Corriere Nazionale: All’Eddie Lang Jazz Festival arrivano i fratelli Pastorius
I fratelli Pastorius in esclusiva all’Eddie Lang Jazz Festival, la manifestazione musicale ospitata nei giardini del Castello Pignatelli (Monteroduni-Isernia)
[…] Felix e Julius Pastorius, non hanno certamente bisogno di presentazioni, essendo figli d’arte: Jaco Pastorius, ricordato anche per essere stato il bassista dei Weather Report, rimane uno dei migliori bassisti del mondo.[…]
Monteroduni (IS), dal 30 luglio torna il Festival jazz dedicato a Eddie Lang
In esclusiva i fratelli Pastorius suoneranno per la prima volta insieme in Italia e apriranno il loro tour europeo proprio sul palcoscenico del Castello Pignatelli
Dopo lo stop dovuto all’emergenza sanitaria nello scorso anno, in cui l’Eddie Lang Jazz Festival avrebbe dovuto festeggiare la sua trentesima edizione, finalmente si riaccendono i riflettori nell’elegante cornice dei giardini del Castello Pignatelli di Monteroduni (IS), che ospiteranno come di consueto il Festival dal 30 luglio al 1 agosto. Patrocinato dal Comune di Monteroduni, il Festival è organizzato da Eddie Lang Music APS…
Musica, Eddie Lang Festival rende omaggio a Jaco Pastorius
(ANSA) – MONTERODUNI, 22 LUG – Annunciato dagli organizzatori il programma della trentesima edizione dell’Eddie Lang Jazz Festival che si terrà, dopo un anno di stop a causa della pandemia, nei giardini del castello Pignatelli di Monteroduni (Isernia) dal 30 luglio al primo agosto. Nel cartellone nomi di primo piano del jazz italiano e internazionale. Spicca nel programma l’omaggio a Jaco Pastorius, uno dei più grandi bassisti di tutti i tempi. Il 31 luglio si esibirà il “Through Jaco Legacy Trio”: sul palco i figli di Pastorius, Felix e Julius insieme a Josè Luis Santacruz.
Musica, Eddie Lang Festival rende omaggio a Jaco Pastorius
Spicca nel programma l’omaggio a Jaco Pastorius, uno dei più grandi bassisti di tutti i tempi. Il 31 luglio si esibirà il “Through Jaco Legacy Trio”: sul palco i figli di Pastorius, Felix e Julius insieme a Josè Luis Santacruz.
Ricordi, nostalgia, amore: la ballata per Messina del cantautore Novo
Alessandro Capurro, in arte Novo, giovane cantautore messinese, una passione nata da bambino guardando lo zio suonare la chitarra, un lungo percorso che l’ha portato da qualche anno a cantare e comporre. Nel suo ultimo brano “Palluni ruccati”, racconta con amore nostalgico la sua città. Una canzone in dialetto che scopre in maniera poetica ed evocativa i valori e le tradizioni scomparse. “Non aviumu nenti ma ridiumu sempri” canta Alessandro, ricordando la sua infanzia, in parte vissuta fra le baracche di Camaro San Paolo, dove seppur in un contesto difficile, i valori della comunità erano forti e reali…
“Stiamo perdendo la socialità” – racconta Alessandro – “Credo che una città abbia bisogno di spazi, è da lì che nasce l’aggregazione, l’arte. Quella che Messina sta vivendo è un’occasione unica, lo sbaraccamento deve servire alla città per avere nuovi stimoli, per recuperare spazi e identità.””
Alessandro Capurro, aka Novo, a young singer-songwriter from Messina, a passion born as a child watching his uncle play the guitar, a long journey that has led him to sing and compose for some years. In his latest song “Palluni ruccati” , he tells his city with nostalgic love. A song in dialect that discovers the values and traditions that have disappeared in a poetic and evocative way. “Non aviumu nenti but ridiumu sempri” sings Alessandro, recalling his childhood, partly lived in the barracks of Camaro San Paolo, where, albeit in a difficult context, the values of the community were strong and real.
“We are losing sociality” – Alessandro says – “I believe that a city needs space, that’s where aggregation, art comes from. What Messina is experiencing is a unique opportunity, the clearing must serve the city to have new stimuli, to recover spaces and identity. “
The piece saw a prestigious collaboration, the choirs were interpreted by Mario Incudine. The arrangements are by Dario Lisitano, who also deserves credit, explains Alessandro, for having directed him on the right musical path. The musicians: Fabrizio Marcellino on guitar and Novo himself, Santino Merrino on percussion.
