JAZZ AND MORE FESTIVAL 4, Sibiu, Romania
Founded in 2005, JADD is a cultural Association for promotion and diffusion of experimental, avant-jazz and improvised music. The organization, which is based in Bucharest / Romania, promotes and supports artists working in free improvisation, experimental musics and other new forms of art. JADD brings composers and musicians from across the world to present their work to local audiences. JADD is equally committed to helping Romanian composers and musicians realize special projects with potential impact on their careers. The organization commissions new works and encourages joint performances with visiting artists.
CARLO ACTIS DATO / BALDO MARTINEZ
Carlo Actis Dato, bass clarinetist and baritone saxophonist, and Baldo Martinez, double bassist, create an energetic avant jazz duet. Both artists have a background in ethnic music as well as jazz, which lends the music a European folk flavor in places. Theres also a humorous component to their interaction, but they never allow jocularity to get in the way of substantive music making.
Member of ITALIAN INSTABILE ORCHESTRA, six times voted as the best group in Italy, leader of Actis Dato Quartet, Atipico Trio or Actis Band, Carlo Actis Dato is one of the best italian avant jazz artists and ranked among the best baritone sax players worldwide. He played with David Murray, Ken Vandermark, Cecil Taylor, Lester Bowie or Joe Mcphee among many many others.
The Galician double-bass player Baldo Martínez is one of the most representative musicians within Spanish contemporary jazz and one of those with greater recognition outside of Spain. In 1999 he was asked to lead „Mino Project” in the International Jazz Festival in Guimaraes, Portugal, considered to be one of the most important within the new European jazz scene, „one of the most emotive, ambitious, exuberant and intelligent projects that has appeared in Spanish jazz in a long time”.
Dato and Martinez demonstrate that you dont need a large ensemble, a big PA, or even a drummer to make inventive, rhythmically charged music with startling immediacy. Their music is an engaging, entertaining, enlivening listening experience. ( Christian Carey, Splendid Magazine)
VIJAY IYER / RUDRESH MAHANTHAPPA
Pianist VIJAY IYER and alto saxophonist RUDRESH MAHANTHAPPA represent a new generation of American jazz musicians who explore the cultures of their ancestry through their music. The sons of immigrants from India, they draw from Asian, African, and European traditions to create original music that is beyond category. They have gained recognition from audiences, musicians, and critics alike as world-class improvisors and composers, outspoken young Asian American voices, and important forces in the music world. Since 1996, Iyer and Mahanthappa have worked together constantly, performing their cutting-edge original music to widespread acclaim around the world. In spring 2006, ten years after the two began collaborating, Savoy Jazz released their first album as a duo, titled RAW MATERIALS. Time Out New York calls it „their most striking collaboration yet. A series of confident duets, the set combines stateliness with rawness… Its like seeing two sides of the same coin.” All About Jazz hails the disc as „a total triumph from beginning to end.”
VIJAY IYER was described in The Village Voice as „the most commanding pianist and composer to emerge in recent years” and in The New Yorker as one of „todays most important pianists.” He has released twelve highly acclaimed albums, most recently „Tragicomic” (Sunnyside 2008) with his trio & quartet, „Door” (Pi Recordings 2008) with the trio Fieldwork, „Still Life with Commentator” (Savoy 2007) with poet-performer Mike Ladd, and „Raw Materials” (Savoy 2006) in duo with Mahanthappa. The Downbeat Magazine International Critics Poll ranked him Number 1 Rising Star Jazz Artist and Number 1 Rising Star Composer in 2007 and 2008 – winning top honors in both categories simultaneously for two years in a row – and he has consistently placed near the top of these and the piano categories since 2001.
Guggenheim fellow RUDRESH MAHANTHAPPA is one of the most innovative young musicians and composers in jazz today. Named a Rising Star of the alto saxophone by the Downbeat International Critics Poll for the past four years, 2 in 2006, he leads/co-leads seven groups to critical acclaim. His most recent release for Pi Recordings Codebook (2006) was named one of the Top Jazz Albums of 2006 by The Village Voice, Jazztimes, and The Denver Post to name only a few and received rave reviews from Downbeat, Jazztimes, wired.com and Science Magazine. In Europe, Codebook received the “Choc” (highest) rating in France Jazzman, 4 stars in the UKs Jazzwise, and received the “Bollino di Marzo” from Italys Musica Jazz. As a saxophonist, Mahanthappa has achieved international recognition performing regularly at jazz festivals and clubs worldwide.
RAW MATERIALS, their duo project, engages the listener with intelligent melodies and harmonies combined with wonderfully layered rhythms, epitomizing new jazz at its best. Their ongoing musical collaboration showcases their strong creative alliance, their common perspectives and contrasting dispositions. The duo has premiered and recorded an evening-length work commissioned by the Rockefeller Foundation, had a performance broadcast on Swiss Radio, and appeared at international festivals in Strasbourg, San Francisco, Seattle, Perth, Melbourne, Vancouver, the Hague and Montreal, among others.
