious foray into extended composition, the epic "Black, Brown And Beige," introduced in 1943. After the war the '40s sound survived, but the compositional intensity petered out until, by the end of the decade, Ellington lost much of his distinctive voices.
The modern period, or the Newport Era, if your prefer, begins around 1951 when Sonny Greer was replaced on drums by Louis Bellson and the band suddenly sprang to life with an astonishing new rhythmic alertness and vitality. Bellson stayed for about three years, ultimately to be replaced by Sam Woodyard. But the rhythmic buoyancy of the band was forever set on a modern track and inspired subtle improvements in the band's overall precision and musicianship. By the time Johnny Hodges returned after a five-year absence, Ellington was reinvigorated and ready to charge forward.
The historic performance of "Diminuendo And Crescendo In Blue" at the Newport Jazz Festival in 1956 opened a whole new era of prosperity for Ellington, who responded a revived commitment to composition and produced a succession of stimulating works, from "Such Sweet Thunder" (1957) to "The Far East Suite" (1966).
During the final years of the band from the late '60s to 1974, mortality whittled away at what had seemed for long to be immutable. Duke Ellington died of cancer on May 24, 1974, although the band continued irregularly under the direction of Duke's son, Mercer.
In 1956, Ellington was elected by the Readers to the Down Beat Hall of Fame, partly on the wave of accolades that followed his performance at Newport that year.
Bio: Miles Davis
Jazz legend Miles Davis was born on May 25, 1926 in Alton, Ill. to a middle-class familythat moved to East St. Louis, Ill. when he was a child. By the age of 10 Davis was playing trumpet, later performing in his high school band and several local jazz groups. When he was 18, Davis traveled to New York to study at the Julliard School of Music, but soon dropped out to hang out in the city's burgeoning jazz scene. Getting his start with Coleman Hawkins and Rubberlegs Williams, Davis soon joined Charlie Parker on several of late '40s albums in New York and California. In 1948 Davis started his own nine-pieceband, a highly-influential group considered a pioneering force in West Coast "cool jazz."After recording the 1949 classic Birth of the Cool, Davis left the band (whichcontinued on without him) to perform at the Paris Jazz Festival and work with othermusicians.
During the early 1950s Miles Davis struggled with heroin, releasing a series of erratic"hard bop" albums which varied from solid to highly disappointing. By 1955 he had quit the drug, signed to Columbia, and launched a comeback with an appearance at the Newport Jazz Festival. Forming a new quintet with saxophonist John Coltrane, Davis released several classic albums during the mid-'50s before the group broke apart. He then went on to collaborate with Gil Evans on several albums in which he experimented with flugelhorn in addition to trumpet before forming a new sextet in 1958 with John Coltrane (tenor sax), Cannonball Adderley (alto sax), Bill Evans (piano), Paul Chambers (bass) and Philly Joe Jones (drums). This group became Davis's classic backing band, recording groundbreaking albums such as 1958's Milestones and 1959's Kind of Blue, which introduced modal improvisation to jazz. The group slowly drifted apart during the early '60s.
In 1964 Davis formed a new, more experimental quintet, featuring pianist Herbie Hancock,among others. The group slowly changed as members came and went, drifting from moretraditional jazz to avant-garde material and later funky, keyboard-driven fusion, embodiedby the 1969 jazz-rock masterpiece Bitches Brew. During the early '70s Davis's output tended towards more accessible, jazz-rock material whose guitars, keyboards and studio effects turned off many jazz critics and traditionalists. In 1975 Miles Davis, in poor health due to years of drug and alcohol abuse, abruptly announced his retirement. Six years later he returned with a new band whose funky pop arrangements continued to alienate critics while winning over new fans. Throughout the '80s Davis toured and recorded, finally passing away in September 1991 at the age of 65, leaving behind a huge body of work which left a permanent mark on the world of jazz and music in general and continues to captivate listeners to this day.
Jazz legend Miles Davis was born on May 25, 1926 in Alton, Ill. to a middle-class familythat moved to East St. Louis, Ill. when he was a child. By the age of 10 Davis was playing trumpet, later performing in his high school band and several local jazz groups. When he was 18, Davis traveled to New York to study at the Julliard School of Music, but soon dropped out to hang out in the city's burgeoning jazz scene. Getting his start with Coleman Hawkins and Rubberlegs Williams, Davis soon joined Charlie Parker on several of late '40s albums in New York and California. In 1948 Davis started his own nine-pieceband, a highly-influential group considered a pioneering force in West Coast "cool jazz."After recording the 1949 classic Birth of the Cool, Davis left the band (whichcontinued on without him) to perform at the Paris Jazz Festival and work with othermusicians.
During the early 1950s Miles Davis struggled with heroin, releasing a series of erratic"hard bop" albums which varied from solid to highly disappointing. By 1955 he had quit the drug, signed to Columbia, and launched a comeback with an appearance at the Newport Jazz Festival. Forming a new quintet with saxophonist John Coltrane, Davis released several classic albums during the mid-'50s before the group broke apart. He then went on to collaborate with Gil Evans on several albums in which he experimented with flugelhorn in addition to trumpet before forming a new sextet in 1958 with John Coltrane (tenor sax), Cannonball Adderley (alto sax), Bill Evans (piano), Paul Chambers (bass) and Philly Joe Jones (drums). This group became Davis's classic backing band, recording groundbreaking albums such as 1958's Milestones and 1959's Kind of Blue, which introduced modal improvisation to jazz. The group slowly drifted apart during the early '60s.
