Swiss Radio Days Jazz Series Vol. 47 / Richard Galliano New York Tango Trio, Cully 2022 Richard Galliano
Label: TCB The Montreux Jazz Label
Subgenre: Classical Crossover
Interpret: Richard Galliano
Komponist: Astor Piazzolla (1921-1992), Erik Satie (1866-1925), Serge Gainsbourg (1928-1991), Richard Galliano (1950)
Das Album enthält Albumcover
- 1Vuelvo Al Sur05:53
- 2New York Tango05:51
- 3Chiquilin De Bachin06:24
- 4Gnossienne N°301:43
- 5Chat Pître04:14
- 6Chiens Perdus Sans Collier02:23
- 7Il Piccolo Circo04:39
- 8Waltz for Nicky07:39
- 9Tango Pour Claude05:33
- 10Milonga Del Angel06:50
- 11La Javanaise03:27
Info zu Swiss Radio Days Jazz Series Vol. 47 / Richard Galliano New York Tango Trio, Cully 2022
Einzigartige Live-Aufnahme des legendären Akkordeonisten Richard Galliano. Teil der erfolgreichen Reihe "Swiss Radio Days", die Live-Aufnahmen mit den besten Musikern aus dem Jazz und verwandter Genres präsentiert.
Enthält eine Reihe von Original-Kompositionen von Galliano, ergänzt durch Stücke von Astor Piazzolla, Erik Satie und Serge Gainsbourg.
"Cully und sein Festival bieten seit Jahren magische Begegnungen, die Ausgangspunkt für einige meiner musikalischen Projekte sind, wie das Duett mit Michel Portal (Blow Up), das mit Eddy Louiss (Face to Face) oder die explosiven Begegnungen mit Hermeto Pascoal und vielen anderen Musikern. Dieses Jahr war ich dort, um mein neues Projekt ›New York Tango Trio‹ vorzustellen, das sich sowohl auf meine Komposition New York Tango als auch auf meine erste Reise nach New York bezieht, um diesen Titel mit Al Foster, dem verstorbenen George Mraz und Biréli Lagrène aufzunehmen. Der Name soll aber auch an die Jugend und die Einflüsse des Jazz in der Musik von Piazzolla erinnern: vom Cotton Club bis zu George Gershwin, aber auch an den modernen Jazz (Gil Evans, dem er sehr nahe stand).
Zur Realisierung dieses Projekts habe ich zwei außergewöhnliche Musiker eingeladen: den Kontrabassisten Diego Imbert und den Gitarristen und Cellisten Sébastien Giniaux. Das Konzert verwandelte sich sofort in eine enge Gemeinschaft mit dem Publikum, so sehr, dass die Zuschauer am Ende des Konzerts spontan mit uns sangen.
Ich bin sehr glücklich darüber, dass RTS - Radio Télévision Suisse das Konzert aufgezeichnet und vorgeschlagen hat, dieses Album für das renommierte Label ›TCB - The Montreux Jazz Label‹ zu produzieren, was mir erlaubt, zu den Künstlern zu gehören, die Jazzgeschichte geschrieben haben." (Richard Galliano)
Richard Galliano, Akkordeon
born 12 December 1950 in Cannes, in France. In the past, there never seemed to have been one great artist associated with the accordion, an instrument that, because of its connotations, seemed as far removed from swing as it is possible to be. Then along came Richard Galliano, fired by an unrivalled determination to share his conviction that the accordion was worthy to have a place at the heart of jazz alongside the saxophone and trumpet. Inspired by the admiration he felt for his friend Astor Piazzolla, creator of the Tango Nuevo, Galliano succeeded not just in doing this, but with his “new musette” style managed to breathe new life into a thoroughly French tradition that seemed to have got stuck. Son of the Italian-born accordion teacher Lucien Galliano, Richard started playing the instru¬ment at the age of four. At the same time as he was learning the accordion, he also studied harmony, counterpoint and trombone at the Nice Conservatoire. It was the discovery of the music of Clifford Brown that introduced him to jazz, at the age of 14, and while he picked up his style of playing choruses, he found, to his amazement, that the accordion was almost unknown in this type of music. Galliano then became interested in Brazilian accordionists like Sivuca and Dominguinhos, discovered the American specialists who approached jazz (Tommy Gumina, Ernie Felice and Art Van Damme), and the top Italian players, Felice Fugazza, Volpi and Fancelli, turning his back completely on the traditional style of playing that dominated in France. In 1973 Galliano moved up to Paris where he impressed Claude Nougaro. He spent three years as arranger and conductor as well as composer in a group where he found himself playing alongside real jazz musicians. He also played on countless recordings by popular French artists like Barbara, Serge Reggiani, Charles Aznavour and Juliette Gréco, and on film scores. From the beginning of the 1980s he was able to play much more often with jazz musicians from all backgrounds and improvise alongside them: these included Chet Baker (in Brazilian repertoire), Steve Potts, Jimmy Gourley, Toots Thielemans, the cellist Jean-Charles Capon, with whom he cut his first disc, and Ron Carter, whom he paired up with to make an album in 1990.