Musician/Composer/alto saxophonist Marco Eneidi has learned music by way of the oral tradition from his many close friends and mentors. Aesthetics, composition and the organization of sound structure comes mainly through two close personal friendships with Bill Dixon and Cecil Taylor. Composition teachers have included William Allaudin Mathieu, Pauline Oliveros and Alvin Curran. On the horn would have to of course include Sonny Simmons for sound, Jimmy Lyons for speed, and Jim Pepper, Dewey Redman, C – Sharpe, Don Cherry and Earl Cross for love and support. Time/Space/Rhythm and the snap-crackle-pop of life from Denis Charles, Jackson Krall, Spirit and Donald Robinson. And Way Down Low from Wilbur Morris, Peter Kowald, William Parker and Lisle Ellis.
Recent work include performances and recordings with Paul Lovens, Georg Graewe, Ken Vandermark, Damon Smith, Butch Morris, Peter Broetzmann, Han Bennink, Andrew Cyrille, Bertram Turetzky and drummer Sabu Toyozumi.
Carlo Actis Dato – baritone & tenor saxes, bass clarinet
Davide Tilotta – alto sax, clarinet & bass clarinet
Beppe Di Filippo – soprano,alto & baritone saxes
Everything you have always wanted to hear from a reed instrument but were never able to put into words. Everything you imagined it might be possible to do with a plethora of saxophones and clarinets but never dared request. Satirical, serious, undefinable, ironic, meticulous, contemporary, futuristic, dated, impassioned. These are some of the adjectives which have been penned by the international press to describe the outrageous and impenitent spirit of the Trio. Four octaves of madness multiplied by three, plus sixty fingers (you need more than just a head to make music!) and what you get is the most unusual summit meeting of instrumentalists ever put together in the last two millennia. It is a group which is unbelievably ahead of its past and surprisingly behind its future. The sonic universe which the Atipico Trio navigates knows no frontiers and you need neither passports nor visas to travel with the Trio from the Caribbean to the Middle East, from Africa to the Balkans, from North America to Japan…All you need is music, be it jazz, rock, Afro, salsa, improv, ethnic or whatever. Not forgetting that the beauty and SAX-appeal of the three has been legendary ever since the beginning of circular breathing!
Leo Svensson – cello, musical saw, percussion
Henrik Olsson – drums, metal bowls, percsussion, piano, electronics
Johan Arrias – alto and baritone sax, percussion, electronics
The members of GUL 3 met back in 1994.Svensson, Olsson and Arrias were at the time studying classical music, and their meetings ended up in roaring and exploring improvisations, often late at night, frustrated with the traditional way of making music. They all sensed the possibility to find a more direct and less overweighted way of making music. To just grab any obstacle, make a noise for what it’s worth and put it together with other sounds. And here we are today in postmodernist society and music.The enigmatic flame they had started with Gul 3 was strong enough to keep them together. In 1996 they entered the University College of Music in Gothenburg, studying as a trio. This launched a four year long project of discovering what is inside their improvisation, and the subject on a larger scale.Since then they have released three full length albums, made numerous tours and projects , including music for silent movies, dance and theatre.In 2006 Gul 3 worked with Japanese guitar player Tetuzi Akiyama.They toured Sweden, recorded for SR (public radio Sweden) and did a studio recording produced by Johan Berthling.
”For Gul 3 improvised music has always been connected to conceptual ideas, written music and graphic notation; our influences from classical music, jazz, noise and Fluxus orientated minimalism are brewed down to ONE musical unity”, as the trio themselves proclaims.
Gul 3 is the shit. Or ”As if Ornette Coleman met Brian Eno in the late 70s”, as Christian Falk, one of their first record producers, stated after seeing their performance at the festival Sounds 99 in Stockholm. Other fans who experienced the early live sessions and Gul 3’debut „Soul”, includes such luminaries as Mats Gustafsson, and his friends in Sonic Youth, Thurston Moore and Jim O’Rourke, who told us that they remained speechless. Why? Gul 3 is *the shit*!
In the liner notes for their debut ”Soul”, John Corbett the Chicago musical oracle, wrote lyrically about the band’s almost macabre sense of interplay, and how their slow motion playing style cannot be defined through references to other astists work or aesthetics. Gul 3 is something else. Sure, Johan Arrias saxophone playing can be associated to Julius Hemphill and Lee Konitz, but it has a twist of it’s own, it’s a satellite per se. The same can be said about Leo Svenssons ”doublebass–like” cello playing and Henrik Olssons conciously unforced percussion style.
Gul 3 melts together fluxus inspired minimalism, conceptual ideas, melodic beauty and noise. ENJOY!
Andreas Willers – git, devices
Frank Paul Schubert – sax
Rudi Fischerlehner – drums
Free improvising trio, based in Berlin. About their CD on Farai-records: „… a strong, tough piece of freestyle music with it’s historic origins still traceable. But it’s placed as an amalgam on a far remote place – cunning, heartfelt, in-your-face stuff“ (freistil, Austria) //// “When the trio gel and have purpose, the result is impressive” (the wire magazine, 2007)
ACTIS DATO/ BALDO MARTINEZ, ATIPICO TRIO and GUL 3 – JADD projects, first time in Romania!!!