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Stampa Stampa
90

PRESERRE (CZ) – URI CANE E PAOLO FRESU ALLA “REGGIO IN JAZZ”


Presentata nona edizione rassegna musicale promossa dall’associazione Naima

di REDAZIONE 

REGGIO CALABRIA – 30 NOVEMBRE 2017 –  Presentata alla stampa questa mattina, nei locali del main sponsor “Lievito”, la nona edizione della rassegna musicale Reggio In Jazz promossa dall’associazione Naima, che per quest’anno vedrà la realizzazione di un unico, attesissimo live: il concerto del formidabile duo composto da Uri Caine e Paolo Fresu.

In apertura, il presidente dell’associazione Naima Peppe Tuffo ha evidenziato una situazione molto difficile, che riguarda per la verità molte altre iniziative musicali e più in genere collegate al Pianeta Cultura: «Quest’anno, per molteplici ragioni faremo solamente un evento, rispetto alla classica “tre giorni” che organizzavamo dal 2009.

La nostra associazione dal punto di vista economico non è sicuramente ricca: siamo un gruppo di amici accomunati dalla passione del jazz, ognuno dei quali vive del proprio lavoro.

Non siamo degli impresari. Purtroppo, l’indisponibilità di spazi “intermedi” come il Teatro Siracusa, che per anni ha ospitato i nostri concerti, ha di fatto dirottato Reggio In Jazz al Teatro Cilea, che però ha costi davvero rilevanti: per il teatro in sé, ma anche per servizi di palco, assicurazioni, Vigili del fuoco, hostess…»

«Il mio – ha proseguito Tuffo – vuol essere un appello alle istituzioni che, per quanto riguarda la Cultura, in questa città sono un po’ assenti: non è la prima volta né siamo solo noi a dirlo, tante associazioni già prima di Naima si sono espresse nella medesima direzione. Un appello che però è connotato anche da parecchia rassegnazione, dopo tanti tentativi rimasti privi di riscontri apprezzabili. Ciononostante, ci siamo e continuiamo a mettercela tutta; ma senza un convinto supporto da parte di Enti territoriali e istituzioni, lo svolgimento di Reggio In Jazz nel 2018 resta un punto interrogativo».

Come posto in rilievo da Ignazio Ferro, l’appuntamento 2017 di Reggio In Jazz rimane un momento particolarmente atteso: «tante le telefonate di sollecito quando avevamo ipotizzato che per l’anno in corso la nostra rassegna di jazz non si sarebbe potuta svolgere. E tuttavia, grazie anche alla direzione artistica sempre oculata, malgrado le difficoltà abbiamo confermato, anzi incrementato il livello qualitativo nella scelta dei protagonisti». Misterioso il contesto scenografico: «Ogni anno, io dico che “non c’è” la scena. Ma quest’anno, veramente non c’è: c’è un’idea rivoluzionaria!, basta questo. E io spero di poterla fare, e di farla insieme», ha laconicamente chiosato lo scenografo Aldo Zucco.

Di rimando, Gianni Brandolino: «Reggio In Jazz non si arrende: questa nona edizione non sarà come la “Nona” di Beethoven, insomma l’ultimo pezzo, giusto per rimanere in àmbito musicale… L’immagine ci rimanda a una nave, che poi in realtà è un pianoforte dove un tasto si stacca da questo mondo per “viaggiare” nei suoni… La grafica è curata da Riccardo Pellicanò. Resta fermo il nostro logo, raffigurante un polistrumentista e che fa dunque riferimento ai cinque campi della polifonia».

Spazio, in chiusura, per l’inquadramento artistico-musicale dell’affiatatissima coppia Fresu-Caine e del più recente lavoro Two Minuettos, che costituirà anche l’ossatura del live del primo dicembre al “Cilea”.

Trombettista, 56 anni, Paolo Fresu è uno dei più sfavillanti protagonisti del jazz contemporaneo sulla scena europea e non solo.

La sua tromba dal timbro onirico, a tratti sognante, ha dato vita a mille progetti di sapore completamente diverso, animando un caleidoscopio di collaborazioni intense e significative: Giovanni Tommaso ed Enrico Pieranunzi, Franco D’Andrea e Giorgio Gaslini tra gli italiani, Trilok Gurtu e Gil Evans, Gerry Mulligan e John Abercrombie sulla scena planetaria.

Miglior musicista europeo nel 1996, nomination come miglior musicista internazionale nel 2000, il suo elevato profilo in termini di cultura musicale nel 2013 ha portato l’Università di Milano-Bicocca a conferire a Paolo Fresu la laurea honoris causa in Psicologia dei processi sociali, decisionali e dei comportamenti economici.

Un gigante di tecnica e dell’impegno civile, di recente portato avanti alla luce del sole (e con autoironia) anche supportando la causa dello ius soli.

Uri Caine, 58enne pianista, compositore e bandleader di Philadelphia, nato da una famiglia dalle salde radici ebraiche, è uno dei “mostri sacri” del jazz.

Eccelso e notissimo in ogni angolo del pianeta per versatilità e lirismo, ritmo ed eclettismo, Caine concentra nelle sue dita tutto e il contrario di tutto: la venerazione per Thelonious Monk e le folli “variazioni Goldberg”, l’amore per Bach e Vivaldi e le iperboli post-jazz di Closure, come pure il debito verso il sufi-moroccan jazz dei Masters Musicians of Jajouka; le rodatissime collaborazioni con Han Bennink e ancor prima Dave Douglas e la sinergia col “mito” del violoncello Mario Brunello; la capacità di svariare dal nu jazz alla musica classica, dal dixieland al rhythm&blues, dai timbri elettro agli immancabili echi kletzmer senza fare una piega.

Fiumi di citazioni, eserciti di note che sanno lasciare il passo a intimismo e piano solo, progetto dopo progetto. E anche l’Italia deve molto al talento di Caine, spesso presente nel nostro Paese con importanti tournée e, nel 2003, direttore musicale alla Biennale di Venezia.

Il riuscitissimo duetto tra Paolo Fresu e Uri Caine è un brillante ritorno, dopo i fasti di due album incisi insieme dai due jazzisti (Things del 2006 e Think, inciso tre anni più tardi con l’Alborada String Quartet).

Il recentissimo album live – registrato a Milano – Two Minuettos nasce dal desiderio profondo di tornare a collaborare una volta ancòra, e mette a valore la tromba “epica” del musicista di Berchidda così come l’alternanza ritmica e la capacità interpretativa di Caine,

Il tutto, coniugando il Gershwin di I Loves You, Porgy all’immancabile Bach, peraltro regalando all’ascoltatore anche una perla “calabrese”: Almeno Tu Nell’Universo, portata al grande successo nazionale dall’immensa voce della bagnarese Mia Martini.

A differenza che nei due album precedenti, solo rischiose cover; materiale musicale incandescente da misurare, plasmare, rimodellare.

L’estemporanea vivacità del dialogo strumentistico “dal vivo” consacra al meglio un connubio di qualità rara e l’interplay d’eccezione tra due musicisti che si conoscono ormai come le loro tasche.

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