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torek, 16. november 2004

21:00 - Defonija
ASSIF TSAHAR & COOPER-MOORE (Izrael/Slovenija, ZDA)

[b]Assif Tsahar[eb] - tenorski saksofon, basovski klarinet
[b]Cooper-Moore[eb] - glas, ustni lok, flavta, bendžo, diddley-bow, tolkala

[b]Assif Tsahar[eb] je sila obetaven pihalec, rojen 11. junija 1969 v Izraelu - od leta 1990 je živel v New York Cityju, letos pa se je preselil k nam v Ljubljano. Zvok njegovega saksofona, njegovega klarineta je tiste vrste, ki mu radi rečemo "titanski" - nenavadno bogat, cvetoč, mestoma kričav, jokav, fino zamazan in kot tak nadgradnja največjih: v miselni prezenci so kajpada Sonny Rollins, John Coltrane in Albert Ayler. V NYC se je zbližal z osrčjem improvizatorske scene in bil z zakoncema basistom Williamom in plesalko Patricijo Parker tudi soustanovitelj newyorškega festivala Vision - [L]http://www.visionfestival.org/[EL] - ki je z leti prerasel v eno najpomembnejših vrvečih "inštitucij" za podajanje kreativnih godb. Tsahar je udaren, zaželen pihalec kar nekaj večjih zasedb, tako npr. William Parker's Little Huey Creative Music Orchestra, vodi Brass Reeds Ensemble in 21-članski The New York Underground Orchestra, igral pa je tudi z In Order to Survive ter Cecil Taylor's Orchestra. Kar zadeva manjše stalne bande, velja omeniti njegov produktiven duo s Hamidom Drakeom, zasedbe JAM (+ Jim Black + Mat Maneri), Open Systems (+ Hugh Ragin + Hamid Drake + Wilbert de Joode), trio z Williamom Parkerjem in Susie Ibarra, pred par leti pa je Tsahar tudi lepšal poslednje mesece pokojnega kontrabasista Petra Kowalda - dobro sta dokumentirani "powerhouse" trojki, v katerih sta za bobni in tolkali bodisi Paul Lovens ali pa Rashied Ali. Assif Tsahar vodi in upravlja neodvisno zalozbo Hopscotch Records - [L]http://www.hopscotchrecords.com/[EL] - in zanjo tudi oblikuje večino ovitkov.

[b]Cooper-Moore[eb] je na sceni aktiven že več ko 30 let in je skladatelj-improvizator, inštrumentalist, oblikovalec in izumitelj glasbil, glasbeni vzgojitelj in glasbeni zdravilec. ivi v New Yorku, sicer pa je doma iz Piedmonta pod Blue Ridge Mountains v močno segregirani Virginiji. Pri osmih se je jel učiti klavirja, z dvanajstimi je že odkril muzike, kakor so jih podajali Thelonious Monk, Charles Mingus ter Ornette Coleman, in se kot otrok še sam odločil za življenjsko pot improvizatorja.

Cooper-Moore je na Ameriški katoliški univerzi v Washingtonu, D.C. diplomiral iz glasbene vzgoje in pozneje na Berkleejevem kolegiju v Bostonu študiral še kompozicijo in aranžiranje. Leta 1973 se je preselil v NYC, na Canal Street 501 brez omahovanj najel petnadstropno stavbo in jo spremenil v umetniško komuno z veliko ateljeji, vadbenimi in koncertnimi prostori. Nekaj let - med propadanjem kulture loftov in pred prelomno ustanovitvijo kluba The Knitting Factory - je bila Cooper-Moorova "bajta sreče" osrednje stičišče raznih performerjev in vizualcev na "taspodnjem" koncu Manhattna.

Potem sta se začeli dve karieri - medtem ko je intenzivno, v raznih zasedbah - ali sam - po ZDA in Evropi nastopal kot pianist, se je Cooper-Moore polotil še izumiteljstva. Njegovi inštrumenti so našli pot tako na cesto kakor tudi v umetniške muzeje in priložnostne muzične klube. Nanje je igral sam, jih daroval ali prodajal drugim. Dela jih še danes. Zanje uporablja raznolika gradiva kakor papir, bambus, les, kovino in akrile. So tako tolkala in pihala kakor strunske iznajdbe - ustni lok, vodoravna harfa, tristruni bendžo, ašimba (poseben tip ksilofona) ... Glasbil je Cooper-Moore naredil že za celo zbirko in so bili večkrat tudi razstavljeni po galerijah v ZDA. Nekaj jih bomo videli in slišali tudi v Gromki.

Leta 1992 je Dance Theater Workshop izvedel njegovo veliko predstavo [i]A Mindset[ei], v kateri se ukvarja s kriminalom in socialno problematiko v Ameriki. Družno z ekologom in "pridigarjem" Samom Loveom sta s posebno predstavo sredi devetdesetih obiskala več ko sto kolegijev v 44 zveznih državah ZDA in vzgajala mladino v družbeni kritiki. Zatem se je Cooper-Moore pod mentorstvom Susan Share eno leto posvetil raziskavi razmerja med knjigo in papirjem (rezultat se imenuje [i]Unfolded Worlds[ei]). Delal je z Moving Spirits Dance Theater, trenutno je - poleg drugega - zelo aktiven v eksperimentalnem improvizacijskem triu Triptych Myth in redno nastopa na festivalu Vision zakoncev Parker in Assifa Tsaharja.

