Já não se pode dizer que João Barradas seja um novo nome no panorama do jazz português. Começou a tocar acordeão aos 6 anos, fez-se coleccionador de prémios desde os 9 e nestes últimos dois anos editou dois discos: Directions em 2016, e An End as a New Beginning num projecto chamado Home, lançado em Outubro do ano passado. Aos 25 anos, é considerado um dos mais importantes acordeonistas do mundo na actualidade, transportando o seu instrumento para contextos em que não estamos acostumados a ouvi-lo.
Nov. 30, 2018 | Lauren Onkey -- When a baby grand piano rolls into the office for a Tiny Desk concert, you expect something special. But none of us could have imagined what it's like to see 15-year old Joey Alexander play that piano with such mastery. The thing is, when you see him play live, you quickly forget his age and get lost in the intense focus of his performance. Alexander and his stellar supporting cast — Reuben Rogers on bass and Kendrick Scott on drums — form a tight trio, locking eyes as Alexander's compositions unfold. The relaxed, seasoned veterans looked thrilled to be playing with Alexander at the Tiny Desk, and he was clearly inspired playing with them. The crowd was both mesmerized and humbled by the memories of what they were doing at 15.
Born in Indonesia, Alexander learned to play by listening to his father's jazz albums. When he was just 10-years old, Wynton Marsalis invited him to play at a Jazz at Lincoln Center gala, and the young Alexander set the jazz world buzzing. He made his mark covering classics by Thelonious Monk and John Coltrane, but he's now recording and performing more of his own compositions. He showcased that original work during his Tiny Desk performance. Alexander's vigorously rhythmic playing was playful in the opening "Eclipse" (from his latest album of the same name), which he described as "spontaneous playing." "Bali," also from Eclipse, followed, while "City Lights" (from his 2016 album Countdown) closed a set that ranks among the year's finest jazz performances at the Tiny Desk.
Set List "Eclipse" "Bali" "City Lights"
Credits Producers: Suraya Mohamed, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Kaylee Domzalski, Bronson Arcuri; Editor: Kaylee Domzalski; Production Assistant: Brie Martin; Photo: Cameron Pollack/NPR
Aos domingos à meia-noite, Filipe Melo convida alguém extraordinário para uma conversa, com muita música pelo meio. Para concluir, um mini concerto de duas músicas, uma escolhida pelo anfitrião, outra pelo convidado. Este episódio tem como convidado Alexandre Frazão, baterista brasileiro conhecido pelas suas colaborações com Mário Laginha, Bernardo Sassetti, Resistência, Trio TGB, Tim Tim por Tim Tum ou Led On, de tributo aos Led Zeppelin Com Alexandre Frazão, Filipe Melo fez uma versão de "Blue Rondo à la Turk", original de The Dave Brubeck Quartet.
I first performed Blackbird in 2014, but I didn’t have a chance to record it until 2017. When I hear “Blackbird” and especially when I play it, I feel a sense of freedom, hope and thankfulness. - Joey Alexander
Aos domingos à meia-noite, Filipe Melo convida alguém extraordinário para uma conversa, com muita música pelo meio. Para concluir, um mini concerto de duas músicas, uma escolhida pelo anfitrião, outra pelo convidado. Este episódio tem como convidado o compositor e contrabaixista Carlos Barretto. Barretto mantém vários projetos musicais, como o Quarteto Carlos Barreto, o projecto Lokomotiv, as suas atuações a solo, e o projeto Solo Pictórico em que incorpora música e pintura. Com Carlos Barretto, fez uma versão de "Come Together", dos Beatles.
Aos domingos à meia-noite, Filipe Melo convida alguém extraordinário para uma conversa, com muita música pelo meio. Para concluir, um mini concerto de duas músicas, uma escolhida pelo anfitrião, outra pelo convidado. Este episódio tem como convidada Nádia Schilling. Natural das Caldas da Rainha, Nádia cresceu com o movimento de rock alternativo que popularizou a cidade na década de 1990. Estudou Arquitectura Paisagista e frequentou o Conservatório de Música onde estudou guitarra e técnica vocal. Em 2017, editou o primeiro disco a solo, Above the Trees. Com Nádia Schilling, fez uma versão de "Danny Boy", de Frederic Weatherly.
