Tag: ignacio alperin visual jazz

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Clifford Brown & Max Roach

This is not the first time this album is mentioned in this blog. Furthermore, Joy Spring is my dedication to this album (Joy Spring being the fourth track on the original recording).

This influential album was recorded in 1954 and remains as the best known, and to many the very best, in the short life (two and a half years) of the Clifford Brown and Max Roach Quintet. Describedjoyspring 2014 80x90 by The New York Times as “perhaps the definitive bop group until Mr. Brown’s fatal automobile accident in 1956”, the band managed in its short life span to leave a mark in modern jazz.

The album (first released on vinyl in December 1954) was very well received by critics and the listening public. The album was inducted into the Grammy Hall of Fame in 1999 and it is also included in “Jazz: A Critic’s Guide to the 100 Most Important Recordings” at #34.

Why I love it so much? It is just so good. But also it is warm, sincere, very advanced for its time, and it is also a gorgeous example of exquisitely rhythmic hard bop.

Whether you are a jazz fan, you are beginning to get the taste for it, or you are simply curious, I am sure you will love this album.

So, there is really nothing further to say other than, just enjoy. And have a great Sunday!

Until next time.

Ignacio

sombras nada mas arteba mod3ochreBcard

©2016 by Ignacio Alperin Bruvera

 

Categories
2014 Art works 2015 Exhibitions 2016 exhibtions IN ENGLISH Promoting your Art Visual Jazz

OF HALF WAY HOUSES AND LABERYNTHS

borgesBorges is one of Argentina´s great prides. The kind of author that forces everyone to say “Of course I´ve read Borges!” (be it true or not).

His friend and sometime collaborator, the also brilliant writer Adolfo Bioy Casares, called his texts “halfway houses between an essay and a story”.

Borges was not known as a great lover of music. He enjoyed classical music, and even tango as long as the “bandoneon” was not too prominent.

There is a lovely story about him going, invited by a friend, to watch a tango musician and composer whom everyone said was some kind of “boy wonder” of the new tango wave. One that borrowed a great deal from his New York upbringing and carried a very jazzy influence. His name was Astor Piazzola.

Borges apparently stayed for about six songs, and suddenly turned around, looked at his friend, and said: “Let´s go. Apparently they decided they were not going to play tango tonight”. Or so the story goes.

If you have never read him, recommended works by this very influential author (some have gone as far as to say that he may have been the XXth Century´s best writer: http://www.bbc.com/culture/story/20140902-the-20th-centurys-best-writer ) could be Ficciones (The Garden of Forking Paths, The Circular Ruins for example), Laberynth, The Aleph, and the earlier The Approach to Al-Mu’tasim (1938).

Borges is a bridge. A bridge between old and new, North and South, Classical and modern trends. In  way he is also a bridge between Europe, Africa, Asia and the Americas. He is all about being new while rehashing what has already been done. Showing that what we create is more like what we “recreate”. His stories are wonderful to read, despite their inherent complexity, and they always feel new.

Clearly, he was also more open minded than many gave him credit for, since even after allegedly leaving Piazzola´s concert and despite his known dislike for the bandoneon, shortly after he went on to join forces with him in a project in 1965. From that wonderful coupling we have this beautiful song simply called: “El Tango”.

 

Borgianian Kafkaris(2016)_edited.jpg
BORGIANIUS KAFKARIS (2016) by Ignacio Alperin – 150cm x 150cm –

Until next time!

Ignacio

PhotoFunia TV interference Regular 2014-08-04 01 55 05

©2016 by Ignacio Alperin Bruvera

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Frank Sinatra

IAB_THINKING OF YOU_120X40CM_smllr(2013)
THINKING OF YOU (2013) by Ignacio Alperin

Ready for a treat this Sunday?

This Sunday Concert is dedicated to a little gem I found on YouTube not long ago.

From 1957, here is the first modern pop star, the King of the cool, the jazz voice made from honey and wine. This is Frank Sinatra in concert live in Seattle.

