Who knows how the jellyfish are coming from the Bosphorus? It seems curious female travelers, looking for new seas, who walk along the mysterious currents, as well as the last disk of Andrea Pozza contaminated by other cultures, He penetrates quietly into his musical linguistic baggage naturally. And 'well it born “A Jellyfish From The Bosphorus”, a job elegant, built on a careful pianism colors, the nuances, in perfect balance between the strength of a formal system of European-style fresh and inventive and haunting sound of an overseas.
As jazz native speakers, Active on the national and international scene for about thirty years, you had difficulty in choosing the lineup of "A Jellyfish From The Bosphorus”?
The choice was made in a natural way, putting together some of my original songs, written specifically for this project (except "Love Is The Way a few years ago) and some standards that have long I intended to affect. I then arranged my songs is that the standards with the intent of getting the expressive palette that expresses the various facets of my musical thought today.
However it is so It is constructed in the form of dialogue between you three musicians, there are personal solos, solo passes from one to another throughout the song. Where did the inspiration?
I had long wanted to record a song with this type of structure, atypical for the truth, but extremely stimulating. Instead of the classic solos have here a dialogue, a question-and prolonged response between the three instruments. The intent is to use the trio as a unique tool. The three musicians have to become a single person by making sure that both the’ solos himself who switch instruments all’ other. We recorded several versions prior to "find" the right one…
Intense concert activity that has brought you this summer to run the length and breadth of Italy: several concerts in July sold out, as the Museum Museum of Oriental Art in Genoa; then hosted by Steve Grossman at the House of Jazz Festival of Rome and that of Enrico Rava Ancona Jazz Festival. In August, six flew to England to present the new cd. You will rest in the fall or a ride with other dates?
In September, a po’ vacation and the last at the Conservatory classes and exams N. Paganini and October resume the activity with an incision in duo with Scott Hamilton and a one-week tour with Ferenc Nemeth (drums), Pietro Tonolo (tenor) and Lorenzo Conte (bass): we will play in Padua, Ancona, Verona, Albenga (I refer to my website www.andreapozza.it for precise info). Then again on tour with Hamilton in December in Switzerland.
Playing songs that carry the signature of Duke Ellington and John Coltrane as "In A sentimental mood", eg, I guess to load a big responsibility ... what happened?
It was a lot I wanted to record "In A Sentimental Mood" ... I did it this time, overcoming the fear of confrontation with historical versions of many great. I tried to be very sincere, without loading my version of being pretentious, who would surely burdened execution. I replaced a few chords and composed an introduction sull'inciso making a key change that does not c’ it is in’ original, for the rest of the song is a masterpiece, and it is nice to listen to just play it as it is !
When you play jazz, it always goes a bit 'fishing... That you've called you in Cat Club on RTL 102.5 Cool. Not a bad comparison, we explain it?
The comparison seems apt because the jazzman, improvising a lot, must every time to go fishing in his unconscious, first of all the’ inspiration and the desire to "play" with music, then all the ideas that will be during the concert. As well as the fisherman who has to prepare well all the tools, not knowing if in the end the fish bite. Sometimes the non-fish bite (more rarely with the experience thankfully!) and one has to go home unhappy. Other times you will go home with the satisfaction of having caught a specimen that even we imagined.
After the quintet of "Gull's flight", a trio record, with a classical education for pianists, with Aldo Zunino on bass and Shane Forbes on drums. The next will be a single storey?
It could be, although a cd just scares me much more than affect "in plan In A Sentimental Mood". Actually I have not had time to think about the next project. The only plan is definitely an almost obligatory stop for pianists and requires a lot of preparation. Surely I will, but I do not know if it will be next.
A step back, in the past: what feelings keep the evening when debuttasti in one of Genoa's historic jazz clubs, only thirteen?
I remember playing at the Louisiana Jazz Club with Alessio Tofani on drums (It is now a prominent lawyer) and Dado Moroni on bass (in addition to being a distinguished colleague he is also a talented bassist). In the repertoire c’ Bill Evans was a blues and my song inspired by McCoy Tyner. I was excited but I must say from the outset’ beginning it seemed natural to find on stage that modicum of solitude that helps concentration.
Una curiosità: that guy was Chet Baker? E Charlie Mariano?
I met a couple of times Chet Baker. The first in Perugia for a concert in trio (Luciano Milanese on bass), without battery. He was very kind to us and we had the’ impression of a fascinating person. After the end of the first half turned, He made the congratulations in a very kindly manner, then he turned to his partner, in the audience and began a furious argument!
The second time was at the Depot in Milan: I was playing with the quartet of Gianni Basso (Luciano Milanese on bass and on drums Giancarlo Pillot) and Chet was in the audience as it was passing through Milan. Gianni invited him to play, but had not the instrument, He came back the next day with the trumpet and played a lot of songs with us including But Not For Me , who sang (wow!). It was really enjoyable and extraordinary all evening, It was in high spirits, including tales of anecdotes and jokes.
Gianni said he wanted to do some shows in the future as a guest of the quartet. He had a new car (He loved sports cars) and a large bundle of banknotes, who showed us. It would leave the’ morrow for Amsterdam, where he died a few days later.
I met Charlie Mariano in Milan for an engraving of Italian film music for the Japanese market. From the first moment treated the musicians in the band as longtime friends and for me it was just like an old friend, because the spiazzava me a little’ On his musical stature, the age difference, experience and the fact that we had never seen before, wrong’ emotion was that. We played again years later and every time I felt always that feeling of familiarity and communion would say that went beyond the music.
I keep a memory of Charlie as a great person and a great musician.
of Erica Vagliengo
Credit: Rava, Cifarelli
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