In 1964 Davis formed a new, more experimental quintet, featuring pianist Herbie Hancock,among others. The group slowly changed as members came and went, drifting from moretraditional jazz to avant-garde material and later funky, keyboard-driven fusion, embodiedby the 1969 jazz-rock masterpiece Bitches Brew. During the early '70s Davis's output tended towards more accessible, jazz-rock material whose guitars, keyboards and studio effects turned off many jazz critics and traditionalists. In 1975 Miles Davis, in poor health due to years of drug and alcohol abuse, abruptly announced his retirement. Six years later he returned with a new band whose funky pop arrangements continued to alienate critics while winning over new fans. Throughout the '80s Davis toured and recorded, finally passing away in September 1991 at the age of 65, leaving behind a huge body of work which left a permanent mark on the world of jazz and music in general and continues to captivate listeners to this day.
Pana atunci.....
Blazzaj - Biografie
Forma??ia 'Blazzaj' s-a constituit ?ÂŽn 1998, ?ÂŽn Timi??oara. Iar numele lor provine din combina??ia cuvintelor 'blazare' ??i 'jazz', folosit ?ÂŽns?? invers, adic?? 'zzaj'. ??i, ?ÂŽnc?? ceva legat de numele forma??iei: acesta, citit de la coad?? la cap, nu e altceva dec?ÂŽt 'jazzalb'.
Florin Barbu este, al??turi de Eddie Neumann, fondatorul Blazzaj-ului. A ajuns la Timi??oara ca student la Medicin??, pe ruta Sibiu - Media?? - Re??i??a, ?ÂŽns?? dup?? trei ani de studiu a renun??at la facultate ?ÂŽn favoarea muzicii. A ?ÂŽnv????at singur s?? c?ÂŽnte la bas dup?? ce, la 14 ani, ??i-a ?ÂŽmprumutat bicicleta unui vecin ?ÂŽn schimbul unei chitare bas, care-l fascina. Trupa ?ÂŽn care a c?ÂŽntat vreme de patru ani, din 1994 p?ÂŽn?? ?ÂŽn 1998, 'Arca', avea aceea??i sal?? de repeti??ii cu forma??ia saxofonistului Eddie Neumann. Cei doi r??m?ÂŽneau dup?? repeti??ii s?? c?ÂŽnte ?ÂŽmpreun?? ??i, ?ÂŽn??eleg?ÂŽndu-se at?ÂŽt de bine pe plan muzical, au decis s?? ?ÂŽnfiin??eze o trup??.
Din prim??vara anului 2002, Florin s-a dedicat forma??iei 'Proconsul', motiv pentru care nu mai apare ?ÂŽn concerte al??turi de 'Blazzaj', dar este considerat ?ÂŽn continuare membru al trupei.
Tavi Horvath s-a n??scut ?ÂŽn decembrie 1973 la S??nnicolaul Mare ??i-a ajuns ?ÂŽn Timi??oara la 14 ani, la liceu. De??i c?ÂŽnta ?ÂŽn paralel cu trupa 'Implant pentru refuz', cu care a lansat trei albume, el este, din primavara anului 1998, ??i solistul vocal al Blazzaj-ului. Pentru Tavi, cel mai important este momentul ?ÂŽn care comunic?? cu publicul.
Un alt membru de baz?? al Blazzaj-ului este chitaristul Horia Cri??ovan. Mai subtil ??i mult mai liber dec?ÂŽt ?ÂŽn trupele din care ?ÂŽl cunoa??tem, 'Neurotica' ??i 'Stepan Project', Horia are aici rolul 'maionezei care leag?? salata oriental??', cum ?ÂŽi place s?? spun??. ???n afar?? de peregrin??rile pe ruta Timi??oara - Bucure??ti ??i de munca ?ÂŽn studiourile de radio (este un foarte apreciat tehnician), Horia este pasionat de ciclism, parcurg?ÂŽnd zilnic zeci ??i zeci de kilometri pe dou?? ro??i.
Mezinul trupei este trompetistul Petric?? Ioni??escu (n??scut ?ÂŽn martie, 1976 la Lipova, Arad), care a absolvit anul trecut cursurile Conservatorului din Timi??oara. A ajuns la Blazzaj dup?? ce a c?ÂŽntat dixieland cu 'Juniors Jazz Band' ??i jazz-rock cu 'Blue Note', iar ?ÂŽn prezent face parte din Filarmonica ar??dean??.