Cooper-Moore je sedem let poučeval glasbeno terapijo na Harlem Interfaith Counseling Service v NYC, pet let pa svojo posebno metodo zdravljenja preskušal tudi za Wolf Trap Foundation v Virginiji. Njegove terapevtske inovacije so bile toplo sprejete v mnogih socialnih organizacijah in jih danes s pridom uporabljajo po vseh ZDA. Po tem priznanju je prišlo tudi izjemno vabilo - Cooper-Moore ima namreč po novem tudi profesuro na jazzovskem oddelku znamenite The New School for Social Research, NYC.



Nekaj navedkov:


"Drawing equally from Sonny Rollins and Albert Ayler, Assif Tsahar has become one of the brightest, if under-recognized, new talents on New York's avant-garde scene."
--[i]Jazz Times[ei]

"[Assif Tsahar is] one of the great new talents in New York."
--[i]Time Out[ei], NYC

"The Aylerian tenor can speak in tongues as articulately as anyone can these days - it's a thrill when abstraction is truly compelling."
--[i]Village Voice[ei]

"Saxophonist Assif Tsahar is one of the most dynamic young players in jazz ... this is a galvanizing listen from start to finish."
--[i]CMJ Magazine[ei]

"Few young jazz players generate the kind of buzz among New York cognoscenti that tenor saxophonist Assif Tsahar, have over the past couple of years ... through shifts in register and tonal quality, Tsahar has a knack for creating the illusion that he is playing more than one instrument. - This is some of the least dense and frenetic free jazz to come out of New York, and some of the most emotionally affecting."
--[i]Jazziz[ei]

"[Assif Tsahar] ... spring forth with a potent, fully formed style that marks him as an important new voice on his instrument, It's always a revelation to find avant-guardists worth hearing even in their quiet moment."
--[i]Music Hound Jazz[ei]

"One of New York's most effusive but reclusive musical geniuses. Cooper-Moore is a one-man New Orleans jazz funeral flailing like the Grambling State marching band across a vaudeville stage.
--[b]Andy Battaglia[eb], salon.com

"[Cooper-Moore is] one of the most potent musicians ever."
--[b]Phil Waldorf[eb], [i]Other Music[ei]

"As one of those rare jacks who own the startling ability to master as many trades as they can fit under their belts, Cooper-Moore has become one of the East Coast creative jazz scene's most versatile and valuable presences.
--[b]Scott Hreha[eb], [i]One Final Note[ei]





Aktualen posnetek:
[b]Cooper-Moore & Assif Tsahar: America[eb]
Hopscotch CD Hop 18, 2003

beri recenzijo:

Half protest statement and half call for renewal, America offers a wonderful combination of the familiar and the unexpected. The heartland music known as Americana – for lack of a better term – meets up here with an eager partner in the form of improvisation.

As a definitive missive of social protest, the opening track presents the only vocals on the record: a cry for justice ("America, do you think about the lives that you have stolen?") followed by a statement of return ("America, we’re gonna put you on the homeward bound train"). Cooper-Moore sings and plays the diddley bow (a rumbling bass instrument with a percussive attack) while Assif Tsahar adds intermittent cries on tenor saxophone. The loping shuffle has a catchy groove which works as a complement for Tsahar’s shrill blowing, together laying out the emotional themes to which the duo will refer through the course of America.

Tsahar, whose reeds are familiar in out jazz circles for their energy and timbral range, takes multiple opportunities here to amble along the relative straight and narrow. The aptly titled "Back Porch Chill" offers a relaxed country blues, as does "Beyond The Years"; the two pieces identically entitled "Lament For Trees" unfold as sparse, open ballads with gentle overtones of swing. None of these tunes would work without Cooper-Moore’s thoroughly grounded, organic playing on banjo, piano, mouth bow, and diddley-bow. Cooper-Moore has never been one for the spotlight and his obvious humility serves this project well.

But lest you get too comfortable, America shoots some fiery sparks as well. "12th Avenue Messengers" juxtaposes Tsahar’s overblown, emotional horn alongside punchy drums and cymbal. It’s a pointed and binding reminder of the record’s message. "Wounded Knee" opens up in a similarly edgy, forward vein. Cooper-Moore, for all of his work on the folksy instruments, is in his true element on the piano, which he hammers mercilessly in swirls around Tsahar. Following an extended open stretch, both players close out the record with another emphatic blast.

For its open candor and unforced message, America is a near masterpiece. It’s most certainly not for the faint of heart, despite a generally friendly feel, but that’s all part of the message. This is unequivocally one of the finest records to emerge this year. (Even though friendly critics everywhere have assembled their lists before they even had a chance to hear the disc. Their loss, not yours, at least in this case.)

[b]Nils Jacobson[eb]



pripravil [b]Miha Zadnikar[eb]


kontakt: miha.zadnikar@kinoteka.si
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