For the fourth time in Jerusalem

Though the JazzGlobus festival and the young, but he has his own tradition already. One of them – the final fridzhazovy “Alliance”, in which to visit the Slava Ganelin going to the festival participants wishing to play free music. At this time these were Alexei Zubov, Tatiana Komova and Gershon Vayserfirer…

Notes from the festival “Jazz Globe

Founded in 2004 as a modest review of Israeli musicians, immigrants, the festival is growing year by year. At the first festival over four days were made more than a dozen local soloists and ensembles, the second is for 5 days launched 15 ensembles, and he became “the first international”, as it was played by musicians from Germany, the United States, Italy and Lithuania. This second festival organizer persuaded him to regularity. The third festival was held for a day longer, has collected many more musicians and convinced not only in the regularity of the organizers, but the Israeli jazz aficionados and musicians – from the summer of 2006, the management “Jazz globe have become overwhelm applications for participation in the festival in 2007. As a result, the fourth festival broke records not only the “Jazz Globe, but was longer than many of the old and respected film festivals – it lasted for seven days (from 26 November to 3 December) and gave the scene twenty-one composition!

Like a year ago, the festival opened ensemble Ariel Lani «Take 3”. In his 10 years boy playing imaginatively and brilliantly. Songs of Ariel, published on its second drive, worthy, but the partners of the young pianist did everything that the public has not received proper enjoyment. “Guru” Ariel – bass Jean-Claude Jones, one of the famous Israeli artists avant-garde. Ariel himself drawn to jazz era Davis – Coltrane, calling for virtuosity of the soloists and the strict discipline of the rhythm section. Jean-Claude came out on stage, forgetting that he must accompany his pupil, and not to play free music, why the talented but inexperienced drummer Haim Paskov also began to play with no partners, and by itself. As a result, the boy did not have to play with bass and drums and overcoming them, that impression did not improve. The opening was somewhat blurred, despite the fact that it is the statement «Take 3″ attracted the attention of television, “tactfully moved away immediately after the end of the first compartment. In vain, because the most interesting thing started just then.

Duet “Exlibris” public demonstration of how you can simultaneously play freely and to comply with an unrelenting rhythmic discipline. Thank Ganelin – pianist recognized fridzhazovy classic. Victor Torches – an experienced bass player, playing different kinds of jazz, traditional, and only with Ganelin sometimes play freely. And in this case of lamps, perfectly executing the main function of the bass – the accompaniment, almost never takes the initiative and did not offer Ganelin own ideas, which are always waiting for glory from our partners. This time had come especially for the festival from Washington, Victor changed and reached a very rare for the artist fridzhaza balance between skill and imagination and, in my opinion, the first time, become an equal partner Ganelina. To analyze their performance – a thankless task. I will mention only a fantastically great introduction to the piano and striking joint finale. Between them – solid kicks, and not artificial, like the vodka or grass, and the present, which happens only on the impact of this art.

Third branch was also present. “Old friends” more than once called for “Jazz-Globe ensembles arising from the meeting in Jerusalem partners for many years not playing together. At this time, “old friends” were Israelis Valery Lipiec (bass) and Eugene Maistrovsky (drums), pianist Igor Bril and saxophonist Alexei Zubov, Alexander and Dmitry Bril Bril. Without going into details related, educational and friendly relations between the musicians, I should mention that in the center were Alexey Zubov and Igor Bril, two “LSD” (Soviet Legends of Jazz), musicians, first published together in a scene in the 60 years, but 30 years had not played with each other. Six of “old friends” were only “Caravan” in the finale, and it was not the most successful program number. The climax was when Zubov and Brill were on stage together, and played a sublime composition Zubov “in the spirit of Chopin’s” sounding once in the movie “Forget the word” death “and … the fantasy theme song of Soloviev-Sedogo” Farewell, beloved city “. In jazzmen who grew up in the Soviet Union, where the official broadcast produced almost exclusively of Soviet music, arose sustainable aversion to melody Dunayevsky Tsfasman, Mokrousov and other talented Soviet composers. But Zubov, 23 years in Los Angeles, has long been freed from such complexes and, while not sharing music on the country of residence of authors, by contrast, sees its special mission in providing world amazing Russian melodies. After the “beloved city” sounded, this time with the rhythm-group, Dunaevskogo melody from the movie “Spring”, reminding the brilliant orchestra Lyudvikovsky and his two young soloists – Alexei Zubov and Constantine Bakholdina. (Alas, the magic sound baholdinskogo trombone can be heard only on rare records, but does not resurrect itself Bakholdina.)

