Apresentação do CD "Day One " em Coimbra

Festival Jazz ao Centro - Encontros Internacionais de Jazz de Coimbra

Apresentação do CD "Day One " em Coimbra

[ concerto ]

“Zíngaro” | Mitzlaff | Viegas | Rosso - 4TET

músicos:

Carlos “Zíngaro” [ violino ]

Ulrich Mitzlaff [ violoncelo ]

João Pedro Viegas [clarinete baixo e soprano ]

Alvaro Rosso [ contrabaixo ]

31 Maio 2015, 19h00

Mosteiro de Stª Clara-a-Velha, Coimbra

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Ulrich Mitzlaff
Rua do Farol nº 436, 4. Frente (Lote 153), 2750-341 Cascais, Portugal
Tel 00351 – 21 483 59 06, e-mail umitzlaff (at) gmail (dot) com
Web-Site: http://ulrichmitzlaff.com; https://soundcloud.com/umitzlaff/
http://www.granular.pt; http://www.facebook.com/#!/ulrich.mitzlaff; 
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PRESS RELEASE:

“Zíngaro” | Mitzlaff | Viegas | Rosso - 4TET

Apresenta o novo CD “DAY ONE” ao vivo em concerto no Festival Jazz ao Centro - Encontros Internacionais de Jazz de Coimbra

Convento de Stª Clara-a-Velha, Coimbra - Portugal
Calçada de Santa Isabel, Alto de Santa Clara, 3040-270 Coimbra
Tel.: 00351- 239 441 674
Domingo, 31 de Maio, 19.00h
http://www.jacc-records.com/en/, http://www.jacc.pt/

Fotos de Nuno Martins e Mauro Meda

Carlos “Zíngaro” - violino
Ulrich Mitzlaff - violoncelo
João Pedro Viegas –clarinete baixo e soprano
Alvaro Rosso – contrabaixo

“DAY ONE” – “Zíngaro” | Mitzlaff | Viegas | Rosso - 4TET
Liner Notes by Stuart Broomer

“Take your time,” the examiner said, tapping his foot, drumming his fingers on the desk, checking the clock on the wall and comparing it to his watch, “Take your time. I have all the time in the world.”

The candidate began hesitantly: “Time in composition and time in improvisation are different. In composition, time is relatively simple, at least simplistically speaking. There is the time of composing which with luck proceeds in a straightforward manner; then there is the time of performance which is dictated by the composer or the conductor. When you hear a work repeated, there is more chance that you have changed than that the piece has, speaking of course platonically.

“But improvised music takes in all the time for each musician involved. And then it privileges the experiential time of each listener. There is the time of ordering a cup of coffee, the time of the first harsh and stimulating sip, the time of caffeine seeping into the blood stream. The time of the traffic jam and the open road, the time of flight, yes, but also the time of the security check. All the time of memory and the time of concentrated effort to free oneself from memory in the instant of creation...”

“Could you be clearer...or at least, more specific?” the examiner asked. “In the music before us, for instance, there is the time of the absolute first encounter, including even the sound check, and the network of new relationships. Three of the musicians, the violinist Carlos “Zingaro,” the clarinetist João Pedro Viegas and the cellist Ulrich Mitzlaff were well known to each other, but João Pedro was introducing the bassist Alvaro Rosso to the others for the first time. There is the remarkably brief time it takes to get acquainted, the testing of each second.”

“Could you be clearer still?” “Think of the gap between “compliment” (cumprimento) and “complement” (complemento), the gap cognitive and temporal, and then the way these musicians both flatter and complete one another’s thoughts and do so in the instants in which their sounds come into being. Think of the vibrating gaps between the strings’ overtones and the clarinet’s “odd” harmonic profile (1, 3 ,5, 7...). The music might sound like School of Vienna, uncannily so (or Bartok more so, the rhythm, the edge, the brilliance of “Zingaro”’s vibrato, the lyric warmth of Mitzlaff), but its methodology is School of Kansas City, circa 1936, the culture of the riff – every musician here a master of the phrase initiated and repeated, then picked up in a system of mutual support (connections heard too in the round sound of Rosso’s pizzicato, and the yawp of Viegas’ bass clarinet, at once sonic heir to the sainted Eric Dolphy and the instrument’s 19th century Russian incarnation). Hear the velocity with which the music traverses western American fiddle music to erhu blues...” “Excuse me. I think that in no time at all, we have no time at all.”

Stuart Broomer, Canada 2014

More Info
Carlos “Zíngaro”: http://efi.group.shef.ac.uk/, http://www.granular.pt, http://www.myspace.com/carloszingaro, http://www.facebook.com/profile.phpref=profile&id=1051161473
Ulrich Mitzlaff: http://ulrichmitzlaff.com, http://www.myspace.com/ulrichmitzlaff, http://www.granular.pt, http://www.facebook.com/home.php#!/profile.php?id=786859409, https://soundcloud.com/umitzlaff/
João Pedro Viegas: www.myspace.com/jpedroviegas, http://ccv-wind3.weebly.com/, www.facebook.com/profile.php?id=123284520,  http://www.youtube.com/user/jpdmfv?feature=mhee, http://soundcloud.com/jo-o-pedro-viegas
Alvaro Rosso: http://www.youtube.com/user/alvarorosso, https://soundcloud.com/alvaro_rosso

fonte umitzlaff

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Mosteiro de Santa Clara-a-Velha

Rua das Parreiras, 3040-266 Coimbra

t. 239 801 160 / f. 239 801 169

mosteiro.scvelha@drcc.pt / website

40°12'10.14" N

8°26'0.05" W

imagem de abertura do vídeo «JAZZ COMPILATION 2013» por Maximo Spodek no YouTube a quem agradecemos.
fotografia do Mosteiro de Santa Clara-a-Velha do sítio internet HARDMUSICA - Jornal de cultura e lazer a quem agradecemos.