There is nothing new I can say about Ol´Blue Eyes, so I will just invite you to get comfortable, close your eyes, imagine you are sitting there waiting for the introduction and simply enjoy one of the best at work, live!

 

See you next time!

Ignacio

entrevista2014

©2016 por Ignacio Alperin Bruvera

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Red Garland

Groovy (2013) 90x90cm acrylic, ink and oil based paints on canvas.jpg
My take on a classic… GROOVY (2013) by Ignacio Alperin

William “Red” Garland was born in Dallas, Texas, in 1923. He began his musical studies on the clarinet and alto saxophone but in 1940 switched to the piano.

After WWII Garland, already recognized as a very promising young musician, began to perform around Boston, NYC and Philadelphia with the likes of Billy Eckstine, Roy Eldridge, Coleman Hawkins, Charlie Parker and Lester Young.

But he was finally thrown into the spotlight when, in 1954, he joined the Miles Davis Quintet that included John Coltrane, Philly Joe Jones and Paul Chambers. Together the group recorded their famous The New Miles Davis Quintet (1954), Workin, Steamin’, Cookin’, and Relaxin’.

Garland also played on the first of Davis’s many Columbia recordings, ‘Round About Midnight (1957). Though he would continue playing with Miles, their relationship was beginning to deteriorate. In 1958 he was fired by Miles but he nevertheless returned to play in another classic record: Milestones. He continued recording until his death from a heart attack in April 1984 at the age of 60.

In 1958, after his separation from Davis´ band, Garland formed his own trio. From the period just prior to his break up with Miles, we have something really nice for you this Sunday.

It is none other than “Groovy”, recorded in 1957.

A wonderful recording with Garland, Paul Chambers and Art Taylor.

I hope you enjoy it.

Until next time (and have a great Sunday!)

Ignacio

entrevista2014

©2016 by Ignacio Alperin Bruvera

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Bill Evans

dald workinprog sm_edited.jpgThere isn´t much that can be said that has not already been said about Bill Evans.

bepianoIn what was described by long time friend Gene Lees as the “longest suicide in history”, Evans tragic life marked by great loses and drug abuse ended in 1980. Yet his mark was left for everyone to see and admire, and he is perceived as the main reformer of the harmonic language of jazz piano. He has influenced generations of brilliant pianists, including one of the best and most gifted of the current bunch, the great Brad Mehldau.

He was honored with 31 Grammy nominations and seven awards, and was inducted in the Down Beat Jazz Hall of Fame.

It is time now to get to what is important, and to enjoy Bill Evans in his recordings for the Riverside Label.

Until next time.

Ignacio

entrevista2014

©2016 by Ignacio Alperin Bruvera

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Cannonball Adderley

Paper Moon - detail -
cannon
Cannonball Adderley

Ready for a laid back, relaxed Sunday?

Then you have come to the right place, because this Sunday Concert is dedicated to Cannonball Adderley and his famous album from 1958, “Somethin´ Else”.

Cannonball Adderley gave up his own band in 1957 on the hope, and later realization, that he was going to be a part of Jazz history when Miles Davis asked him to become sideman in Davis’ epic ensemble with John Coltrane, and eventually Bill Evans.

The result? Some “forgettable” works like Milestones and Kind of Blue..

Miles Davis returned the favor and in March of 1958, he appeared on Adderley´s Blue Note Album “Somethin´ Else”, appearing as his sideman in an all star quintet session date.

cannonmilestrane
Miles, Cannonball and Trane recording Kind of Blue

The result is a cool, sometimes laid-back, sometimes rhythmic, sometimes groovy and boppish, but all together, a glorious album that more than 50 years later we can enjoy on a slow Sunday.

So here it is, “Somethin´Else” with the Cannonball Adderley Quintet featuring Miles Davis.

See you next time!