The video clip of the song was directed by Alessando Capurro and Carlotta Ingemi. The shots were all shot in characteristic places of the city, from the north coast to the village of Pezzolo, and were made by Carlotta Ingemi, Giuseppe Spuria and on the drone by Marco Gismondo.
The appointment not to be missed to listen to Novo live is for August 5th, the singer-songwriter will open the concert by Eugenio Bennato and Mario Incudine. His notes will resonate in the arena of Villa Dante, a place frequented as a child with skinned knees, and which he now finds again as a protagonist.
Akinola Sennon started attending the Joseph School of the Arts in 1991, from age seven, learning to play the cuatro and studying the theory of music. He then moved on to playing two other instruments, the guitar and the piano at the said music school in Siparia, under the tutelage of Mr. Ashford Joseph. By age ten, Akinola was arranging musical compositions for his sibling to perform at his school concerts and recitals, since they all attended the same school.
Akinola Sennon started playing the steelpan in Standard Three with Mr Roland ‘Moose’ Joseph and at that point, he fell deeply in love with the instrument. During this time, he also played the guitar with the school and church choir. Miss Valdez, the school choir Mistress, was quite a huge influence in developing his musical ability. Mr Joseph nurtured his talent during that early period by taking him to many competitions and exposing us to the steelpan fraternity. Akinola Sennon remembers Mr Roland ‘Moose’ Joseph taking him to Pantrinbago’s Annual General Meetings and introducing him to various persons.
Akinola Sennon joined Siparia Deltones in 1996 for the Panorama season and also the Stage Side. It was there that he met Mr Carlton ‘Zanda’ Alexander. Akinola vividly remembers him asking him one day, “Young man, do you know your scales?” to which Akinola Sennon said “Yes.” He then instructed him, “Play me this scale,” which Akinola did. He then replied, “Ok, well do you know your chord scales?” Akinola again answered, “Yes.”He instructed, “Well play me this chord scale.” Akinola played the scale and he then requested him to play him the same chord scale from the 2nd inversion and that was where the trouble started. That was the beginning of a 17 year old relationship. Akinola has been his understudy since then.
Akinola Sennon was inducted as a member of the Coal Pot band which was led by Mr. Zanda. This band was basically a Kaiso/Jazz fusion ensemble with horns, vocals, piano, bass guitar and steelpan. He performed extensively at all the leading jazz and fusion shows throughout the nation, including Tobago Jazz Festival, San Fernando Jazz Festival, Sanch Apri Carnival, Siparia Jazz Festival, Point Jazz Festivaland many more. At age 18, he also began playing with Clive Alexander, Carlton’s older brother. This was also quite an experience and has significantly contributed to his overall development, especially his weekly performances at the Satchmo’s Jazz club on Ariapita Avenue for a number of months.
In 2003, Akinola Sennon became the captain of Siparia Deltones’ junior band and later went on to become the captain of the senior band. He has worked with the National Steel Symphony Orchestra for one year and the Pan in the Classroom Unit. Akinola Sennon has taught at Forest Reserve Anglican School, Fyzabad Presbyterian School, Iere High school, Palo Seco Government School and Trinidad Renaissance Preparatory School.
In 2009, Akinola played the role of the musical director for steel pan promotion in Canada, where, Siparia Deltones and I, did workshops throughout the country.
As an Arranger, he has composed for the Southern Marines Steel band Foundation placing 3rdin the Small Band Category of the Panorama competition of 2010. He won the Primary School category of the Sanfest Competition for four years in a row from 2010; three times with Forest Reserve Anglican School and one year with Trinidad Renaissance Preparatory School of which he is their musical director. Akinola Sennon also won the Pan for Blue Competition with Forest Reserve Anglican School in 2013.
He is presently the executive director and musical director of Siparia Deltones, where his intention is to have this instrument evolved globally. The designer of the band’s syllabus and course structure is what he is. Together with his band, Siparia Deltones, in 2013, they recorded an album with Hugh Masekela for which Akinola Sennon played the role of Project Coordinator and steelpan soloist.
Earlier this year, he travelled to the Netherlands to participate in the Amsterdams Conservatorium Van Summer Jazz Workshop where he is the first pan player to be accepted to be part of the prestige workshop. After that experience in the Netherlands, Akinola Sennon made a decision that the world should hear his voice more loudly via his pan. For whilst there he usually was approached and asked about his upcoming tours and albums due to students being overwhelmed by his playing ability. Akinola made the decision to do his first album, a project of the Deltones Institute of Steel Drums and music in collaboration with Berklee College, New England conservatory and Manhattan School of music students. Then he journeyed to the States where he auditioned students for the project.