Les McCann's trio with guests Eddie Harris on saxophone and Benny Bailey on trumpet play the soul-jazz classic (and pop hit) "Compared to What" live in 1969 at the Montreux Jazz Festival.
I love the lie and lie the love A-Hangin' on, with push and shove Possession is the motivation that is hangin' up the God-damn nation Looks like we always end up in a rut (everybody now!) Tryin' to make it real, compared to what? C'mon baby!
Slaughterhouse is killin' hogs Twisted children killin' frogs Poor dumb rednecks rollin' logs Tired old lady kissin' dogs I hate the human love of that stinking mutt (I can't use it!) Try to make it real, compared to what? C'mon baby now!
The President, he's got his war Folks don't know just what it's for Nobody gives us rhyme or reason Have one doubt, they call it treason We're chicken-feathers, all without one nut. God damn it! Tryin' to make it real, compared to what? (Sock it to me)
Church on Sunday, sleep and nod Tryin' to duck the wrath of God Preacher's fillin' us with fright They all tryin' to teach us what they think is right They really got to be some kind of nut (I can't use it!) Tryin' to make it real, compared to what?
Where's that bee and where's that honey? Where's my God and where's my money? Unreal values, crass distortion Unwed mothers need abortion Kind of brings to mind ol' young King Tut (He did it now) Tried to make it real, compared to what?!
Aos domingos à meia-noite, Filipe Melo convida alguém extraordinário para uma conversa, com muita música pelo meio. Para concluir, um mini concerto de duas músicas, uma escolhida pelo anfitrião, outra pelo convidado.
Este episódio tem como convidado João Moreira, trompetista desde os 11 anos de idade. É professor da escola de jazz do hot clube de portugal desde 1989.
Com João Moreira, fez uma versão de "Once In a While", de Michael Edwards.
Sept. 25, 2018 | Suraya Mohamed -- Standing behind the Tiny Desk with only pianist Sullivan Fortner by her side, jazz singer Cécile McLorin Salvant remarked that she hadn't been this nervous in a while. But it was hard to tell: She embraced the discomfort with ease, taking command of the space with a calm demeanor and spiritual presence that felt both humble and persuasive.
From listening to McLorin Salvant's exquisite performance here, I also couldn't tell that when she was 15, she was listening to Alice in Chains, sported a Mohawk and was into what she calls "radical feminist punk stuff," as she told NPR after the performance. "Sometimes I still really like Bikini Kill, and I still have my little Pearl Jam grunge moments."
What can be heard in each song is a seasoned jazz singer with a vast vocal range, meticulous technical execution and a superb classical vocal foundation, which actually began when she was just 8. Her background in classical piano is evident in the inventive harmonic and melodic construction of the first three songs heard here; all are romantically themed McLorin Salvant compositions from her third album, For One to Love, recorded in 2015. The record won her a 2016 Grammy for Best Jazz Vocal Album.
McLorin Salvant closes with "Omie Wise," an American folk song that tells the tragic story of murder victim Naomi Wise and her husband and killer, John Lewis:
Then pushed her in deep waters where he knew that she would drown
He jumped on his pony and away he did ride
The screams of little Omie went down by his side.
Feminist themes are common in McLorin Salvant's music, and while "Omie Wise" addresses gender-based violence, she says she sings difficult songs like this to address an important historical legacy. "We don't sing to our kids and we don't know any of our folk music anymore," McLorin Salvant says. "But like all of the history of race songs, coon songs, minstrel music, music from Vaudeville, all of that is like, 'No, we're not going to address that — that's too ugly.'"
While the words in "Omie Wise" hit hard, the ballad's melody — like all of the other music played here — is nothing but beautiful. McLorin Salvant's fifth album, a duo record with Fortner, comes out Sept. 28.
Set List "Fog" "Look At Me" "Monday" "Omie Wise"
Credits Producers: Suraya Mohamed, Morgan Noelle Smith; Creative Director: Bob Boilen; Audio Engineer: Josh Rogosin; Videographers: Morgan Noelle Smith, Khun Minn Ohn; Production Assistant: Catherine Zhang; Photo: Samantha Clark/NPR