Coming into contact with this band really means loosing yourself in a kaleidoscope of styles and sounds. A vortex between minimalism, space rock, contemporary jazz, electronic and world jazz is, combined by the original sound of soprano sax, the stylistic strength of one the most renown vibraphonist in Europe and the rocker taste of bass and drums.
F# is the name of Sid Hille’s trio. The band started rehearsing in March 2016 and played their debut concert at the legendary Pori Jazz Festival on July 15th, 2016.
With Sid on piano, Jori Huhtala on bass and Markus Ketola on drums, F# is essentially a piano trio, but with a couple of twists: Hille plays the Fender Rhodes piano instead of the traditional acoustic piano, using all sorts of effects, sound modifications, expression and loop pedals.
The intimacy of a solo piano concert is something Icelandic jazz pianist Sunna Gunnlaugs embraces when she gets the opportunity. Having performed all over the world with her trio, quartet and in various duos she has found the direct connection between the artist, the instrument and the audience in a solo setting is unlike any experience a musician can have.
Sed de furioso quid dicetur qui rationem non habet? Et de mente capto, et de frenetico, vel de infantulo? (But what shall we say of a madman bereft of reason? And of the deranged, the delirious and the mentally retarded? – Bracton: De Legibus Et Consuetudinibus Angliæ) “Automatism” (Denovali Records) is the latest album of Sardinian sound researcher Eugenio Caria, a concept album dealing with the eponymous subject.
That’s how the artists describe their own music:
“Particles of matter that violently move, blow up, warm up, under the action of fermentation, fighting to recompose in a new order. Particles that modify themselves, break up, double in other particles, similar but different, that also live the same experience in a never-ending cycle. A chemical metaphor for an alchemic, organic and constantly transforming music”.
Three musicians, three instruments, same family. This is 3G Trio.
Daughter and sons of three of the biggest names of the Brazilian music scene: Adriana Godoy, daughter of Adylson Godoy, one of the earliest and most recorded composers and pianist of Bossa Nova in Brazil; Tico d’Godoy, son of Amilton Godoy, considered by many one of the best pianists in the world; Fred Godoy, son of Amilson Godoy, great composer, arranger and conductor.
The search for sound takes place in solitude, thinking, creating and freeing oneself from the masks with which one approaches others. Eroding the technical and physical limits on one’s own communication tools to obtain silence, a privileged condition to act. The research for the artist in solo is based on this idea: the clash between images experienced or simply seen and his emotionality as a man, the technique and the scream with their inability to coexist or with their all too easy possibility of being one.
The tradition of singing “a cuncordu”, polyphony of four male voices with almost exclusively religious repertoire, is represented in various Sardinian villages, especially during the rites of Holy Week.
Among the most famous traditions are those of Castelsardo, Santulussurgiu, Cuglieri, Orosei.
The “Cuncordu di Castelsardo” is one of the choirs that keeps this tradition handed down through the centuries alive.
The extraordinary Italian pianist Antonio Faraò hosts in his quartet Dave Liebman, one of the great protagonists of the generation that led the inventions of Coltrane and Miles Davis towards jazz-rock for an unlimited exploration of new original songs and some standards.
An authentic spearhead of the international jazz scene, pianist admired by Herbie Hancock, Antonio Faraò has played with the most prestigious artists. It is undoubtedly among the European musicians who have reached an expressive standard on the level of Americans.
Antonio Lizana is, above all, a saxophone player.
He began playing this instrument at the age of 10 at San Fernando Conservatory in Cádiz, but he first came into contact with jazz a few years later when he attended several workshops by Jerry Berganza, Dick Oatts, Jim Snidero and Perico Sambeat.
In 2011 he finished his jazz studies at the Centro Superior de Música del País Vasco, where he started his own project, Antonio Lizana Group.
Sauro Berti, bass clarinet of the “Teatro dell’Opera di Roma”, has collaborated with the most important Italian orchestras (Teatro alla Scala, Maggio Musicale Fiorentino, RAI National Orchestra), the Royal Scottish National Orchestra and the Sinfonia Finlandia Jyväskylä.
He has played under G.Prêtre, R.Chailly, M.W.Chung, R.Muti, W.Sawallisch, V.Gergiev, L.Maazel, P.Boulez and Z.Mehta.
Piero Bittolo Bon is one of the busiest and most in demand italian musicians in the italian jazz and avant-garde scene.
He mainly plays alto saxophone but is also at ease on baritone saxophone, flutes and clarinets. Piero has also had a long-standing affair going on with the electric bass, which he played at the beginning of his musical journey in funk, reggae, and rock bands, before committing himself to wind instruments and improvised music.
Passionate and vibrant, his music, densely composed or totally improvised, reverberates with echoes of the best of free jazz, fire music, torrid improvisations and chamberesque compositions, sharp attacks and continuous inventions bar after bar.
A mix of blues, funky, soul and rock in acoustic way and we have Francesco Piu, defined from Guitar Club magazine “a truly force of nature!”.
Singing and playing acoustic guitar, dobro, weissenborn, banjo, lap steel and harmonica this young Italian bluesman from Sardinia, in the last years has increased his importance in italian and international blues overview.