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luís soares

Blog do escritor Luís Soares

Joey Alexander NPR Music Tiny Desk Concert

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

Blue Rondo à la Turk

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.

Leoš Janáček

Leoš Janáček: On an Overgrown Path - Series 1 / Misuzu Tanaka, piano

Live from Britton Recital Hall. / Piano: The Steinway & Sons Model D

 

0:18 Naše večery - Our Evenings
3:42 Lístek odvanutý - Blown Away Leaf
6:01 Pojďte s námi! - Come With Us!
7:10 Frýdecká panna Maria - The Madonna of Frydek
10:26 Štěbetaly jak laštovičky - They Chattered Like Swallows
12:23 Nelze domluvit! - Words Fail!
14:20 Dobrou noc! - Good Night!
17:26 Tak neskonale úzko - Unutterable Anguish
20:01 V pláči - In Tears
22:37 Sýček neodletěl! - The Barn Owl Has Not Flown Away!

 

The first five pieces of the two sets that Janáček called On an Overgrown Path were composed around 1900, for harmonium. The first set was completed as ten piano pieces in 1908, and Janáček then gave them their present titles. The overall title refers to a Moravian wedding song in which the bride laments that "the path to my mother's has become overgrown with clover", and the pieces, as Janáček wrote in 1908 in an explanatory letter to the musicologist Jan Branberger who was interested in publishing them, "contain distant reminiscences. Those reminiscences are so dear to me that I do not think they will ever vanish." Some of these memories are apparently happy, others intensely sad. In 1903 there occurred the central tragedy of Janáček's life: the death of his daughter Olga from typhoid fever at the age of twenty-one. The last three pieces of Set 1 certainly refer to Olga's death: in Czech folklore the owl, sýcek, is a bird of ill-omen (the English title in the published edition is 'The barn owl has not flown away' but Janáček gives a very accurate representation of the tawny owl's cry, whereas the barn owl screeches). © David Matthews

Danny Boy

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.

Once In a While

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.

Ouve aqui o programa completo de Sessão da Meia-Noite, com Filipe Melo: https://www.rtp.pt/play/p5095/e374080/sessao-da-meia-noite