In these days of rain in a sudden show us from summer to autumn I go back to the pages of my blog. The sadness brings desire to play and when it is still more strong writing. The occasion, which is far from being sad, is the output of the photo book "My Jazz - Pictures and emotions" of his friend Patrick Gianquintieri. Photographs of jazz musicians. Musicians in black and white. Now more and more in black, and shades without boundaries, annihilated by a world increasingly away from the importance of music. Just watch the video of the next post dedicated to ranting speech by the Minister Brunetta on the musicians to understand what I mean.
But back to the book by Patrick in habit but with no enthusiasm, I wrote an introduction. An opportunity here to make me want riproporrvela hoping that someone search Patrick's book. Anyone wishing to write can do it gianquintieri@libero.it
From "My jazz - images and emotions"
know little the art of photography. But I have always been convinced that there are two ways, or rather two-tier approach to any art form: that of the technician who knows every trick that sees beyond where he sees the common people, and that the viewer curious and sensitive effect has mostly fascinating, imaginative and often becomes involved with the artistic mediation always had great respect for it.
True lovers of photography can live the two times (and this I think it's the thing more rewarding but requires a lot of sacrifices and dedication). Critics often, not always happily, using only the first level of technicality, forgetting the second level is that of enveloping wonder about themselves in pages of criticism that often tell us little.
I learned with photos of Patrick Gianquintieri to live the second level of enjoyment, that of 'enchantment and mystery.
would be trivial but also wrong to say that Patrick is able to capture the moment.
His photographs do not reread the instant of the player but he gives his own interpretation, just like a jazz musician before a song by Cole Porter and Duke Ellington.
personally in front of his photos Abdullah Ibrahim or portray John Hicks Reggie Workman or not replay the music of these jazz greats but how to interpret it for Patrick, always with great respect for the original item that is the musician and his music, the musician and his instrument, the musician and his audience. Patrick
reinterprets without distorting, without manipulating the feeling of when the right balance. That's why I write these lines to put in the background "Round Midnight" in the version of the Miles Davis quintet (which I never do because I can not live music as a background), because the idea of \u200b\u200bbalance and mystery picture Patrick makes me think of the way in which the great Miles reinterpreted "Stella by Starlight," "My Funny Valentine" and "Bye Bye Blackbird."
The genius of Miles was in the breaks and in the case of Patrick, by the due proportions, in the shadows, in what is not seen. In the dark spot around the musician and his instrument.
Patrick and I met thanks to his photos and my music, then with time I learned to appreciate the man, his enthusiasm, his ability to go deep, only driven by emotions, from what I hear on the skin.
When I think of him to his great passions, which are photography and jazz, I can not think of a professional photographer but I always think, and do not know why, in an old sailor who every day must go to sea because the sea is his life and especially since seeing the coast from the open sea is the thing that excites the most. More and more. Max De Aloe
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