Dealing not pure jazz, but also free from those already created music, and who has written chamber works and music for theater and film, and suggested expanding the concept to combine jazz and the artists' so-called "alternative" music, ie music of all genres, not related to pure classical or contemporary products show business (it is modern, because the best of these old products are gradually turning into classics or jazz evergreen themes). He suggested the name "Jazz Globe Award, as the foundation of modern jazz is not just American music, and the best modern jazzmen - not always the Americans. And the music and performers from around the globe - is the motto of the association, which is 2 years ago held the first, a year ago - the second, and in November-December this year - the third "Jazz globe. Naturally, all of them passed with the support of artists and the Center for Absorption of Immigrant Absorption Department of the Jerusalem municipality, which became within two years the only sponsor of the festival, is gaining momentum. In the Jazz-Globus - 2004 "at the four concerts were only about 50 local musicians, the next year on stage in five concerts went for more than 50 Israelis and four visitors from the United States, Italy, Germany and Lithuania, the last festival, which consisted of six concerts gathered at the "home" scene ICC twenty ensembles, which were about 60 musicians. Seven of them were abroad - the U.S., Russia, Lithuania and Sweden, the rest - the fatherland.
The festival was opened Jerusalem miracle baby, look at who escaped all Israeli jazz and more jazz community. Even zhaluyuschie usually not serious art, the Israeli top-rated evening news program "Mmabatho" and "News + comments" mouths of folk favorites Haim Yavin and Helen Lagutina announced that opens the festival, with the Yavin (I think, saying the first time in 20 years, the word "jazz" ) with a special honor, said that the miracle boy lives in Jerusalem, apparently, unaware that his mother was born in Moscow. A boy named Ariel Lani, he was 9 years old and he was 4 years studying classical music in the piano and violin (!!!) and 2 years - jazz. First on my mind a jazz prodigy insanely talented, but, in my opinion, overly fond of free jazz, not yet fully mastered the 100-year heritage of jazz. That is why some of his fantasies on the theme of standards are too far away from themselves to a certain proper form of play is not enough. Ariel transfigured, when the scene came his teacher bassist Jean-Claude Jones (a great expert on free-jazz), and began to play a more rigorous and more interesting. In my opinion the most successful boy played in the jam-seshn when the traditional theme of improvising with him from 3 to 6 people, and he was obliged to solo and accompaniment, and it was the last he did brilliantly, demonstrating not only the ability to play, but the ability to listen that jazz meets infrequently.
Immediately after Ariel was on stage duet "End Bob Dick. Alas, part of the public, at this moment, left the room, showing interest only to the sensation. In the hall were true fans of jazz, not expenditure to the end of the first day - until almost midnight. The remaining five days of the festival and continued until midnight - every performance lasted about an hour, and during intermissions jazz fans heard and talked enthusiastically recalled former ... Remembering what it was, because on the stage were replaced by five generations of musicians! "Bob End Dick" (violinist and bassist Vladimir Yurochkin and guitarist Dmitry Gorelik) were jazzmen still young, but no longer young. A bright and irresistible multimuzykant in alliance with forgettable in their infinitely fascinating improvisations by guitarist-acoustics were really jazz, bringing a sacrifice of all the music on stage. In their game was not a drop of Commerce and narcissism. Some pieces, however, were not completely balanced - the musicians were forgotten in the music and a bit forgotten about the audience, but "Bob End Dick" was the main thing - jazz revelation.
