L’improvvisazione jazz in Giappone: ministoria (parte 3)

0
446
“The New York – Tokyo Express” with duo Paquito D'Rivera (Alto Sax and Clarinet) and Makoto Ozone (piano). "So many legendary names of jazz first came to South America, traveling 12,000 kilometers, only to attend a festival that takes place in the Uruguayan contryside, an element that literally fascinates jazz visitors, which are by definition urban beings" producer Francisco Yobino. Festival Internacional de Jazz de Punta del Este, 2016 Finca El Sosiego Punta Ballena - Punta del Este, Maldonado, Uruguay. image by Jimmy Baikovicius, https://creativecommons.org/licenses/by-sa/2.0/, no change is mad.
Il Giappone ha da sempre avuto una predilizione per gli aspetti percussivi della musica ed ha fornito alla comunità musicale alcuni tra i più originali batteristi/percussionisti di sempre: tra questi, oltre a Togashi, un posto di rilievo assumono Eitetsu Hayashi e Stomu Yamashta. Entrambi hanno affascinato cultori, compositori, musicisti per la loro carica di innovazione, tant’è che

Articolo precedenteL’improvvisazione jazz in Giappone: ministoria (parte 2)
Articolo successivoPhilip Glass
Music writer, independent researcher and founder of the magazine 'Percorsi Musicali'. He wrote hundreads of essays and reviews of cds and books (over 2000 articles) and his work is widely appreciated in Italy and abroad via quotations, texts' translations, biographies, liner notes for prestigious composers, musicians and labels. He provides a modern conception of musical listening, which meditates on history, on the aesthetic seductions of sounds, on interdisciplinary relationships with other arts and cognitive sciences. He is also a graduate in Economics.