JAZZ NO PAÍS DO IMPROVISO!: 07/01/2011 - 08/01/2011

31 de julho de 2011

Associação Jam-Session estreia palco de Verão

A Jam Session, Associação Cultural, promoveu hoje pela primeira vez na sua sede um concerto ao ar livre, enchendo o Largo Cidade Vitória, em Cascais, com muito público. Utilizando a cobertura do seu edifício, a associação apresentou um concerto duplo. Na primeira parte participaram os alunos do Workshop promovido em parceria com a Geração C e na segunda parte actuaram os professores desta escola de Verão.

Antes de mais foi necessário montar o novo palco... o que incluiu, por exemplo, trazer o piano da cave...

O técnico de som foi o associado Jorge Gonçalves (conhecido por fazer o som do Estoril Jazz, por exemplo), que se encarregou de toda a componente técnica do audio.

Só terminada a instalação técnica, os alunos da Escola de Verão puderam então ocupar o palco e fazer o sound-check e actuar, eles que foram dirigidos, em combo, pelo maestro Jorge Costa Pinto.

E chegada a hora do concerto, todos brilharam à sua maneira e contribuíram para animar e surpreender o público, isto sob o olhar atento de Bessie Smith, Charles Mingus, Paul Gonsalves e não só...

Extraordinária foi a recepção do público, com algumas cantoras e músicos a terem direito a claque devidamente organizada...

No entretanto, Luís Villas-Boas parecia observar atentamente o que se passava em palco, mantendo também um "olhar atento" nos novos talentos a despontar em Cascais numa escola que quer dar continuidade à que funcionou nos anos 70 no seu Luisiana Jazz Club...

A seguir aos júniores sucederam os séniores, através de um combo que integrou os professores desta escola: Maria Viana (voz), Artur Freitas (saxofones), George Esteves (piano), João Maló (guitarra), Jorge Silva (contrabaixo) e Marcelo Araújo (bateria).

A finalizar o evento foram entregues os diplomas aos alunos do workshop, que certamente não vão esquecer este momento.

Reportagem e fotos de João Moreira dos Santos
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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.