Trombonist from Sweden Eli Fayngersh, coming on stage in splendid isolation, arranged with the help of his instrument and many electronic devices forty-minute act, the audience plunged into amazement. Fayngersh - not a jazz musician, but his energy and ingenuity are the envy of any jazzman. I will add here a brilliant possession of the instrument (the Manhattan office cheekbones Music "and work in the orchestra" Meropoliten Opera "speak volumes) and the unique ability to read poetry on a variety of languages and the ability to organically embed poetry in a musical act that has occurred not only in solo performance Eli, but also in the program «Tabula Rasa», where he became partners with Israeli pianist Uri Brenner, a Lithuanian drummer Arkady Gottesman and the US - Russian tubist and vocalist Arkady Free-Man. There was no electronics, but it was an improvisation on the "clean slate", in which the supreme mastery of the quartet combined with a delicate taste, a professional sense of form and an infectious sense of humor. Almost tragic episodes of the music framing Brodsky's poems were accompanied by bluesy scat black white Free-Maine, joint improvisations on tuba and trombone passed almost in a fight of two friends who played together for another 5 years ago in New York, and random sounds on the piano and drums suddenly transformed into the St. Louis Blues, "... in the form of a waltz.
Finals each concert was devoted to experiments. The first evening ended with a student quartet "Jazz-N-Roll", in which today's most popular rock songs were heard in different jazz styles, from swing to hard bop. Each composition was nicely assembled, was not overloaded with solo fragments, but was not specifically made easier for very wide range of fans - all felt the school Fame Ganelina, pianist, teacher of Red Omri. (Name-born Israeli inherited from his grandfather from Belarus). At the end of the second night made himself Ganelin in tandem with Petras Vyšniauskas - one of the leading contemporary soprano saxophonists in Europe. (Vpochem, and in America, I think this will not hear). Petras has a unique sound and the finest kind of lyrical jazz poet. In their compositions with Ganelin melody and harmony always prevail over the dissonance and conflict (as opposed to ensembles Ganelina with other partners) and injected into the torpor of all students, regardless of their degree of preparedness for the free music.
Last evening and completed the ensemble, led by Ganelin - Alliance - 2006 ". It was a completely different music, although the onset of action with a long and deep solo on tenor sax Alexei Zubov. The undisputed protagonist of the festival, the best saxophonist in Moscow for 30 years, having left 20 years ago in America, disappeared for most of their fans. Appearing for the first time a month ago at home (where noted the 70 anniversary), he also first came to Israel, where he waited for a meeting with old friends and younger colleagues who remember him on the Soviet scene, and even more the younger generation of jazz musicians, for whom the Union Zubov had disappeared legend. Alexei four out of the festival scene, recalling his divine sound, impeccable technique and completely non-standard jazz mentality that has allowed him not only to play brilliantly "old music" but also realize their old dream - to go on stage in fridzhazovom composition. "Alliance - 2006" together Zubov, Ganelin, Fri-Maine, and Gottesman in the seemingly strange ensemble, initially reminiscent of a quartet of well-known Krylov's fables in which the eyes of the public as to the missing connection began to emerge and become inseparable ropes complete understanding and perfect harmony .
Another guest of the festival, pianist from Russia Grigory Fain, do not change the style, but beautifully demonstrated its commitment to the idol - Oscar Peterson. (This is obviously been heard on jam in the Jerusalem jazz club "gang", which has become this year as sponsor of the festival. The tiny stage Fain, Zubov and Free-Maine gladly played music together with local young musicians.) Unfortunately, Fain - Composer gives Fain - paianistu: in the composition of songs by Gershwin lacked drama, but his own plays, played by Gregory, along with leading Israeli violinist Sergey Ostrovsky were uniform. It is notable for the appearance Fain Valery Lipets bassist and drummer Eugene Maistrovsky (making the best rhythm section of the festival) and Alexei Zubov, who participated in part of its program.
But Michael Agre smote all look at the traditional piano jazz from the early 21 century. Each year, Misha and different versions of his «Jerusalem art ensemble» (this time the partners were experienced pianist, bassist Edward reasonable and original drummer Paul Shalis) show the original program, which this time combined with Baroque polyphony, the theme of swing era and playful, yet professional Bisov exact composition, in which the play of "Seasons" by Tchaikovsky turns into a different evergreen jazz theme.
