Jazzaldia The great Japanese night
San Sebastián, Saturday of Jazzaldia.
At mid-morning on Saturday, Moisés P. Sánchez invented an extra-dimensional version of
In a sentimental mood
, which one day should be played at La Trini.
His solo piano was a complete and definitive jazz flash, due to its audacity and emotion, and behind it,
there seemed to be no more music in his head
.
But the day awaited the two main dishes: Iggy Pop and Steve Coleman.
Both, it is already known, start from different starting points, but they recognize each other in movement and destiny: rebellious, free, rebellious, provocative, incisive music... To the point that
the roles seemed to be interchanged: the jazz player was the punk and the rocker the jazz player
.
They signed two great concerts.
La Iguana
was quoted in a crowded Kursaal in the afternoon, accompanied by a powerful band in which jazz trumpeter Leron Thomas and trombonist Corey King stood out;
behind, a true wild punk-rock group.
At the beginning, a
teaser
of Madeleine Farley
's documentary
Stooge was shown, which
momentarily irritated the staff
, but as soon as Iggy Pop came on stage, everything was forgotten and the respectable stood up to participate in the party until the end.
Five Foot One
sounded
with his rough and satanic voice, and the public went crazy with so much rock adrenaline.
The impeccable band, the perfect sound
and Iggy Pop... singing and swaying like never before, although he is already 75 years old.
Lust for Life
arrived
and the grandfather took off his jacket to reveal his
tanned skin
-in every way-, spitting out what was presumably water, sneaking 'the
fucking
' into each sentence,
touching his genitals and showing his butt
.
The rock hurricane by then had already been unleashed, coming after
The Passanger;
James Bond, Death Trip
... to the iconic
I Wanna Be Your Dog
, already with the audience in ecstasy.
What has been said: a great concert, by Iggy Pop and by the public.
Steve COleman, with The Five Elements. LOLO VASCO
That night, at La Trini, Steve Coleman appeared with one of his most cardinal and veteran bands, The Five Elements, with whom he has been making
a daring regeneration of Afro-American urban music
for almost four decades ;
so much so that, not only is he the seed of contemporary jazz players like Kamasi Washington or Robert Glasper, but he continues to be fertilizer for the jazz that will visit us tomorrow.
The alto saxophonist flees from labels and surrenders to a music that is actually
an echo of a state of mind
, although we all recognize in his songs the beat of funk, hip-hop, jazz and even punk.
Beside him, his regulars in the lineup: rapper and producer Kokayi, trumpeter Jonathan Finlayson, bassist Anthony Tidd (electric bass) and drummer Sean Rickman.
They all add up from the individual because each one is part of Coleman's musical whole
: the formula, not because it is repetitive, is less exciting, because new and disparate emotions are stirred with each song, bending harmonically, improvising chorally and creating from the purest sense of freedom.
He has been doing it for years and his work continues to shine for all the avant-garde.
As has been mentioned, the day dawned with that Madrid piano prodigy that is Moisés P. Sánchez, who every day
discusses all the limits
of jazz and good music, submitting a recital to remember.
It happened as part of the Fundación Autor's Jazz en Eñe program, where another pianist, Abdu Salim's son, Daahoud Salim, also performed, a young pianist who once began between poetic and spiritual melodies and now
unfolds between fiery
boopera
discharges and something Latin
.
Also performing were singer, keyboardist and drummer Louis Cole, with his penchant for pop, and another pianist, Frenchman Sofiane Pamart, with his
New Age
bent .
Conforms to The Trust Project criteria
Know more
music