La celalalt pol al v?ÂŽrstei, se afl?? bateristul Vali Potra, 36 de ani, ce vine din Salonta, jude??ul Bihor. El a ?ÂŽnceput s?? c?ÂŽnte ?ÂŽntr-o trup?? rock, cu 20 de ani ?ÂŽn urm??, dup?? ce a r??spuns unui anun?? dintr-un ziar. A continuat cu 'Impact' ??i cu 'Abra', o forma??ie de succes ?ÂŽn anii '80, ?ÂŽn special ?ÂŽn mediile studen??e??ti. Vali este considerat cyborgul trupei, tipul riguros care face ordine ??i-i ??ine ?ÂŽn fr?ÂŽu pe ceilal??i. A r??mas un fan al mon??trilor pop-rockului britanic (Sting, Clapton, Phil Collins), ?ÂŽns?? este deschis oric??ror idei ??i nout????i muzicale. Ca ??i Eddie Neumann ??i Florin Barbu, Vali este c??s??torit.
U??u Pascu, n??scut la Timi??oara ?ÂŽn 1978, preia ??tafeta de la Florin Barbu, ?ÂŽn iunie 2002. El mai este membru ??i al forma??iilor 'Brigada Artistic?? Urban??' ??i 'Baumann Quartet'. ??i este licen??iat 2001 al Politehnicii din Timi??oara.
???n anul 2000, forma??ia 'Blazzaj' colaboreaz?? cu Raul Kusak ??i Ioana Alecu, dar ?ÂŽn prezent ace??tia nu fac parte din componen??a trupei.
L-am l??sat la urm?? pe num??rul unu al Blazzaj-ului, totodat?? membru de baz?? al altor foarte apreciate trupe: 'Jazz Unit' ??i 'Orient Express'. Eddie Neumann s-a n??scut ?ÂŽn 1974 la Tulcea, 'acolo unde fumul combinatului de aluminiu se ?ÂŽmbin?? armonios cu ???ÂŽn??arii'. La 16 ani, a ?ÂŽnceput s?? c?ÂŽnte la saxofon. A colindat alaturi de forma??ia profesorului s??u, domnul Volanski, prin localit????ile din Delt??, c?ÂŽnt?ÂŽnd ??lag??re rom??ne??ti ??i muzic?? u??oar??, iar apoi a plecat ?ÂŽn cel??lalt col?? al ????rii, la Timi??oara, pentru a studia Sociologia ??i a deveni un saxofonist ?ÂŽn mare vog?? al jazz-ului rom??nesc.
Blazzaj - Biografie
Forma??ia 'Blazzaj' s-a constituit ?ÂŽn 1998, ?ÂŽn Timi??oara. Iar numele lor provine din combina??ia cuvintelor 'blazare' ??i 'jazz', folosit ?ÂŽns?? invers, adic?? 'zzaj'. ??i, ?ÂŽnc?? ceva legat de numele forma??iei: acesta, citit de la coad?? la cap, nu e altceva dec?ÂŽt 'jazzalb'.
Florin Barbu este, al??turi de Eddie Neumann, fondatorul Blazzaj-ului. A ajuns la Timi??oara ca student la Medicin??, pe ruta Sibiu - Media?? - Re??i??a, ?ÂŽns?? dup?? trei ani de studiu a renun??at la facultate ?ÂŽn favoarea muzicii. A ?ÂŽnv????at singur s?? c?ÂŽnte la bas dup?? ce, la 14 ani, ??i-a ?ÂŽmprumutat bicicleta unui vecin ?ÂŽn schimbul unei chitare bas, care-l fascina. Trupa ?ÂŽn care a c?ÂŽntat vreme de patru ani, din 1994 p?ÂŽn?? ?ÂŽn 1998, 'Arca', avea aceea??i sal?? de repeti??ii cu forma??ia saxofonistului Eddie Neumann. Cei doi r??m?ÂŽneau dup?? repeti??ii s?? c?ÂŽnte ?ÂŽmpreun?? ??i, ?ÂŽn??eleg?ÂŽndu-se at?ÂŽt de bine pe plan muzical, au decis s?? ?ÂŽnfiin??eze o trup??.
Din prim??vara anului 2002, Florin s-a dedicat forma??iei 'Proconsul', motiv pentru care nu mai apare ?ÂŽn concerte al??turi de 'Blazzaj', dar este considerat ?ÂŽn continuare membru al trupei.
Tavi Horvath s-a n??scut ?ÂŽn decembrie 1973 la S??nnicolaul Mare ??i-a ajuns ?ÂŽn Timi??oara la 14 ani, la liceu. De??i c?ÂŽnta ?ÂŽn paralel cu trupa 'Implant pentru refuz', cu care a lansat trei albume, el este, din primavara anului 1998, ??i solistul vocal al Blazzaj-ului. Pentru Tavi, cel mai important este momentul ?ÂŽn care comunic?? cu publicul.
Un alt membru de baz?? al Blazzaj-ului este chitaristul Horia Cri??ovan. Mai subtil ??i mult mai liber dec?ÂŽt ?ÂŽn trupele din care ?ÂŽl cunoa??tem, 'Neurotica' ??i 'Stepan Project', Horia are aici rolul 'maionezei care leag?? salata oriental??', cum ?ÂŽi place s?? spun??. ???n afar?? de peregrin??rile pe ruta Timi??oara - Bucure??ti ??i de munca ?ÂŽn studiourile de radio (este un foarte apreciat tehnician), Horia este pasionat de ciclism, parcurg?ÂŽnd zilnic zeci ??i zeci de kilometri pe dou?? ro??i.