The four musicians were an experimental branch of the classics you play jazz. The experiment was a success - this jazz we have not heard, but heard a real jazz drive, with which cultural musicians play their favorite music. American Cantor Robert Bloch, who was born with Gershwin and Kern (as in Russia are born with Glinka and Tchaikovsky), a beautiful tenor voice (which is not always the case and in the opera) sung with feeling loved all the songs that brighten cool jazz pianist Simon Lipkovich. But Sergei Ostrovsky and Uri Brenner played a virtuosic composition Brenner "Gypsy on Blue-Brenner," in which the composer relates virtuoso violin piece with jazz. In his work a lot of witty (but there are also present Ravel, Gershwin and Paganini), but the form of several blurred. Uri, wanting to make a composition as possible and a jazz virtuoso, could not confine itself to the rigid framework. However, the success of the works that has not stopped - the crowd was delighted. In many ways - from a brilliant game and Ostrovsky, and the author, Uri Brenner.
Lipkovich also made a quintet "Rondo", progressing from the festival for the festival: from shy guys, led by an experienced teacher, the ensemble has turned into the school band, playing real cool jazz. But despite the superb solo Dmitriy Shurin, Lipiec and virtuoso bass playing is very grown up for two years, drummer Sergey Malov, magical sound of the piano and soft but passionate style of play Lipkovich - the main advantage of the ensemble.
Natasha Rodionov and Friends of Natasha ", by contrast, disappointing - from the original trio in the first two festivals, they became the standard, and a loud sextet, in which each soloist in every play, forgetting that" Friends "should accompany delicately really good singer. The show Alexander Eisenstadt "School of Jazz" was not the show itself (except for the singing Free-Maine). The idea - to show how the academic master jazz musicians - the original, but the embodiment of it had to spend more effort and more imagination. Disadvantages completely be corrected for the next festival. Another arose in the Jazz-Globus "ensemble, duet" Slavic Bazaar "(Valentin Lazarov keyboardist and saxophonist Dmitriy Shurin) were much more interesting than the previous year, adding to their own Balkan compositions Lazarova two jazz standards.
Leading Israeli saxophonist Boris Gammer, as always, was one of the main "engines" of the festival, making it one of the leaders of jam seshn (later turned the efforts of Free-Maine, and Vyšniauskas in "free jam") and who formulated the scene a brilliant dzhazrokovy "8 till Late », in which a number of the teacher is played by two excellent students of different generations - Oleg Neumann and Yakir Sasson (each plays on" his "sax - from soprano to tenor in the order listed), already mentioned Lipiec and Maistrovsky and guitarist Ilya Selco. Sound reminiscent of the legendary "Breaker Brothers, but the main community ensembles - the highest individual and ensemble skills. Describe the game sextet - employment is not grateful, I note only that it was one of the best gigs at the festival, despite the fact that all he went to a very high level.
Hammer, along with virtuoso trumpeter Gennady Litvak, Lipiec, Maistrovskaya, a veteran jazz pianist Michael Cullen and his old friend and partner Alexei Zubov made a real holiday, meeting in the group "Retro-Jazz. Dialogue Gummer and teeth in the «Body and Soul», solo in Kullu «Blue Monk», claims Bissau poldvenadtsatogo night (when at work tomorrow) and a fantastic «Billie's Bounce» another quarter of an hour - all this, of course, will never be forgotten ...
Another one speech. Or rather, two. Guitarists Roman Alekseev and Evgeny Pisac showed two different programs in which the general was only one - a brilliant performance. In the flamenco-jazz (the program "on Wednesday evening in Jerusalem, parallel to the famous" On Friday night in San Francisco "is obvious - in Jerusalem on Friday night did not play ...) played with them a unique percussionist Moshe Jankowski in" Gypsy Swing "dedicated to the great Django, the trio added Valery Lipiec and Dmitriy Shurin. The scene was brilliant and irresistible group of like-minded virtuosos. Actually, both can be characterized by all the participants of the Third Festival "Jazz-Globe, which ended free-blues, full of" Alliance "as an encore at a furious pace with a furious temper. Slava Ganelin said: "We are so wound up that could play until the morning! But he had to finish the festival. Continue through the year ... ".