The subject of Russian songs evolved Zubov and other concerts – in duet with guitarist Roman Alexeev were made in Latin American rhythms of “Tenderness” Pahmutova and style ” hard bop “” Polyushko-field “Knipper with a small episode from the second piano concerto of Rachmaninov. And in “okolofestivalnom” concert in Tel Aviv, Zubov, Bril and rhythm group (Grodsky – bass and Passover – drums) and sang the song Gurilev “Odnozvuchno ringing a bell”, arranged in the spirit of the Beatles’ song «Hey Jude». I’ll be back to “old friends”. Dmitry and Alexander Брили – mature musicians who are able to exist long ago on the stage alone, without the stamp “Children Bril. Each of the brothers own creative underlining. Dmitri plays soprano saxophone (a rare event in jazz history, in modern “post-Soviet” space jazz except for Dmitry sopranist only Petras Vyšniauskas), has a beautiful sound and impeccable technique, but in my opinion, not very good at improvisation. Alexander – tenor saxophone, his sound is dull (maybe I got the impression against the backdrop of the divine sound tenor saxophone Zubov, who can compare with the sound of Hawkins Gonzalvesa and even gone into some other world classics), but the improvisational imagination Alexander more and its «Sophisticated Lady» was very original. Sons of a famous father had been a long time suffer from complexes, has not yet decided to create an ensemble without a distinguished parent. Now, in my opinion, they should be separated from each other and stepped through brotherly love, to create two separate and different from the composition of the ensemble, each of which will, I’m sure interesting. And to meet the family members may Brilev at numerous festivals, as happened in Jerusalem. Sam Igor Bril demonstrate to the Israeli fans of jazz piano perfect the technique of both hands (the majority of jazz pianists used to play only with the rhythm section, so the left hand hold badly), a rich sonic palette and accurate and clean game in which at any rate could be heard every note ( some current, which are considered cool musicians, compared to Brilev played just his fists, and many notes sounding at the same time, become unpalatable musical porridge) and reminded his old fans of “Invitation to the Blues,” which he performed exactly the like at a concert in 1981, when I heard it first. From jazz is always waiting for the new, but it is difficult to blame the musicians performing for over 40 years old brilliantly executed. A new ensemble sounded in Bril and sons – a great “Working Song” Mingus, who became the result of a joint project of the family and part of the ensemble “Mingus Dynasty”.

The second festival day began with a duet of piano and vibraphone – a combination that does not require this special presentation. In Jerusalem, the scene was not the Americans, Corea and Burton, but the Israelis Alex Katz and Gil Sorin, who went on the road does not follow the classic duo, but have chosen its own path, not close to fusion, but to cool jazz, soft and contemplative. Reproach Alex Katz that he does not put the game no bass and sometimes do not know what to do with his left hand, but praise for the excellent sound and lush improvisation. Gil Sorin – superb vibraphonist, stunningly wielding style bebop, playing exactly, really swinging and not flaunting the ability to publish a lot of sounds. Each note is taken Gilem means more of many who undertake the majority of modern musicians. Gil does not imitate Burton. He, like classic jazz vibraphone Hampton and Jackson played with two sticks (Burton and all of our contemporaries are playing with four sticks) are not chords, but clean melodic lines and this looks like a true American record 40-ies. With duo made singer Simone Arones, sang as a clean, soft and intelligent, as played by a pianist and vibraphonist. However, the singing did not have enough internal energy. Brothers Брили added that energy, joining on the rights of special guests to Katsu and Sorin and received two interesting compositions. Interestingly, it had to play Korii and Burton with two sax?

Roman Alekseev proposed festival program of duets, the first of which was with the accordionist Vitaly Podolsky. Vitali is most fascinated by Balkan music, and in this spirit that were written in 2 of his songs, which were made in the version of “guitar – accordion. Next tandem consisted of a brilliant standard Desmond «Take 5” and the most popular melodies Piatstsoly “Libertango.” All the pieces have been carefully rehearsed, with the two musicians in a given part to feel free enough and allowed themselves to improvised passages. The highest temperature of the musical, an exceptional individual and ensemble technique and a lot of good words. One quibble – after the original prelude to «Take 5″ suddenly burst out absolutely standard response to the painfully familiar music, heard from dozens of other artists. It would be original, but perhaps it was a special reverence to a wide range of fans of jazz, evergreen, which, incidentally, an ovation just for the bright and simple execution of the theme after intricate prelude. The second novel was a duet with his daughter, a young singer Ella Alexeeva. I do not want to grant advances, but, in my opinion, November 28 at the festival debuted an interesting vocalist. The first song was a little girl squeezed in next shackles debut restraint fell, and the third and fourth song modest debutante was transformed into the school vocalist who combine musicality, voice, drive and taste – a very rare combination in the history of jazz in general and jazz in the modern particular. On the duo Alekseeva from teeth above. I should add that conceived the novel and Alex more than able to realize the reasons living in different hemispheres. I hope that this duo – not just the festival scene, and that the musicians will meet from time to time, and that they will have more time to work together. The potential is huge ensemble, the case for the embodiment.

