Monday, May 12, 2008

Bottega del Vino, Perugia, Umbria

Marco will be performing on Wednesday 21st May at the reknowned Bottega del Vino in Perugia, Umbria.
Long known as one of the best bars for jazz in the capital, Bottega del Vino is pleased to have Marco and his acoustic trio playing there. With the sultry voice of Daniela Maltese and Giovanni Sannipoli on sax, this is an evening not to miss!
For more information on the evening, email info@marcomarconi.com for details.

Lumiere Jazz Trio at Syrah, Città di Castello, Umbria

The innovative Lumiere Jazz Trio is performing live next Friday, 16th May, at the stunning champagne bar, Syrah in Città di Castello in Umbria.

Playing original music composed by Marco Marconi, the trio consists of Mauro Giorgeschi on drums, Giulio Angiori on bass and Marco on piano.

Have a look at www.myspace.com/triolumiere to see and hear some of their music from a live concert last summer.

The trio recently had a huge success playing for a private concert at the Henri Cartier Bresson Exhibition held last month in Sansepolcro.


Anyone interested in booking the trio for a concert or private function should contact Marco by email on
info@marcomarconi.com .

Sunday, May 11, 2008

Marco Marconi becomes a Doctor of Jazz!

Great news! At the end of last month, Marco Marconi had the final exams of his post grad in Jazz at the Consevatory of Music in Perugia, Umbria.
Playing and conducting a piece for octet that he composed himself called "Seven Friends" and a piece written by Amedeo Tommasi called "Zamboni 22", Marco also gave a talk about his thesis on the great Amedeo Tommasi himself. Amedeo has written many songs and theme music for films and tv series including films by Pupi Avati and more famously music for "the legend of the pianist of the ocean".
The panel of judges were unanimous in giving Marco top grades and Marco passed with 100%!
He is now officially a Dottore of Jazz!!!

Monday, April 14, 2008

Umbria Jazz, Perugia 11th to 20th July 2008

Exciting news! Confermed for Umbria Jazz 2008:

Sonny Rollins, exclusive in Italy for 2008!

Alicia Keys, REM, Enrico Rava, Mario Biondi, Carla Bley, Paolo Fresu, STefano Bollani, Cassandra Wilson, Herbie Hancock, Gary Burton, Pat Metheney...

It's a fantastic line up this year! Tickets are already available on line and the full programme for Umbria Jazz 2008 will be on line by 8th May.

Book your accommodation at www.wheretostayinumbria.com for July and enjoy the atmosphere and music of Umbria Jazz for yourselves.

www.umbriajazz.com

Friday, October 5, 2007


David Berger & The Sultans of Swing at Birdland
Birdland New York, NY September 25, 2007

David Berger and his Sultans of Swing have a regular Tuesday gig at Birdland and recently have included vocalist Champian Fulton for some tunes in the set.

Berger talked a bit about the music, and made the point that this band is not trying to recreate an historic style, but rather that this is the music he and the band members love—all too clearly evidenced by the body language and playing of every member of the band.

What is it about the music of the Swing Era and hence this band's music that is so appealing? The most obvious component is the rhythms used. Swing can vary so much that it is hard to define — you just know it when you hear it, and Berger is a master of that delicious change from being in 2 to being in 4. He also has the feeling in his bones for just the right tempo — not too fast and not too slow — just right. The rhythms automatically do two things: get you moving and bring on a smile.

The rhythm section of piano, bass and drums was spot on, the members knowing exactly what they were doing. While different tunes highlighted each of a three, as a team, they are the engine of the band and push it with that delicate drive that, for most of us, defines Swing.

Berger is an acknowledged authority on Duke Ellington and the Swing Era, and his arrangements, while using every familiar riff and technique of the big bands, do not copy any particular band's style. Those familiar with Ellington, Count Basie, Benny Goodman, Artie Shaw, Jimmy Lunceford, Benny Carter or even Glenn Miller (to name a few) will recognize the sound of closely-voiced saxophones, incisive trumpet interjections, and a rich trombone choir.

More than anything else, the music is joyous and celebrates being alive. Far from being simplistic, it is quite sophisticated — both in its intricacy and its worldly-wise evocation of a bygone era while imparting a sense of immediacy and well-being that is hard to find elsewhere.

Champian Fulton did three tunes from her (and Berger's) new record Champian and only further cemented how deeply she feels this music, despite being only in her twenties. Her genuine love of the style assured that the words really meant something and communicated directly with the audience.

Visit
David Berger on the web.

New York Jazz Scene


David Berger & The Sultans of Swing at Birdland
Birdland New York, NY September 25, 2007
David Berger and his Sultans of Swing have a regular Tuesday gig at Birdland and recently have included vocalist Champian Fulton for some tunes in the set.