In 1991, following the advice of Astor Piazzolla, whom he had met in 1983 while working on incidental music for the Comédie Française, Galliano went back to his roots, and the traditional repertoire of Valses-Musette, Javas, Complaintes and Tangos that he had long disregarded. Taking a lead from the spirit of Gus Viseur and Tony Murena, he managed to rid the accordion of its old-fashioned image by working on the three-four rhythm, and introducing a whole new rhythmic concept and harmonic style to adapt it to jazz. He announced his new approach on the CD New Musette that he recorded with Aldo Romano, Pierre Michelot and Philip Catherine for Label bleu, and it won him the Académie du Jazz’s Django Reinhardt Prize for “French musician of the year” in 1993.
This led on to a whole series of albums where Galliano, playing his trademark Victoria accor¬dion, has shown his ease in adapting the instrument to the freedom of jazz. His assurance, mastery of phrasing, and ability to get a vast range of tone-colours from the accordion have meant that he has broken down musical barriers with an instrument that cuts across all genres. In 1996 he crossed the Atlantic to record his New York Tango with George Mraz, Al Foster and Biréli Lagrène, a disc that later won him a Victoire de la Musique prize. He started to gain an international reputation, and a host of new collaborations followed. He created some unusual instrumental pairings, getting together with artists ranging from Enrico Rava, Charlie Haden and Michel Portal (Portal’s 1997 disc Blow Up with him was a huge commercial success, selling more than 100,000 copies), to his fellow-accordionist Antonello Salis, in Italy, and the organist Eddy Louiss, in 2001. For years he played in a trio with Daniel Humair and Jean-François Jenny-Clarke (from 1993 until the death of the bass-player in 1998), and then returned to this format in 2004 with a “New York” rhythm, made up of Clarence Penn and Larry Grenadier. There have also been one-off collaborations with Jan Garbarek, Martial Solal, Hermeto Pascoal and Anouar Brahem, Paolo Fresu and Jan Lundgren, and Gary Burton, among others. In 1999 he presented his own compositions, with chamber orchestra accompaniment, together with pieces by Astor Piazzolla. This led to his 2003 homage Piazzolla Forever, in which he went back to playing the music of his mentor.
Galliano is an exceptionally versatile musician, able to make his mark in all kinds of musical contexts, from solo appearances (like the Paris Concert from the Châtelet, which came out in 2009), to playing with a big band like the Brussels Jazz Orchestra, in 2008. His exceptional abilities as a soloist are now well-recognized, and he continues to explore a vast range of music, without ever losing that lyrical quality that infuses the ballads on Love Day that he recorded with Gonzalo Rubalcaba, Charlie Haden and Mino Cinelu, or the “French touch” which allowed him to make the link between Billie Holiday and Edith Piaf, with the trumpeter Wynton Marsalis. Keen to pass on his wealth of experience, he is the author, together with his father Lucien, of an accordion method that won the SACEM prize for Best Pedagogical Work in 2009. (Vincent Bessières)
Dieses Album enthält kein Booklet