Mezinul trupei este trompetistul Petric?? Ioni??escu (n??scut ?ÂŽn martie, 1976 la Lipova, Arad), care a absolvit anul trecut cursurile Conservatorului din Timi??oara. A ajuns la Blazzaj dup?? ce a c?ÂŽntat dixieland cu 'Juniors Jazz Band' ??i jazz-rock cu 'Blue Note', iar ?ÂŽn prezent face parte din Filarmonica ar??dean??.
La celalalt pol al v?ÂŽrstei, se afl?? bateristul Vali Potra, 36 de ani, ce vine din Salonta, jude??ul Bihor. El a ?ÂŽnceput s?? c?ÂŽnte ?ÂŽntr-o trup?? rock, cu 20 de ani ?ÂŽn urm??, dup?? ce a r??spuns unui anun?? dintr-un ziar. A continuat cu 'Impact' ??i cu 'Abra', o forma??ie de succes ?ÂŽn anii '80, ?ÂŽn special ?ÂŽn mediile studen??e??ti. Vali este considerat cyborgul trupei, tipul riguros care face ordine ??i-i ??ine ?ÂŽn fr?ÂŽu pe ceilal??i. A r??mas un fan al mon??trilor pop-rockului britanic (Sting, Clapton, Phil Collins), ?ÂŽns?? este deschis oric??ror idei ??i nout????i muzicale. Ca ??i Eddie Neumann ??i Florin Barbu, Vali este c??s??torit.
U??u Pascu, n??scut la Timi??oara ?ÂŽn 1978, preia ??tafeta de la Florin Barbu, ?ÂŽn iunie 2002. El mai este membru ??i al forma??iilor 'Brigada Artistic?? Urban??' ??i 'Baumann Quartet'. ??i este licen??iat 2001 al Politehnicii din Timi??oara.
???n anul 2000, forma??ia 'Blazzaj' colaboreaz?? cu Raul Kusak ??i Ioana Alecu, dar ?ÂŽn prezent ace??tia nu fac parte din componen??a trupei.
L-am l??sat la urm?? pe num??rul unu al Blazzaj-ului, totodat?? membru de baz?? al altor foarte apreciate trupe: 'Jazz Unit' ??i 'Orient Express'. Eddie Neumann s-a n??scut ?ÂŽn 1974 la Tulcea, 'acolo unde fumul combinatului de aluminiu se ?ÂŽmbin?? armonios cu ???ÂŽn??arii'. La 16 ani, a ?ÂŽnceput s?? c?ÂŽnte la saxofon. A colindat alaturi de forma??ia profesorului s??u, domnul Volanski, prin localit????ile din Delt??, c?ÂŽnt?ÂŽnd ??lag??re rom??ne??ti ??i muzic?? u??oar??, iar apoi a plecat ?ÂŽn cel??lalt col?? al ????rii, la Timi??oara, pentru a studia Sociologia ??i a deveni un saxofonist ?ÂŽn mare vog?? al jazz-ului rom??nesc.
Lost in time...
Iaca si un site de unde putezi asculta Blazzaj....albumul Macadam :
http://cdbaby.com/cd/blazzaj
BLAZZAJ
Macadam
Eddie Neumann vocal, saxofon sopran si tenor, programare
Tavi Horvath vocal
Petrica Ionutescu trompeta
Horea Crisovan ghitara
Utu Pascu ghitara bass
Vali Potra tobe
Florin Barbu bass invitat pe 1 si 5
Levi Molnar percutie invitat pe 11
Toate piesele compuse si aranjate de Eddie Neumann Inregistrat in Iunie 2002 la Taboo Studio (Arad) si Nonnut Studio (Timisoara)
Mixat si masterizat in Noiembrie 2002 la ICC Studios Eastbourne, UK
Have fun:D
ps: just for the records .... BLAZZAJ = JAZZALB (citit invers)... nice:D
http://cdbaby.com/cd/blazzaj
BLAZZAJ
Macadam
Eddie Neumann vocal, saxofon sopran si tenor, programare
Tavi Horvath vocal
Petrica Ionutescu trompeta
Horea Crisovan ghitara
Utu Pascu ghitara bass
Vali Potra tobe
Florin Barbu bass invitat pe 1 si 5
Levi Molnar percutie invitat pe 11
Toate piesele compuse si aranjate de Eddie Neumann Inregistrat in Iunie 2002 la Taboo Studio (Arad) si Nonnut Studio (Timisoara)
Mixat si masterizat in Noiembrie 2002 la ICC Studios Eastbourne, UK
Have fun:D
ps: just for the records .... BLAZZAJ = JAZZALB (citit invers)... nice:D
Lost in time...
un artist cu adevarat under.............
Maria R??ducanu - Biografie
N??scut?? pe 3 noiembrie 1967 la Hu??i ?ÂŽn jude??ul Vaslui.
Studii nonconformiste, dar serioase, de filologie, la Universitatea Alexandru Ioan Cuza din Ia??i ??i la Universitatea din Bucure??ti, sec??ia francez?? - englez??.