This project was called Cousoumeh which received a record label contract from leading label Ropeadope Records. He also developed the concept of the album into a festival called the Cousoumeh festival. Both the album and the festival have been very successful thus far.
Akinola Sennon continues to work in the area of steelpan development, arranging and music education.
Gaia Mobilij’s Istanbul Project began in Istanbul, Turkey in 2018 with the addition of the musical talents of Aaron Goldsmith and Peter Salvucci. Forming a unique blend of Balkan, Turkish, Latin, and the original compositions of Gaia, the Istanbul Project features a cosmopolitan arrangement of sounds that combines Funk, Psychedelic, and Pop along with traditional Middle-Eastern and Balkan styles in a complete, transcendent musical experience. This extension of Gaia Mobilij’s creative mind and musical artistry provides an original and danceable sonic environment satisfying a variety of tastes for both the familiar and the new.
The Istanbul Project | VIDEOS
Gaia Mobilij | MUSIC
The Istanbul Project | PROMO AND TECHNICAL MATERIAL
A story of migration from the West to the South – resonates in his music, which creates a conscious dialogue between West African and South African sounds. This musical fusion demonstrates the path to a new and culturally integrated Africa in which a common heritage
is reinforced to meet the needs of today’s world. His quest is for African unity at a time when he believes Africa should claim its rightful and proud place in the world.
Femi Koya’s debut album “Just in Newtown” is evidence of the rich melodies that result from this fusion. Through his versatility on the saxophone, he breathes new life into African world music. “Iba” meaning “Homage” is the title of Femi Koya’s album which was launched in August 2015. The Iba album also calls for African unity and makes a plea for human rights to be respected. But the album also
celebrates Africa’s love of life with infectious dance numbers that bring fans to their feet. His Iba album also features the Soweto Gospel Choir, Pops Mohamed, Stompie Manana, Prince Lengoase and Kenny Mataba and poetry by Pitika Ntuli and Lisa Combrinck.
His 2018 album .Village Afrobeat is an African party, jazzed up with Afrobeat’s horn arrangements, with talking drum and percussions driving the African heartbeat. Songs such as Babalawo, Lerato, Alo and Kongo enable new generations to understand the significance of the African unity as well as providing a nostalgic look at village culture and its life lessons.
The songs tell stories of what happens in villages and especially in fables, with animals like the tortoise, the role of the town criers, village men and women as part of the whole village lifestyle. The songs also depict nature, fertility, rituals, change of seasons and traditions essential to village life. 2019, he is re – releasing a remix EP “Ori Mi” and Single “Iba” in June 2019 following with a world tour.
His musical influences include Fela Kuti, Bob Marley, Manu di Bango, Hugh Masekela,Baaba Maal and Sonny Rollins. He has shared the stage with Youssou N’dour and Yvonne Chaka Chaka at the CAF (Confederation of African Football Awards) in Lagos and with John Legend in his first South African tour in Cape Town. He performed alongside the king of Juju music, Sunny Ade, at the Glo launch in the Republic of Benin. Other colourful festivals felt Femi Koya’s acrobatic music, where he performed alongside the Wynton Marsalis, Oliver Mtukudzi, Habib Koite, Salif Keita, Baaba Maal. He has recorded with Simphiwe Dana, Pops Mohamed ,Yvonne Chaka Chaka, and performed with Baaba Maal, Angelique Kidjo, Wizkid just to mention a few.
Other events where Femi Koya has laid his marks include, RSA Department of Arts and Culture and dedicated a song to the Haitian people. Femi Koya was part of the Radio 2000 song for Madiba. Starred the Joburg Theatre Africa day celebrations 2015, payed tribute to
Fela Kuti with Lura of Cape Verde, Abena Koomson NY/Ghana, Lira and Ringo Madlingozi of South Africa.
Premiering our music video for Raoud!
Produced by Louis Tissier in-zebox.fr
Sound Engineering Joël Givalla
Thank you to everyone in Tagounite and Mhamid el Ghizlane
“Raoud”, meaning “Thunder”, fuses tribal lyric styles with modern Saharan Blues song composition. The lyrics can best be described as a love letter to rain, typical of tribal traditions in the Sahara, and calls for the sound of thunder to roll over the desert mountains, bringing rain with it and providing life to all living things in the desert.
“Raoud”, qui signifie “tonnerre”, fusionne les styles lyriques tribaux avec la composition de la chanson Sahara Blues moderne. Les paroles peuvent être décrites comme une lettre d’amour à la pluie, typique des traditions tribales au Sahara, et appelle au son du tonnerre à rouler sur les montagnes désertiques, en apportant de la pluie et en apportant vie à tous les êtres vivants dans le désert.