Dear friends who frequent the blog, today October 2 hits the shelves on my new CD entitled "Lyrical Enchantment." It 'a tribute to some opera arias by Puccini, Verdi and Leoncavallo played in my way to "feel" and the wonderful companions of this journey Roberto Olzer music are the piano, bass and Marco Mistrangelo Foreign Nicola on drums.
Paolo Fresu gave us the wonderful liner notes that in addition to the cd also found below.
I hope you to listen to "Lirico Incanto" or to see some of our concerts.
On my new site will also find the dates of various radio interviews and concerts broadcast.
Good Music, max
LINER NOTES FOR LYRIC MAGIC - edited by Paolo Fresu
For several years the Italian jazz wonders about his identity and translates this curiosity in music quality. Questions are asked more often about what should be the relationship between modernity and tradition and that sense of a current jazz that needs to be dynamic and constantly moving.
not hard to find in the rest of our cultural heritage and musical vital food to feed the ravenous need for stimulation and are increasingly convinced that the success of Italian jazz abroad derives from his ability to relate to the repertoire of its own history that, compared to other European nations, is much richer and diverse.
Certainly the work is a long-standing tradition that is also expressed at last, out of the untouchables. If the opera houses seem to be impregnable strongholds of the supports of home videos, numerous magazines and some artists have helped to restore the Opera House illuminated the idea that this incarnation of the popular a few centuries ago and that seems to be very close to way that jazz was born in the twenties - also as a popular expression - then becoming elitist art to regain its original character today.
could reflect at length on the historical and cultural connections of these two languages \u200b\u200bseem far apart but it turns out that after all the common points are many.
early nineteenth century the Italian musical tradition was strongly influenced airs virtuoso singers and it is thanks to what is developed which reinforces the ethnic music that common place of Italy as a land of Belcanto.
If it is true that the early jazz musicians were of Italian origin is also true that Bix Beiderbecke seems to have been very attracted to the whole operatic music as well as several of his colleagues then. If this music was born and developed in America through the clash of African rhythms with European melodies, this is certainly one coming from the band tradition. That the brass and woodwinds that reinterpreted in their own way those tunes that have already spoken. The child is then
jazz opera? Maybe not completely but it is certain that relations between the two languages \u200b\u200bare many.
Treat the operatic repertoire today is not so strange though it may be complex. The intriguing operation done by Max De Aloe is not new but it is so new and interesting way in which the harp is close to this subject matter with care and respect. In
LYRIC MAGIC themes are done with that approach philological which highlights the dramatic and the strictness with which amplifies the harmonic and melodic quality without compromising the delicate relationship between writing and improvisation.
This is a real jazz record and as such the ambition to want to change the original form of music could be strong. Max De Aloe vice versa has realized that jazz and opera are bound by that thin thread of history and culture, migration and language that united the continents well before the trumpets and saxophones invaded the streets of New Orleans. For this reason, together with colleagues in this wonderful musical journey, took in the beautiful melodies of Leoncavallo, Verdi and Puccini, the essence of music he wants, as always has been, speak to the world of humanity alive and dynamic. Humanity that has brought the music outside the Italian borders and that today refers to the position of echoes and reverberations across the Atlantic. LYRICAL CHARM
music is clear as air. Music and fine cohesive knows of lyricism and melody. The same as that from a few hundred years is beautifully what we are beyond genres and styles.
Paolo Fresu
Dunkirk, April 2008
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