Studii muzicale ??i mai nonconformiste, ?ÂŽn schimb probate ?ÂŽn via??a de zi cu zi: c?ÂŽ??iva ani de vioar?? cu tat??l ei, t?ÂŽrcoale fructuoase aplicate chitarei cu punere direct?? ?ÂŽn practic?? - intuitiv, talent cu carul - a unor capitole ale teoriei muzicale.
Profesiune de credin???? (?ÂŽn lips?? de alte argumente): c?ÂŽnt??rea???? de muzic?? ??i vocalist?? de jazz.
Primul album: 'Pe vale', ?ÂŽn formul?? de trio, cu Vlaicu Golcea (contrabas) ??i Sorin Romanescu (chitar??) - editat de 'La Strada Music' ?ÂŽn 2002.
???n noiembrie 2002 lanseaz?? un album de colinde, ?ÂŽn aceea??i formul??, produs tot de 'La Strada Music'.
Palmares: droaie de premii ?ÂŽn tinere??e, pe la tot felul de festivaluri na??ionale; prezen???? autobiografic?? (oare c?ÂŽ??i dintre cei ce me??teresc ?ÂŽn / pe la / pe l?ÂŽng?? / pe sub etc. muzic?? pot afirma asta despre sine?) chiar dac??, aparent, sporadic?? ??i aleatorie, ?ÂŽn cluburile din Bucure??ti, mai rar ?ÂŽn s??lile de concert sau ?ÂŽn circuitul festivalier de jazz actual, autohton.
'Reu??ita cu care m?? m?ÂŽndresc cel mai mult este aceea de a nu exista, oficial vorbind, ?ÂŽn calitate de c?ÂŽnt??rea????. Exist doar ?ÂŽn fapt, ?ÂŽn sensul c?? oamenii vin la c?ÂŽnt??rile mele, m?? aplaud??, m?? felicit??, ?ÂŽmi spun c??-i emo??ionez.
Pasionat?? de muzic?? ?ÂŽn primul r?ÂŽnd, ??i doar apoi de jazz ??i de muzica popoarelor lumii. Ce-mi doresc? Ca necrologul meu s?? con??in?? aprecieri la vibranta mea inexisten????. ???n sensul c?? e at?ÂŽt de str?ÂŽns legat felul ?ÂŽn care tr??im de felul ?ÂŽn care c?ÂŽnt??m. ???mi place mai mult s?? fiu persoan??, dec?ÂŽt artist. ??i ?ÂŽn fond ce sunt, dac?? nu o minunat?? voce ?ÂŽntre dou?? milenii ? Va s?? zic??, mai nimic.'
Maria R??ducanu - Biografie
N??scut?? pe 3 noiembrie 1967 la Hu??i ?ÂŽn jude??ul Vaslui.
Studii nonconformiste, dar serioase, de filologie, la Universitatea Alexandru Ioan Cuza din Ia??i ??i la Universitatea din Bucure??ti, sec??ia francez?? - englez??.
Studii muzicale ??i mai nonconformiste, ?ÂŽn schimb probate ?ÂŽn via??a de zi cu zi: c?ÂŽ??iva ani de vioar?? cu tat??l ei, t?ÂŽrcoale fructuoase aplicate chitarei cu punere direct?? ?ÂŽn practic?? - intuitiv, talent cu carul - a unor capitole ale teoriei muzicale.
Profesiune de credin???? (?ÂŽn lips?? de alte argumente): c?ÂŽnt??rea???? de muzic?? ??i vocalist?? de jazz.
Primul album: 'Pe vale', ?ÂŽn formul?? de trio, cu Vlaicu Golcea (contrabas) ??i Sorin Romanescu (chitar??) - editat de 'La Strada Music' ?ÂŽn 2002.
???n noiembrie 2002 lanseaz?? un album de colinde, ?ÂŽn aceea??i formul??, produs tot de 'La Strada Music'.
Palmares: droaie de premii ?ÂŽn tinere??e, pe la tot felul de festivaluri na??ionale; prezen???? autobiografic?? (oare c?ÂŽ??i dintre cei ce me??teresc ?ÂŽn / pe la / pe l?ÂŽng?? / pe sub etc. muzic?? pot afirma asta despre sine?) chiar dac??, aparent, sporadic?? ??i aleatorie, ?ÂŽn cluburile din Bucure??ti, mai rar ?ÂŽn s??lile de concert sau ?ÂŽn circuitul festivalier de jazz actual, autohton.
'Reu??ita cu care m?? m?ÂŽndresc cel mai mult este aceea de a nu exista, oficial vorbind, ?ÂŽn calitate de c?ÂŽnt??rea????. Exist doar ?ÂŽn fapt, ?ÂŽn sensul c?? oamenii vin la c?ÂŽnt??rile mele, m?? aplaud??, m?? felicit??, ?ÂŽmi spun c??-i emo??ionez.
Pasionat?? de muzic?? ?ÂŽn primul r?ÂŽnd, ??i doar apoi de jazz ??i de muzica popoarelor lumii. Ce-mi doresc? Ca necrologul meu s?? con??in?? aprecieri la vibranta mea inexisten????. ???n sensul c?? e at?ÂŽt de str?ÂŽns legat felul ?ÂŽn care tr??im de felul ?ÂŽn care c?ÂŽnt??m. ???mi place mai mult s?? fiu persoan??, dec?ÂŽt artist. ??i ?ÂŽn fond ce sunt, dac?? nu o minunat?? voce ?ÂŽntre dou?? milenii ? Va s?? zic??, mai nimic.'
chiar sambata am fost la concert!deci ce atmosfera fac oamenii...innebunesti!!