Berger talked a bit about the music, and made the point that this band is not trying to recreate an historic style, but rather that this is the music he and the band members love—all too clearly evidenced by the body language and playing of every member of the band.

What is it about the music of the Swing Era and hence this band's music that is so appealing? The most obvious component is the rhythms used. Swing can vary so much that it is hard to define — you just know it when you hear it, and Berger is a master of that delicious change from being in 2 to being in 4. He also has the feeling in his bones for just the right tempo — not too fast and not too slow — just right. The rhythms automatically do two things: get you moving and bring on a smile.

The rhythm section of piano, bass and drums was spot on, the members knowing exactly what they were doing. While different tunes highlighted each of a three, as a team, they are the engine of the band and push it with that delicate drive that, for most of us, defines Swing.
Berger is an acknowledged authority on
Duke Ellington and the Swing Era, and his arrangements, while using every familiar riff and technique of the big bands, do not copy any particular band's style. Those familiar with Ellington, Count Basie, Benny Goodman, Artie Shaw, Jimmy Lunceford, Benny Carter or even Glenn Miller (to name a few) will recognize the sound of closely-voiced saxophones, incisive trumpet interjections, and a rich trombone choir.

More than anything else, the music is joyous and celebrates being alive. Far from being simplistic, it is quite sophisticated — both in its intricacy and its worldly-wise evocation of a bygone era while imparting a sense of immediacy and well-being that is hard to find elsewhere.

Champian Fulton did three tunes from her (and Berger's) new record Champian and only further cemented how deeply she feels this music, despite being only in her twenties. Her genuine love of the style assured that the words really meant something and communicated directly with the audience.

Visit
David Berger on the web.

Saturday, April 14, 2007

Jazz in New York

Jazz in New York
AAJ has writers on the scene in New York who let us know what's going on:
David S. Ware at The Stone

A frequent solo performer in Europe, tenor David S. Ware’s made a rare stateside visit, presenting a solo program at The Stone March 11th. With a new recording of his quartet’s American farewell concert from last year’s Vision Festival now available, the evening’s first set offered an intriguing dynamic, with Ware sans his forceful quartet of William Parker, Matthew Shipp and Guillermo E. Brown (the latter two played in duo for the night’s second set) versus the Ware-less quartet aka trio recently released on Splasc(h) (The Trio Plays Ware). Lumbering center stage, shaking bells and tambourine while orbiting his sax in a purifying-like dance/chant, he repeated, “Ganapati” and “Ganesh” (names for the Hindu god of wisdom), exclaiming “Remove all obstacles”—before grasping his horn. A near 10-minute imposing improv echoed a theme of multiphonic overtones through Trane-like sheets of sound. One could hear the history of music, even sound, from under his spewed multi-layered tones. His second improv had more elastic experimental tones, occasional circular breathing, responsive high-decibel horn screams and vocalized anguished cries circling in and out of his horn. With ample altissimo focus rarely encompassing mere single notes but rather serving as a catalyst for chemical reaction of multiple warm tones with high frequencies—Ware played with such intensity and at such volume, his imposing sound transcended space and time. Most assuredly, music for the (strato)spheres.

Queva Lutz Memorial at Saint Peter's

The year is still young but has already given us our fair share of jazz memorial services. The remembrance of Queva Lutz (proprietor of Greenwich Village’s 55Bar who passed away February 26th) was at Saint Peter’s March 15th, proving one of the more emotional and musical. The pre-Queva 55Bar was considered a “dive,” open since 1919, adding jazz in the early ‘80s. When she took over the club in 2001, it soon became an international destination. An impressive range of musicians showed (and played) their respects, including many vocalists Queva regularly booked: Ayana Lowe and “Sweet Georgia” Brown each sang succinct a cappella spirituals, KJ Lenhert peformed a Richie Havens-like “God Bless the Child” on acoustic guitar, Kate McGarry duoed with guitarist Keith Ganz and Lisa Sokolov sang to minimalist piano accompaniment on a powerful “Ol’ Man River.” Electric bassist/vocalist Richard Bona’s tear-jerking opener “Still There” set the stage, helping to paint a vivid picture of Queva. Harpist Edmar Casteneda’s astonishing solo performance revealed how truly open Lutz was to having as eclectic a jazz space as could be. And Cecil Taylor, a regular 55Bar patron, played a séance-like solo that found the piano’s lid shaking to the point of near levitation. His patient clusters came full circle after more typical start-and-stop dense rhythmic runs, an emotional roller coaster apropos to what anyone who knew Queva has been going through since hearing of her passing.

~ Laurence Donohue-Greene