JAZZ NO PAÍS DO IMPROVISO!

29 de outubro de 2009

Cascais Jazz 1973: Sarah Vaughan

Fonte: Augusto Mayer

JNPDI prossegue a divulgação da memória do Cascais Jazz e apresenta hoje o excerto de um concerto muito especial e que muitos amadores de jazz mais novos nunca tiveram oportunidade de ver. Referimo-nos ao espectáculo protagonizado em Novembro de 1973 por Sarah Vaughan, Carl Shroeder (piano), John Giannelli (contrabaixo) e Jimmy Cobb (bateria).

O espectáculo teve lugar no Pavilhão do Dramático, mas ficou marcado por vários percalços, tal como descrevemos no livro Jazz em Cascais: Uma História de 80 Anos.

A segunda noite do festival [10 de Novembro] foi aberta, tal como na anterior, pelo sexteto “et cetera”, um projecto liderado pelo pianista alemão Wolfgang Dauner, mas ficou sobretudo marcada pela primeira grande crise do festival. Retidos no estrangeiro, devido ao mau tempo que impossibilitava as ligações aéreas de Milão para Lisboa, Sarah Vauhgan e os Young Giants of Jazz, que estavam programados para esta data, viram-se impossibilitados de comparecer, obrigando Villas-Boas a anunciar ao microfone o adiamento do espectáculo para segunda-feira e a enfrentar os protestos da multidão, sobretudo a presente na plateia imediatamente atrás do palco, que neste ano regressou à posição inicial: “Faço o que vocês quiserem, menos chamar a polícia”.

Segunda-feira, o público pôde finalmente encontrar-se com os Young Giants of Jazz e com Sarah Vaughan. O primeiro, era um sexteto “All Stars” composto por Freddie Hubbard (substituído por Jimmy Owens), Joe Henderson, Gary Burton, Cedar Walton, Larry Ridley e Roy Haynes. A deficiente instalação sonora que marcou esta edição levou Burton a interromper por duas vezes os seus solos e apesar das insistências de Villas-Boas – presente no palco durante o concerto – só os incentivos do público o motivaram a prosseguir.

Também Sarah Vaughan, que no camarim recebera a visita do ex-Rei Humberto de Itália e… de uma (ou mais) garrafa de brandy português, foi prejudicada pelos constantes feedbacks do seu microfone, vendo-se impossibilitada de mostrar todo o seu esplendor vocal e de tirar partido de uma secção rítmica em que se destacava o baterista Jimmy Cobb.

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PARA QUE A HISTÓRIA NÃO SE REPITA...

...aqui ficam algumas das condições que o Ministério da Educação Popular definiu, durante o Governo de Hitler, para a atribuição de licenças para espectáculos de música de dança.

DEPARTMENT OF POPULAR EDUCATION AND ART

Conditions Governing the Grant of Licenses for Dance Music

NEGROID: Belonging to a Negro race. This includes the African Negroes (and also those living outside of Africa), also Pygmies, Bushmen and Hottentots. NEGRITO: In the wider sense of the term, the short-statured, curly or frizzy-haired, dark-skinned inhabitants of Southeastern Asia, Melanesia and Central Africa.

1. Music: The Embargo on Negroid and Negrito Factors in dance Music and Music for Entertainments.

2. Introduction: The following regulations are intended to indicate the revival of the European spirit in the music played in this country for dances and amusements, by freeing the latter from the elements of that primitive Negroid and/or Negrito music, which may be justly regarded as being in flagrant conflict with the Europeon conception of music. These regulations constitute a transitory measure born of practical considerations and which must of necessity precede a general revival.

3. Prohibition: It is forbidden to play in public music which possesses to a marked degree characteristic features of the method of improvisation, execution, composition and arrangement adopted by Negroes and colored people. It is forbidden in publications, reports, programs, printed or verbal announcements, etc.: (a) to describe music played or to be played with the words "jazz" or "jazz music." (b) to use the technical jargon described below, except in reference to or as a description of the instrumental and vocal dance music of the North American Negroes. Exceptions may Be permitted where such music is intended for a strictly scientific or strictly educational purpose and where such music is interpreted by persons having two or more Negroid or Negritic grandparents.

4. Descripton of The Main Characteristic Features of the Above-Mentioned Music which Differ from the European Conception of Music: The use of tonally undefined mordents, Ostentatious trills, double-stopping or ascendant glissandi, obtained in the Negro style by excessive vibrato, lip technique and/or shaking of the musical instrument. In jazz terminology, the effects known as "dinge," "smear" and "whip." Also the use of intentional vocalization of an instrumental tone by imitating a throaty sound. In jazz terminology, the adoption of the "growl" on brass wind instruments, and also the "scratchy" clarinet tone. Also the use of any intentional instrumentalization of the singing voice by substituting senseless syllables for the words in the text by "metalizing" the voice. In jazz terminology, so-called "scat" singing and the vocal imitation of brass wind instruments. Also the use in Negro fashion of harshly timbered and harshly dynamic intonations unless already described. In jazz terminology, the use of "hot" intonations. Also the use in Negro fashion of dampers on brass and woodwind instruments in which the formation of the tone is achieved in solo items with more than the normal pressure. This does not apply to saxophones or trombones. Likewise forbidden, in the melody, is any melody formed in the manner characteristic of Negro players, and which can be unmistakably recognized.

5. Expressly Forbidden: The adoption in Negro fashion of short motifs of exaggerated pitch and rhythm, repeated more than three times without interruption by a solo instrument (or soloist), or more than sixteen times in succession without interruption by a group of instruments played by a band. In jazz terminology, any adoption of "licks" and "riffs" repeated more than three times in succession by a soloist or more than sixteen times for one section or for two or more sections. Also the exaggeration of Negroid bass forms, based on the broken tritone. In jazz terminology, the "boogie-woogie," "honky tonk" or "barrelhouse" style.

6. Instruments Banned: Use of very primitive instruments such as the Cuban Negro "quijada" (jaw of a donkey) and the North American Negro "washboard." Also the use of rubber mutes (plungers) for wind brass instruments, the imitation of a throaty tone in the use of mutes which, whether accompanied by any special movement of the hand or not, effect an imitation of a nasal sound. In jazz terminology, use of "plungers" and "Wah Wah" dampers. The so-called "tone color" mutes may, however, be used. Also the playing in Negro fashion of long, drawn-out percussion solos or an imitation thereof for more than two or four three-time beats, more frequently than three times or twice in the course of 32 successive beats in a complete interpretation. In jazz terminology, "stop choruses" by percussion instruments, except brass cymbals. There is no objection to providing a chorus with percussion solos in places where a break could also come, but at not more than three such places. Also the use of a constant, long drawn-out exaggerated tonal emphasis on the second and fourth beats in 4/4 time. In jazz terminology, the use of the long drawn-out "off beat" effect.