Ignacio

entrevista2014

©2016 por Ignacio Alperin Bruvera

Categories
EN ESPAÑOL previous works by the same artist Promoting your Art Videos Visual Jazz

Reminiscencias de Kerouac

PHOTO_20160107_225119_edited
PAPER MOON by Ignacio Alperin- detail –

2

Fue en un momento difícil sin vueltas ni contratiempos que no fueran los contratiempos que nos llevaron a donde estábamos. Ese lugar desde donde era muy difícil salir más allá de nuestras buenas intenciones y de nuestra sensación constante de tener algo más para hacer con nuestras vidas que no fuese esto. -“Esto”- repetía la negra, – “Esto”- repetíamos los demás.

No había energía ni para buscar sinónimos ni para sonar más creativos o intelectuales de lo que éramos y lo que éramos era muy pobre comparado a lo que queríamos ser. -“Y si vamos a ver al topo que siempre tiene algo interesante para contar y entre tanto cuento que es en parte mentira en parte exageración y en parte verdades a medias tal vez se nos ocurra algo nuevo para hacer”- dije yo sin mucha convicción.

La verdad es que cualquier cosa era mejor que “esto” y con tal de irnos de acá y terminar en otro lado todo parecía ser mejor. Las vueltas de la vida nos había juntado como las migas de un mantel cuando viene el mozo con la palita y junta la miga de pan con el pedazo de milanesa con el papelito del edulcorante con una uña mordida y un par de pelos largos que pueden ser nuestros o de lo que estuvieron antes o del mismo mozo. Lo que nos unía no era amor, ni compasión, ni amistad ni nada que se le pareciera sino que lo que nos unía era el empujón que nos habían dado a todos para sacarnos de ahí y ponernos a todos juntos acá. Como las migas del mantel.

IAB_Finding my way to you_2013_60x80cm_edited5
Finding my way back to you (detail) by IAB

No me pregunten por qué pero todos dijeron vamos a lo del topo y la negra arrancó primero conmigo atrás y claro atrás mío el vivo de Juancho que decía en voz baja -“vos siempre por atrás de la negra”-.

Confieso que me importaba todo poco. La negra era la negra pero no tenía nada de negra. Era peliroja cortita segura de sí misma e insegura de todos nosotros y por eso siempre tenía una copa de algo cerca ya que como no podía borronearnos a nosotros de su realidad se borroneaba ella. Y ahí estábamos, todos en camino a lo del topo.

Jack era el último de la fila india que formábamos indivisibles bajo el sol tajante y sonante de las 3 de la tarde en pleno verano de 35 grados y 80 de humedad y baldosas flojas y asfalto humeante y poca gente en la calle o mejor dicho nadie en la calle solo nosotros que con tal de salir de “esto” íbamos camino a lo del topo, aunque yo que era el que lo había propuesto ya me estaba arrepintiendo.

Jack tenía esas cosas tan típicas de los yanquis que los hacen simpáticos e incomprensibles a la vez como cuando están muertos por una minita como la negra y solo se atreven a traerles una cerveza y mirarlas fijo sin pestañear y escucharla con cara de tarado y una timidez espantosa y al mismo tiempo era el primero en falopearse como un cerdo dormir hasta cualquier hora sin bañarse por días y cantar a viva voz con un micrófono en mano en uno de esos barsuchos llenos de viejas que bailan y se quieren voltear pendejos que cantan con un micrófono en mano, eso sí después de estudiarlos a media luz en compañía de una ginebra como si eso fuese estudiar.

Dimos vuelta a la esquina y ya estábamos tocándole el timbre al topo que seguramente estaba durmiendo desde anoche y soñando con alguna de sus fabulaciones persecutorias que por lo general involucran canas, políticos, marcianitos verdes y algún animal que al final de la historia le habla y le dice algo profundo como… -”lo importante es crecer y no durar”-. –“Bajá!”- le gritaba la negra en el portero y solo se escuchaban la tos con algún insulto al aire y preguntas como quienes son ustedes para venir a joderme en el medio de un día así cuando nadie los llamo y quién dijo que yo los quiero ver ni escuchar por acá.