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Johnny Raducanu - Biografie
Nascut ?®n 12 ianuarie 1931, ?®n Braila a fost supranumit de catre Leonard Feather 'Mr. Jazz Of Romania', contrabasist, pianist, compozitor, aranjor si lider de formatie, este cel mai cunoscut si iubit muzician roman de jazz, at?®t ?®n tara c?®t si peste hotare.
Si-a ?®nceput studiile la Iasi si apoi la Cluj (la 'Franciscani' asa cum ?®si aminteste si nu uite sa o reaminteasca ?®nsusi maestrul), iar apoi a urmat cursurile Conservatorului 'Ciprian Porumbescu' din Bucuresti (1953 - 1956), clasa contrabas a profesorului Josef Prunner.
A c?®ntat ?®n diferite formatii, cu cei mai renumiti muzicieni rom??ni - QUINTETUL DE JAZZ BUCURESTI, RICHARD OSCHANITZKY, AURA URZICEANU s.a., iar ?®n ultimii ani cu muzicieni mai tineri al caror mentor a devenit - Teodora Enache, Ionut Baranga, Jean Stoian, Pedro Negrescu, Lucian Maxim ...
A concertat, de-a lungul carierei sale, pe toate scenele festivaliere rom??nesti (Ploiesti, Sibiu, Brasov, Costinesti, Bucuresti, Iasi, Cluj, Craiova, Timisoara) c?®t si peste hotare, din SUA p?®na ?®n Rusia (SUA, Germania, Franta, Elvetia, Anglia, Italia, Polonia, Ungaria, Bulgaria, Danemarca, Belgia, Olanda, Austria, Rusia, etc.)
Johnny Raducanu: "C??nt pentru rum??nii buni la suflet si destepti, care vor binele acestei tari!"
"M-a cautat de cur??nd prietenul meu Gabriel Liiceanu si m-a rugat sa vin si c??nt la lansarea unei carti la editura lui, Humanitas. Cartea se numea - cum credeati? - 'Tiganii'! Pai, cum altfel, doar sunt si eu dintre ei, de-aia am ?®n s??nge muzica lautareasca pe care o 'strecor' printre clapele pianului meu, c??nd c??nt jazz. Sau, probabil, Liiceanu o fi fost foarte impresionat atunci c??nd eu, foarte preocupat de soarta intelectualilor bucuresteni, ?®n eventualitatea unei descinderi mineresti aici, i-am dat telefon si i-am spus ca i-am pregatit zece baieti de-ai mei, din Rahova, care m??nuiesc perfect sabiile Ninja, ca sa-l apere - si atunci de-aia m-a invitat. Am vazut la lansarea aia niste tigani foarte destepti - poeti, scriitori, profesori universitari - si niste fete frumoase de pica, de-alea instruite, cu facultate. Si m-am simtit tare m??ndru ca nu ne fac neamul de r??s. Eu sunt foarte gelos atunci c??nd ?®i aud pe ei vorbind tiganeste, pentru ca eu nu stiu - bunicii mei, parintii mei n-au vorbit si, desi m-am nascut ?®n Braila, eu stiu turceste, stiu greceste, dar tiganeste nu stiu. E cam t??rziu pentru mine sa ma apuc s-o ?®nvat acum, dar ?®n schimb, pot sa-mi arat ?®n muzica mea, fie ca o fac aici sau oriunde altundeva ?®n lume, radacinile mele din neam de tigani lautari. Sunt bucuros si fericit ca lumea stie de unde vin eu si ma apreciaza si ma bucur ca am prieteni, 'rum??ni' buni la suflet si destepti, care vor binele acestei tari. Si, chiar daca, ?®n ultima vreme, sanatatea mi s-a subrezit de tot, pentru 'rum??nii' astia si pentru toti cei care vor, ma duc vinerea la 'Club Nouveau' si duminica la 'Laptaria lui Enache', si c??nt pentru ei, din tot sufletul."
Citate ?®n legatura cu Johnny Raducanu:
Nichita Stanescu: 'Johnny Raducanu si-a ?®nodat inima pe acoperisul timpanelor noastre ca un leopard ?®n rut ...'
Pascal Bentoiu: '???n Johnny, jazz-l traieate; Johnny este jazz. Inventiv. Neprevazut. C??teodata straniu. Adora sa se scalde ?®n armonii voluptoase. Cel mai adesea perfect controlat, dar, - spre bucuria noastra - conductul sau armonic ia uneori drumuri asemanatoare acelor automobile ale comediei mute ?®n care un Harold Loyd reusea cum - necum sa smulga volanul de pe axul sau, iar vehicolul evita miraculos ciocnirile, pe strazile din San Francisco. Sunt rautacios. Probabil invidios ...'
