After the pandemic, jazz is back
The 56th Jazzaldia has shielded itself against the bug by reducing gaps and shrinking spaces in an attempt to control the uncontrollable, that is, air and stupidity. What he has not bridled is his great date with all jazz musics, minimizing all possible risks for the natural enjoyment of good music, which will be divided into 60 concerts, half of them free. On its opening day it had three great figures from the current scene in the afternoon, the singer Jose James, the vocalist Cécile McLorin Salvant and that duo formed by
the trumpeter Dave Douglas and the pianist Franco DAndrea
. Before, in the morning, the veteran
Catalan
big band
-five decades of exercise-
La Locomotora Negra
He received the Donostiako Jazzaldia award, which this year he shares with the Cuban pianist Chucho Valdés.
In El Kursaal, Jose James stood with a white streak of Cruella de Ville, matching his immaculate suit with an impeccable American cut.
He arrived accompanied by
a band that had been revamped by last minute circumstances
, which had a very fresh and interesting lush keyboardist, Benjamin Bnnyhunna Kwasi, plus David Bao on drums and Iván Ruiz Machado on bass.
James is without a doubt a reference to male vocal jazz in recent years, with permission from Kurt Elling.
His saying is based on a
highly sophisticated soul-funk
recitation
which is actually pure bluesy feeling, even though his phrasing and way of scatting looks modern with syllabic and jerky gestures. The boy is determined to give pleasure and pleasure is what the respectable finds, generously. He started off with one of his hits,
Ain't no sunshine
, and from there ... it's all downhill.
Another majestic voice was quoted in the venerable Plaza de La Trinidad
Cécile McLorin Salvant
, accompanied in the intimacy of her dialogue with one of her fetish pianists, Sullivan Fortner (this time Aaron Diehl stayed home). Both starred in a precious evening, often bordered on operatic aesthetics rather than jazz aesthetics, and you had to be
very careful not to miss the essences of their music
, even if it seemed like a chat between friends. Classics of yesterday and today, from Ellington to Kurt Weill, plus some homegrown pieces, made up an evening to which the public indulged before the couple stepped onto the stage, with an early smile that ended up being permanent.
However, and as often happens,
the truth was in the middle
, with the appearance of a quartet led by that guru of the New York scene that is the trumpeter Dave Douglas and the octogenarian pianist Franco D'Andrea, who seems more than Italian. from Calle 52. This patriarch of European jazz is extraordinary, showing an
explicit jazz
youth
in their constant commitment to creativity, with the unwavering commitment to
take nothing for granted
and discuss everything. The master pianist signed inventive solos and reckless improvisations ...
Go with grandpa!
Dave Douglas was full of praise for the Italian and it was not for less, because this man is incredible.
The trumpeter discreetly conducts a meeting that is later expanded with a young double bass talent, the Italian Federica Michisanti, and
the always fiery drummer Dan Weiss
, a guarantee in the rhythmic rear. Douglas proposes expressive itineraries embedded in contemporary jazz, blurring the essence of bebop that, although it may seem paradoxical,
holds all his musical emotions
. He has a refined technique, a firm, deep and elevated breath, and a lot of clarity of ideas, which give shape to a very personal sound and concept, which is what jazz is all about.
The day left behind sincere recognitions for
the true heroes of the festival, the spectators, located in La Trini in seats separated by old San Sebastian street signs
;
we are closer than it seems, just look to the side and ... listen to music that, at Jazzaldia, is immunized against bad taste.
According to the criteria of The Trust Project
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