Jerusalem rock group “Dooley” completed the second festival day, a powerful and witty program. Unfortunately, this embodiment of the musical songs of Anton Kucera did not get – the three horn players, two are employees of the Police Orchestra, which was this evening appointed an additional concert in the 200 kilometers from Jerusalem. Some musicians play in various musical groups, regardless of their orientation, “only the money paid, and it is justified – all want to eat. However, should pay for everything, and how the police can not concurrently be a lawyer and a police officer of the orchestra can not play in the group, declaring freedom and complete independence from the madding crowd.

Third day of the festival was opened by an experiment. Bach repeatedly played “on jazz, and, as a rule, it was a performance of popular compositions with rhythmic shifts and accents of percussion and bass. The idea of this experiment belonged to the musicians of the orchestra “The Israel Camerata” bass Gennady Litvin and cellist Alexander Sinelnikovo and was supported by Michael Agre – jazz pianist and composer, educated professional. Between the Bourree from the solo cello suites and the famous re Majeure orchestral aria sounded reminiscences Agre “by Bach, and all appeared before the public a unified and logical composition, which is adorned with a beautiful deep sound academic musicians, who in the next issue of the program changed the jazz string player. Violin-guitar duet “, Eli Hentova and Vladimir Povolotskii became one of the major festivals of discovery. In composition, a standard swing band, the duo plays music, close the era Miles Davis 50s, which is not so much music, but a very high proportion of each of them. Eli and Vladimir do not give the audience a virtuosic product in standard packaging, but offer herself think out and filled pauses and, thus, participate in the performance. In this masterly ability to play standard was brilliantly demonstrated an encore.

Agre this evening went out again on the scene – this time led by an acoustic trio (instead of the declared e). Misha has identified himself that he played as “music on the border between the modal and free jazz, I would define this music as” hot jazz piano 21 century “, which surprisingly combines all jazz styles ranging from swing, professionalism, temperament and the talent of the author and his ability, in the words Sofronitsky, sacrifice on stage, in the words of Miles Davis, playing in the breakaway. Partners were under a Agre. Contrabassist Vladimir “Bob” Yurochkin and drummer Haim Mizrahi introducing a whole with Michael. Not a solo bass and drums is not excluded from the music, everything was subordinated to a single idea. Hall listened fascinated, not applauding after a standard individual solos, but explodes in applause higher moments of delight. None of the standard themes have been named, but it does not upset came for “Autumn leaves” or “Night in Tunisia” – all this listening to jazz.

Concert completed the ensemble, devoted its program memory departed earlier this year, the great musician and a great friend of Israel, Michael breakers. Three tenor saxophonist – Alexei Zubov and Israelis and Boris Gammer Mamello Gaetanopulos, played in the league with Igor Brill, Victor Fonareva and former Moscow (who played in the orchestra Lundstrem), now telavivskim drummer Slava Kupchikov. Almost from the sheet (musicians from 3 countries for a long time to rehearse could not) be inspired and truly improvisational program in which experienced jazzmen have demonstrated the ability to understand each other on the stage. For the first time in many years, I heard a new Igor Bril, and at least one of the plays was his favorite and always played «Body and Soul», and it sounded unusual. The program ended with the play Coltrane «Mister PC», which Boris Gummer played once with Michael breakers…

