Electric Shaver For Ingrown Hairs

Chiaroscuro Live: Ralph Towner meets Paolo Fresu

The concert of 'consisting of two unusual Ralph Towner (Chiarra) and Pa ol or Fresu (trumpet, flugelhorn) has convinced the public of the Teatro Dal Verme . Tuesday, December 8, 2009, in a dark and humid afternoon in late autumn, viewers flocked to the theater for the final performance of Music Club, the show created and produced by journalist Enzo Gentile, saw action in one of the most inventive and original guitarists recent decades, alongside a good trumpet player who many hail as the exponent of new cool jazz Italian (whatever that means this bombastic definition). The origin of the highly successful album Chiaroscuro, released November 6, 2009 for the ECM label , there is an unconscious

against between Towner and Fresu in 1994 in Sardinia, at Punta Clara, during Jazz Festival of Sant'Anna Arresi . The restless personality of Ralph Towner and serene nature of Paolo Fresu have found several points of contact, with mutual respect which the two authors have dim

ostrato.

Angels @ Demons met Ralph Towner backstage, moments before the concert began. is was an opportunity to

talk about the relationship between Towner and the label that gave him fame and freedom of expression, the ECM.

Last year, ECM, the label founded by Manfred Eicher in 1969 and reprinted - in the series Touchstones - your albums Solstice and Batik, as well as some records of your group, the Oregon . It's been a long time since the first release of those jobs: What do you remember about that period?

"Since its inception the label ECM invited his players to make the discs in a short time: two days to record and mix for one day. The artists had to be able to work fast, to express something and really do it very quickly, without the chance to try again - as happens in many musical productions - for weeks and weeks until it is something good. The executions were rebuilt to the limit once or twice, not more. It is basically carved in the studio live album.

What was the method of work of Manfred Eicher?

"Manfred Eicher locate and contact the music, follows the work of the engineer, inspired and select all the album art, funded the production. There was a strong appreciation of individuality, diversity and community, which were protected by a good grassroots organization. Eicher gave integrity to the overall project. Working with ECM is a great opportunity for me, this label has documented my life in music. "

In your album you find the classical tradition, freedom of expression and appeal of jazz to contemporary sound mixed in ever new ways.

"If you listen to my records in sequence includes all of my musical evolution. I have always gone forward without looking back. On the other hand, my music does not have the resonance that forces repeat business models profitable. Generally the most important thing for me is that music is honest, unique, original, consistent with the taste and the desire of authors and performers. I always paid attention to the ways of the world, as a child, when I listened to the records of my brother. However, do not try to include thousand styles in my style is more oriented to identify my personal musical voice. "

left photo: Ralph Towner - pictured right: Paolo Fresu

Can You Have It Toxoplasmosis More Than Once

Hypnotic Brass Ensemble

A band of nine items, assorted in an unusual way: eight brothers who play brass instruments and a drummer (who has no family ties to the fiatisti). A powerful blend of funk, jazz, orchestral, hip-hop. A story in music was born in 1996 in response to a family bereavement and fed every day, concert after concert, the streets of Chicago and the first theaters in New York City then. A career built in total autonomy, self and independence , printing and selling directly to the public hundreds of thousands of records. All this - and much more - it 's Hypnotic Brass Ensemble , who will perform at the Teatro Manzoni in Milan Sunday, December 13, 2009 . An exceptional event for two reasons: (1) will be the only Italian date and (2) for the occasion the group will join the father of eight fiatisti, trumpeter and composer Kelan Phil Cohran - 82 years old last May 8, one of the pillars of the avant-jazz in the curriculum which include dry few important albums including

" On The Beach" ( with the ' Artistic Heritage Ensemble "

and" Interstellar Low Ways "(with Sun Ra Arkestra ).

Warning!

The concert will begin on stage at the Theater at 11:00 but the performance

take the attack in Michigan Avenue Milanese , ie in Via Manzoni .

Meet at 10:45 , right in front of the theater.

ticket: 12/15 € + presale

Reduced price: 8 / 11 € + presale

For information: www . aperitivoinconcerto.com

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A Night in the Old Marketplace

In 1907 the writer Yitskhok Leybush Peretz writes " A Night in the Old Marketplace ," a drama in which life and death come together around a well. Hundreds of people take turns, Itzhak dall'alcolizzato to his deceased wife Sheyndele, from the grotesque to the monstrous Badkhn Gargoyle. Yiddish Folklore, madness, and macabre humor ecstasy leaden join in one of the legendary masterpieces of Jewish theater. In the nineties the director Alexandra Aron , lyricist Glen Berger and acrobatic composer Frank London (founder of Klezmatics , Hasidic New Wave , Klezmer Brass Allstars) decided to face a mission impossible : transforming the work of Peretz in a musical . The result, achieved after 10 years of work, is an incredible mix of Jewish music, jazz, experimental, post-modernism and a bit of rock'n'roll.

The exhibition in Milan on 29 November 2009 (at a gremitissimo Teatro Manzoni ), at which was co-opted the narrator visionary Vinicio Caposs ela , was greeted with joy by the public.

Frank London told Angels @ Demons : " A Night in the Old Marketplace is a ghost story, permeated by elements of philosophy, Judaism, the political differences, for deep reflection that compare modern and traditional culture, which bring the human and the divine. The huge amount of

characters involved in the original text - for my part, Alexandra and Glen - a complex task of adaptation. The result has thrilled and amazed audiences at every performance, which is catapulted into a magical story connotations and yet very close to a realistic view - tinged with pessimism - the history and fate of the Jewish people. It 'was an honor and a great opportunity Vinicio Capossela have on stage is the the perfect narrator pe r 'A Night In The Old Marketplace' .

About the job of directing, Alexandra Aron said " narrative purposes the most important elements is the music and songs. I have worked to make the story understandable even to those who know nothing of Jewish folklore. The general review was given to Frank London, who have constantly felt free to work and deal with Glen, the librettist. Each of the musicians was put at ease so that he could at his best. The choice of having a narrator 'local' was created to allow the American public does not understand the subtle complexities of the text. Vinicio Capossela has played this role very well, much to our satisfaction and to the public .

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Uri Caine - Interview

Extract from the interview released by Uri Caine on 16/11 / 09
The full interview was broadcast Sunday, November 22 during Sunday by appointment radio " @ Angels Demons "

Uri, do you think interpret traditional Jewish music, playing with the mentality today, as it does on the album " Secrets " who sees you in a quartet with Mark Feldman, Greg Cohen, Joey Baron , is a way to reconsider the ancient musical structures and, paritre from this, build new languages?
"Many of the songs in 'Secrets' as' Z'Chor Hashem' or 'Nigun''Lubavitchers are part of my earliest memories. My family used to play and sing these songs and others on Friday evening, consumed as musicians who play jazz standards by George Gershwin or Cole Porter. It was a great challenge to play this music because although structurally simple to be able to improvise you have to force certain habits that are learned in jazz. "

Improvisation is intuition, invention or interaction?
"All these things together. Improvising means to keep alive the attention, play what you would not have waited to play, expect the unexpected. Above all, cultivate the exchange relationship with oneself and with others. I mean, the dialogue between musicians should be developed, as it is necessary that everyone works with their potential to enhance and refine it. It is essential to practice and keep on going, not to be trapped in the cold perfectionism, preserving the spontaneity.

Great musicians like John Coltrane knew a lot of work on their technique and at the same time, they kept alive the ability to capture the moment that creates impromptu improvisation. This is not to stay in his room playing scales all the time but to work with others, everyone feels connected. There is a strong connection that unites all types of music and, consequently, all the musicians. "