Ion Caramitru: 'Johnny e un singuratic. De geniu. Ce face el acolo, ?®n camaruta lui de la etajul VII al unui bloc din Banu Manta, de nu-l reclama nici un vecin, tine probabil de miracol. Odata urc??nd la etajul VII, cineva care locuia pe acelasi palier m-a oprit sa dau drumul brusc la usa liftului, spun??ndu-mi: - Lasati-o usor, Johnny c??nta! ...'
D. Laurentiu: '... pseudonimul si sinonimul jazz-ului rom??nesc ...'
Sorin Dumitrescu: '... a introdus ?®n jazz institutia autohtona a oftatului ...'
Fanus Neagu: 'Johnny Raducanu face parte din stirpea boierilor de mahon a Brailei, adica a marilor lautari. Povestea lor e veche ca Dunarea si Levantul.
Se trage, Johnny, din neamul lui Petrea Cretu Solcanu. O rudenie de maslin binecuv??ntat cu iedera, ciulini, melancolie orientala si viata care nu se stinge. Bunicul lui Petrea Cretu Solcanu a fost - numai Johnny, golanul asta a ajuns sa poarte baston de maresal, poate vorbi astfel - un Frank Sinatra la curtea Sultanului. Investit cu putere de viata si de moarte, dupa cum ni-l dezvaluie chipul lui zugravit pe peretele din t??mpla de jertfa a Bisericii Sf?®ntul Neculai Vechi, rasplata dreapta pentru fapta de a-l fi smuls de sub securea calaului pe parintele haiduc care, ziua, purta slujba ?®n fata Dumnezeului ortodox, iar noaptea-si muia jungherul ?®n p??ntecele unui turc.
C??ntecul arcusului vrajit a schimbat inima fiarei. Rara ?®nt??mplare ?®mparateasca. Johnny s-a nascut muscata de Dunare, ?®n umbra de salc??m rosu. Menit de ursitoare sa ia un val din unda viorie a fluviului rasarit de luceafar si sa rasuceasca din ea o mie de povesti pe care sa le daruiasca lumii. Din sufletul si m??inile lui cad pe clapele pianului, ca dintr-un nor fermecat, ploi de clipe de aur, v??rtejuri de nebunie, ?®ndemnuri, ca dintr-un nor fermecat, ploi de clipe de aur, v??rtejuri de nebunie, ?®ndemnuri de rapiri din seraiuri, furtuni, napaste, pacate ce se cer ?®mplinite, curcubee, s??nge din genunchii pe care si i-a julit pe strazile Brailei, ?®nhamat la carul sperantei, alaturi de Istrati, M. Sebastian, Schileru, N. Steinhardt. si peste toate o gura de foc din vatra infernului.
Esti, Johnny, un mizerabil print minunat care si-a ales divan de domnie ?®n scoica urechii mele si ?®n fructele viselor ce-mi podesc toate clipele uimite.'
Nascut ?®n 12 ianuarie 1931, ?®n Braila a fost supranumit de catre Leonard Feather 'Mr. Jazz Of Romania', contrabasist, pianist, compozitor, aranjor si lider de formatie, este cel mai cunoscut si iubit muzician roman de jazz, at?®t ?®n tara c?®t si peste hotare.
Si-a ?®nceput studiile la Iasi si apoi la Cluj (la 'Franciscani' asa cum ?®si aminteste si nu uite sa o reaminteasca ?®nsusi maestrul), iar apoi a urmat cursurile Conservatorului 'Ciprian Porumbescu' din Bucuresti (1953 - 1956), clasa contrabas a profesorului Josef Prunner.
A c?®ntat ?®n diferite formatii, cu cei mai renumiti muzicieni rom??ni - QUINTETUL DE JAZZ BUCURESTI, RICHARD OSCHANITZKY, AURA URZICEANU s.a., iar ?®n ultimii ani cu muzicieni mai tineri al caror mentor a devenit - Teodora Enache, Ionut Baranga, Jean Stoian, Pedro Negrescu, Lucian Maxim ...
A concertat, de-a lungul carierei sale, pe toate scenele festivaliere rom??nesti (Ploiesti, Sibiu, Brasov, Costinesti, Bucuresti, Iasi, Cluj, Craiova, Timisoara) c?®t si peste hotare, din SUA p?®na ?®n Rusia (SUA, Germania, Franta, Elvetia, Anglia, Italia, Polonia, Ungaria, Bulgaria, Danemarca, Belgia, Olanda, Austria, Rusia, etc.)
Johnny Raducanu: "C??nt pentru rum??nii buni la suflet si destepti, care vor binele acestei tari!"