The fourth day was devoted to the Big Bend. Children’s Orchestra of Jerusalem, played powerfully inspired by its founder and conductor Yevgeny Klyaymanom. However, the special reverence before Zubov and Igor Bril, who played with the band in a pair of solo pieces, children are not experienced. But for Ashkelon orchestra, composed of experienced, Vladimir Ostrovsky, a former Soviet musicians, Brill and Zubov – masters, and play with them was for an orchestra this good fortune, good to hear that audience.
The fifth day of the festival started Israel’s first ever performance of the Moscow Trio “second approximation”. For the festival audience, accustomed to many things, from traditional jazz, 30-ies to the avant-garde combinations Ganelina with different partners, it bombshell. In the ensemble of three source – from folk singer Tatyana lump, composer of the pianist and composer Andrei Razin and jazz from bass Igor Ivanushkin. I should add that all three are well aware academic music, and each of the trio is not only a professional in “his business”, but feels fine and freely oriented in the “crowns” partners. And this is brewed on a subtle taste, consummate professionalism and absolute freedom of expression of musical ideas. Razin wrote songs, but each time they sound different, depending on the hall, the public and the country. In the capital of Israel, Jerusalem, the program “Second Approximation” had only one drawback – it quickly ended, leaving the audience only hope, perhaps, more long meeting at the next festival.

The trio of Bob Malkovsky leave the disputed impression. On the one hand – interesting composition, with the drama, the change of temperament, high energy. On the other – little justifiable part saxophone and bass, and the wine is not only a composer and leader of the trio, but the artists themselves. And Bleharovich (sax) and Goldschmidt (bass) came to work out a number as a member at a concert in Matnas Ofakim, where in the room sit five retirees. For any of the public must play “to isolate” or not play at all, but with such a mood to go on stage an international jazz festival all the more unacceptable. Malkovsky – not only an interesting composer, but also a unique performer, a virtuoso who owns not only the accordion, and piano. Not saying its participation as a pianist, he suddenly succumbing to no one inner musical voice, moved to the piano and very reasonably allow himself to such transitions until the end of the program. Some criticized composition Malkovsky secondary in relation to the works of Mikhail Alperin. Objected. First, he Alperin not primary, second, Malkovsky and Alperin – natives of one region (Odessa and Kishinev), in the third – the art can not exist without the effects of some artists on the other. Bob – a serious musician, his debut on the Jazz-Globus “took place and I hope the cooperation of the festival with him in the coming year will continue.

“Peterson – Quartet – one of the saddest pages of the festival. It is difficult to explain why the excellent, well-known Israeli musicians, frequently speaks at international festivals, the quartet reminiscent of Krylov’s fables, which stood only one perfect voice – percussionist Moshe Jankowski. Perhaps not very good wine to work festival sound engineer, but all the other performances were held at the same saundmene, so it seems to me that, even jazz – to a large extent the art of improvisation, rehearsals need more.

The penultimate concert of the festival was dedicated to the memory of the great musician of Roman Kunsman, who had gone from us 5 years ago. The first appeared on the stage Quintet “Moscow – Tel Aviv”, which included a bass player Igor Ivanushkin, who played with Kunsmanom in September 2002 in Odessa – practically the last concert of the remarkable saxophonist. In telavivskoy component of the ensemble played Mamelo Gaetanopulos, have made many Kunsmanom in Israel during his life. Also in the pianist were Andrey Razin, saxophonist Robert Anchipolovsky and drummer Alexander Stein. Five experienced musicians met shortly before the concert, and quickly understand each other, played brightly and warmly. Dropped out of the quintet only musician in recent years, released in Israel on the first role and has received excellent press in several international festivals. Alto saxophonist Robert Anchipolovsky has excellent sound, exceptional technique, but showed he is indifferent, as if making otdolzhenie partners and the festival that he deigned to take part in it. On the contrary, Mamelo, who played that night on the tube, which has not so freely as saxophone, he felt had not previously familiar to him and not speaking to him in one language partners, and proved that the main language spoken in jazz – this music. Very individual played Andrei Razin. In his improvisations was difficult to find someone of influence, but it felt real freedom with excellent knowledge of all that was created in jazz piano. Ivanushkin and Stein, first met on stage by the middle of the program is a perfectly-tuned rhythm section. Total impromptu success, but in the final koltreynovskom «Mister PC» (again!) And Anchipolovsky was together with partners. Continued to evening Uri Brenner. At previous festivals is on his initiative came Arkady Shilkloper, Eli Fayngersh, Arkady Fri-Maine, and it was around Brenner encountered a lot of new free music. In the past year, Uri activated as a composer and pianist – became a household composer of “orchestra” The Israel Sinfonietta, performed with the orchestra premiered a piano concerto and released his first solo piano CD, and part of which is presented at the festival. After a powerful hard-bop sounds of solo piano proved to be very appropriate. Music Brenner little fits into the genre framework. You can hear a piano and classical heritage, and jazz tones, and elements of Jewish liturgy, and all that the author uses freely, which is why being a real modern jazz musician. Having accomplished the main part of the program and play their Alexander Eisenstadt, Uri as an encore played virtuoso variations on the 24 th capriccios Paganini Moscow composer Alexander Rosenblatt, in which an academic approach to variations alternated with the improvisational styles of the various classic jazz piano. The audience heard a fresh look at a favorite theme in the performance of this pianist-virtuoso. Concluded by Brenner miniature Tal Weiss “Once”, dedicated to the memory Kunsman. Uri did not have time to meet him personally but arranged a meeting by telephone. The last entry in his diary Kunsman was “Meet with Uri Brenner …”.