Todo seguido del -“Bueno suban pero no jodan demasiado”- y entonces ya sin ganas pero lejos de “eso” subimos….

“Reminiscencias de Kerouak” es un humilde homenaje al novelista. Escrito por mi como lo hacía él. Al vuelo, sin parar y en poco tiempo, respetando los sentidos y las cadencias, pero muy poco la puntuación formal. Pretende simplemente expresar mi admiración y ejemplificar un estilo único.

Espero que les haya gustado.

Jack Kerouak

Para los que no lo conocen, Kerouak es considerado el escritor más importante de la Generación Beat con varios de sus libros convertidos en lectura obligatoria para quienes desean comprender más esa época del siglo XX. Tanto “En el camino”, como “Los Vagabundos del Dharma” o “Los Subterráneos” se han convertido en novelas de culto para muchas generaciones.john-cohen-jack-kerouac-listening-to-himself-on-the-radio-800x800.jpg

El estilo de Kerouac se puede comparar con una improvisación del Jazz y particularmente del Bop, estilo que korouak amaba. En sus escritos hay repentización, creatividad y una aparente anarquía que está siempre a punto de perder al lector y que, sin embargo, termina atrapándolo como una compleja red.

El estilo de Kerouak no sigue reglas estables ni definidas, y se asemeja tal vez más a la conversación entre dos amigos algo pasados de alcohol, muy entrada la noche. Son siempre historias de “caminos”, de gente algo nómade, avanzando siempre hacia algún lado, complejas y absurdas a veces, pero festejando sin respiro todo lo grandioso de lo simplemente cotidiano.

 

©2016 by Ignacio Alperin Bruvera

Hasta la próxima!

Ignacio

entrevista2014

©2016 por Ignacio Alperin Bruvera

Categories
IN ENGLISH previous works by the same artist Promoting your Art The Sunday Concert (Jazz) Videos Visual Jazz

THE SUNDAY CONCERT: Benny Golson

IAB_That Other Day_2015_detailThis is the first of my Sunday Articles dedicated to a Jazz Legend.Golson-Farmer-resized

This Sunday, the first of the series, it is dedicated to a Bebop Legend: Mr Benny Golson.

Born on January 25th, 1929 (he is now age 87), Golson is a much loved (and many times forgotten by younger generations) hero of one of the most important eras of modern Jazz.

He was part of a bunch of musicians from Philadelphia who would in time change the way we saw Jazz. As a young kid he used to play with other promising musicians, people like the young John Coltrane, Red Garland, Jimmy Heath, Percy Heath, Philly Joe Jones, and Red Rodney (nice school friends to have if you ask me!).

After several bands straight out of college, he joined the “big leagues”, playing from 53 until 59 with Tadd Dameron, Lionel Hampton, Johnny Hodges, Earl Bostic, Dizzy Gillespie, and Art Blakey, with whom he recorded the classic Moanin’ in 1958.

220px-Benny_Golson's_New_York_SceneIn 1995 Golson received the NEA Jazz Masters Award of the National Endowment for the Arts. In October 2007 Golson accepted the Mellon Living Legend Legacy Award presented by the Mid Atlantic Arts Foundation at a ceremony at the Kennedy Center. Furthermore, during the same month, he won the University of Pittsburgh International Academy of Jazz Outstanding Lifetime Achievement Award at the university’s 37th Annual Jazz Concert in the Carnegie Music Hall. In November 2009, Benny was inducted into the International Academy of Jazz Hall of Fame during a performance at the University of Pittsburgh’s annual jazz seminar and concert.

So, after reviewing this “young man´s” incredible credentials, how about if we just get to it!

Here is the first of our Sunday Jazz concerts.

I invite you to simply enjoy the glorious music of Mr. Benny Golson.

Until next time (and have a great Sunday!)

Ignacio

entrevista2014

©2016 by Ignacio Alperin Bruvera