"M-a cautat de cur??nd prietenul meu Gabriel Liiceanu si m-a rugat sa vin si c??nt la lansarea unei carti la editura lui, Humanitas. Cartea se numea - cum credeati? - 'Tiganii'! Pai, cum altfel, doar sunt si eu dintre ei, de-aia am ?®n s??nge muzica lautareasca pe care o 'strecor' printre clapele pianului meu, c??nd c??nt jazz. Sau, probabil, Liiceanu o fi fost foarte impresionat atunci c??nd eu, foarte preocupat de soarta intelectualilor bucuresteni, ?®n eventualitatea unei descinderi mineresti aici, i-am dat telefon si i-am spus ca i-am pregatit zece baieti de-ai mei, din Rahova, care m??nuiesc perfect sabiile Ninja, ca sa-l apere - si atunci de-aia m-a invitat. Am vazut la lansarea aia niste tigani foarte destepti - poeti, scriitori, profesori universitari - si niste fete frumoase de pica, de-alea instruite, cu facultate. Si m-am simtit tare m??ndru ca nu ne fac neamul de r??s. Eu sunt foarte gelos atunci c??nd ?®i aud pe ei vorbind tiganeste, pentru ca eu nu stiu - bunicii mei, parintii mei n-au vorbit si, desi m-am nascut ?®n Braila, eu stiu turceste, stiu greceste, dar tiganeste nu stiu. E cam t??rziu pentru mine sa ma apuc s-o ?®nvat acum, dar ?®n schimb, pot sa-mi arat ?®n muzica mea, fie ca o fac aici sau oriunde altundeva ?®n lume, radacinile mele din neam de tigani lautari. Sunt bucuros si fericit ca lumea stie de unde vin eu si ma apreciaza si ma bucur ca am prieteni, 'rum??ni' buni la suflet si destepti, care vor binele acestei tari. Si, chiar daca, ?®n ultima vreme, sanatatea mi s-a subrezit de tot, pentru 'rum??nii' astia si pentru toti cei care vor, ma duc vinerea la 'Club Nouveau' si duminica la 'Laptaria lui Enache', si c??nt pentru ei, din tot sufletul."
Citate ?®n legatura cu Johnny Raducanu:
Nichita Stanescu: 'Johnny Raducanu si-a ?®nodat inima pe acoperisul timpanelor noastre ca un leopard ?®n rut ...'
Pascal Bentoiu: '???n Johnny, jazz-l traieate; Johnny este jazz. Inventiv. Neprevazut. C??teodata straniu. Adora sa se scalde ?®n armonii voluptoase. Cel mai adesea perfect controlat, dar, - spre bucuria noastra - conductul sau armonic ia uneori drumuri asemanatoare acelor automobile ale comediei mute ?®n care un Harold Loyd reusea cum - necum sa smulga volanul de pe axul sau, iar vehicolul evita miraculos ciocnirile, pe strazile din San Francisco. Sunt rautacios. Probabil invidios ...'
Ion Caramitru: 'Johnny e un singuratic. De geniu. Ce face el acolo, ?®n camaruta lui de la etajul VII al unui bloc din Banu Manta, de nu-l reclama nici un vecin, tine probabil de miracol. Odata urc??nd la etajul VII, cineva care locuia pe acelasi palier m-a oprit sa dau drumul brusc la usa liftului, spun??ndu-mi: - Lasati-o usor, Johnny c??nta! ...'
D. Laurentiu: '... pseudonimul si sinonimul jazz-ului rom??nesc ...'
Sorin Dumitrescu: '... a introdus ?®n jazz institutia autohtona a oftatului ...'
Fanus Neagu: 'Johnny Raducanu face parte din stirpea boierilor de mahon a Brailei, adica a marilor lautari. Povestea lor e veche ca Dunarea si Levantul.
Se trage, Johnny, din neamul lui Petrea Cretu Solcanu. O rudenie de maslin binecuv??ntat cu iedera, ciulini, melancolie orientala si viata care nu se stinge. Bunicul lui Petrea Cretu Solcanu a fost - numai Johnny, golanul asta a ajuns sa poarte baston de maresal, poate vorbi astfel - un Frank Sinatra la curtea Sultanului. Investit cu putere de viata si de moarte, dupa cum ni-l dezvaluie chipul lui zugravit pe peretele din t??mpla de jertfa a Bisericii Sf?®ntul Neculai Vechi, rasplata dreapta pentru fapta de a-l fi smuls de sub securea calaului pe parintele haiduc care, ziua, purta slujba ?®n fata Dumnezeului ortodox, iar noaptea-si muia jungherul ?®n p??ntecele unui turc.
C??ntecul arcusului vrajit a schimbat inima fiarei. Rara ?®nt??mplare ?®mparateasca. Johnny s-a nascut muscata de Dunare, ?®n umbra de salc??m rosu. Menit de ursitoare sa ia un val din unda viorie a fluviului rasarit de luceafar si sa rasuceasca din ea o mie de povesti pe care sa le daruiasca lumii. Din sufletul si m??inile lui cad pe clapele pianului, ca dintr-un nor fermecat, ploi de clipe de aur, v??rtejuri de nebunie, ?®ndemnuri, ca dintr-un nor fermecat, ploi de clipe de aur, v??rtejuri de nebunie, ?®ndemnuri de rapiri din seraiuri, furtuni, napaste, pacate ce se cer ?®mplinite, curcubee, s??nge din genunchii pe care si i-a julit pe strazile Brailei, ?®nhamat la carul sperantei, alaturi de Istrati, M. Sebastian, Schileru, N. Steinhardt. si peste toate o gura de foc din vatra infernului.
Esti, Johnny, un mizerabil print minunat care si-a ales divan de domnie ?®n scoica urechii mele si ?®n fructele viselor ce-mi podesc toate clipele uimite.'
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