Accomplishes evening group “Retro-Jazz. Again, “LSD” – Zubov and Michael Kull (a veteran of the Moscow jazz ’60s, living in Israel), and formed the band with the legends Boris Gammer, trumpeter Gennady Litvak and rhythm duo – Lipiec and Maistrovsky. In this part of the ensemble played last year, this time to instrumentalist added Tatiana Komova, recall that once sang the evergreen jazz songs. I do not know how she did it before, but now it needs to recall this more often. In the ocean of faceless jazz vocalists who can, at most, merely to sing the theme and “improvise” a couple of squares, sometimes there are artists, for whom jazz – not the main kind of activity, but that each song that they have to sing, and thoughtful approach responsibly. Recently I heard the «Round Midnight» sings not jazzman Sting, and it was a real Monk’s immortal ballad, and not one of the hundreds of copies, multiplied by jazz CDs and concerts. Tanya Komova also sang «Round Midnight», and also healthy and at no one, it seems. And it is adorned with the singing of the inspired accompaniment Zubov and Kullu. There were a few songs, and a few good moments, but “Around midnight, a favorite piece Kunsman, was the best.

The final day of the festival opened the quintet “Rondo”. Pianist Simon Lipkovich displays your team at every festival, and it is from time to time becomes more interesting. The program consisted mainly of works Lipkovich written in the past year, and memorable melodies and lush bright they are developed. “Rondo” was one of the few at the festival compositions, carefully prepared its program, and the result of a very warm reception of the public. In order to “dilute” their own music Lipkovich chose not popular standard, but the play from the repertoire «Brecker Brothers», execution also rapidly and brilliantly, like the rest of the play program. Dmitriy Shurin – a brilliant, mature alto saxophonist, Sergey Malov – progressing from year to year, the drummer, who grew from a timid young man into a musician with his own handwriting, Sasha Klyaiman – capable guitarist, who still lack the courage to improvise, Igor Ivanushkin – guest group feels in all ensembles, both at home Lipkovich – present a professional pianist, experienced jazzman, and “LSD” (member of the legendary festival of Tallinn 67-year, multiple winner of the St. Petersburg festivals, etc.) and “Rondo” – the ensemble, which does not only one can play, but all the musicians respect each other, listen carefully to each other and do not try to win each other’s competition “Who is the greatest play.

Though the Jazz-Globe “festival and the young, but he has his own tradition already. One of them – the final fridzhazovy “Alliance”, in which to visit the Slava Ganelin going to the festival participants wishing to play free music. At this time these were Alexei Zubov, Tatiana Komova and Gershon Vayserfirer – multimuzykant in possession of this time were beats, valve trombone, a pair of drums and percussion theremin (an instrument invented by Leon Termen, sounding through changes in electromagnetic waves and has become accepted nor one musical genre, as it is virtually unrecognized creator). Most ganelinskih ensembles leader is always one, and his name is given to these ensembles. In a duet of Fame and leader Gershon no ideas flit from one to another and create among them a musical arc much higher temperatures than elektroduga welding. In Alliance – 2007 “was not an arc between the two musicians, there was always the leading and constant accompaniment was inseparable action created by the eyes of the public equal of its four members, which in my mind, even the not very aware of what they do. (A arc occurred between all, in all directions!) All, and performers, and listeners coming in half an hour after the first sounds, ie, after the final chord. And once again gathered for an encore, another five minutes. Words can not explain what it was, only wish the musicians and organizers of other festivals to gather Alliance – 2007 “more at least once …

An hour later, the festival is over. His latest hero was «Jerusalem Jazz Band», or, simply, “Jerusalem Dixieland” Boris Gummer. This gave a present Dixieland jazz show a corresponding festive atmosphere. After the last notes died away, felt sad a bit. But a year later – the next festival. For the fifth time in Jerusalem…

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