Kansi auki -jazzpianofestivaali 17.-20.11.2011

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Iiro Rantala isännöi uutta jazzpianofestaria.
Iiro Rantala isännöi uutta jazzpianofestaria.

KANSI AUKI – Jazzpianofestivaali 17. – 20.11.2011

“Mikään ei ole makoisampaa kuin aistikas ja taidokas jazzpianokonsertti vuoden pimeimpään aikaan, juuri kun syksyn kiireet ovat pahimmillaan ja joulustakin pitäisi vielä jotenkin selvitä. Siksi haluan järjestää tämän tapahtuman. Arkielämän oravanpyörästä on mahdollista hypätä hetkeksi pois: Tulemalla kuuntelemaan huippupianismia Musiikkiteatteri Kapsäkkiin. Konsertteja edeltävät esitelmät ovat jotain uutta ja avaavat uusia näkökulmia musiikin ja hyvinvoinnin välisestä kiistattomasta yhteydestä.” (Iiro Rantala 8.8.2011)

Suomen ensimmäinen Jazzpianofestivaali järjestetään 17. – 20. marraskuuta Musiikkiteatteri Kapsäkissä, Hämeentie 68. Konsertoimaan on kutsuttu maailman terävintä kärkeä. Pianisti Iiro Rantala on matkoillaan ympäri maailman kohdannut lukuisia pianojazzin taitureita, jotka eivät syystä tai toisesta ole Suomessa liiemmälti vierailleet. Lisäksi Iiron mielestä monet suomalaiset jazzpianistit ovat liian harvoin kuultavissa oman pianisminsa äärellä. Rajaton määrä lahjakkuutta ja uskomatonta musiikillista viriliteettiä saa aina kuulijassa aikaan suuria reaktioita jopa fyysisiä tuntemuksia. Näistä aineksista koostuu ensimmäinen Kansi auki –Jazzpianofestivaali.

Festivaalin taiteilijat ovat: Gwilym Simcock (Englanti), Bugge Wesseltoft (Norja), Seppo Kantonen, Jasper Van´t Hof (Hollanti), Hans-Kristian Kjoss Sørensen (Norja), Iiro Rantala, Joona Toivanen Trio ja Michael Wollny (Saksa). Saamme kuulla kaikilta pianisteilta oman konsertin, johon Iiromaisesti sisältyy mahdollisia ja mahdottomia yllätyksiä.

Jokaista konserttia edeltää luento. Aiheina mm. mielihyvä, musiikin kuuntelun vaikutus hyvinvointiin sekä musiikin vaikutus keskittymiseen ja työssä jaksamiseen. Luennoitsijoina ovat psykiatrit Sami Pirkola, Jari Sinkkonen ja Matti Huttunen. Luennot alkavat tuntia ennen illan konserttia.

Konsertit järjestetään Musiikkiteatteri Kapsäkin kotoisassa salissa. Myös seinän takana sijaitseva Ravintola Allotria on käytössä, jokaisena iltana. Allotrian klubi-illoissa on tiivis tunnelma ja ruokalistalla ihania herkkuja.

Tapahtuma on tarkoituksella sijoitettu vuoden synkimpään ajankohtaan marraskuun loppuun. Silloin suurin osa meistä alkaa haikailla valon ja lisävoiman perään. Tarkoitus on tarjota ihmisille rauhoittavaa, hyvää pianomusiikkia ja sitä kautta energiaa ja mielihyvää. Arki muuttuu ehkä kirkkaammaksi.

Lauantaina festivaali tarjoaa Tommi Hyytisen avoimen pilatestunnin, jota Iiro Rantala säestää pianolla. Sunnuntaina on koko perheen pianokoulu, jonne on myöskin vapaa pääsy. Luvassa on Iironin pianokoulu, vol.1 sekä nuoria yllätysesiintyjiä.

Festivaalin tuotanto: Musiikkiteatteri Kapsäkki ja Liverace Oy. Liput konsertteihin ovat myynnissä Lippupisteessä. Hinnat 15-25€. Luennot sisältyvät konserttilipun hintaan.

Yle Radio1 taltioi Kapsäkki-salin konsertit.

Kapsäkki
Bugge Wesseltoft
Iiro Rantala
Michael Wollny
Seppo Kantonen
Jasper van’t Hof
Gwilym Simcock
Joona Toivanen
Hans-Kristian Kjoss Sörensen

Ohjelma 17.-20.11.2011

Torstai 17.11.2011

18:00 Kapsäkin sali
Musiikin parantava voima: psykiatrian tohtori Jari Sinkkosen luento

19:00 Kapsäkin sali Liput: 25/20€
Gwilym Simcock & Bugge Wesseltoft

21:00 Allotrian musiikkiklubi Liput: 15€
Seppo Kantonen

Perjantai 18.11.2011

18:00 Kapsäkin sali
Musiikki seksuaalisten tunteiden ja dopamiinin synnyttäjänä: Matti Huttusen luento

19:00 Kapsäkin sali Liput: 25/20€
Jasper Vant Hof ja Iiro Rantala

21:00 Ravintola Allotria Liput: 15€
Veijo Midi ja modulit

Lauantai 19.11.2011

15:00 Kapsäkin sali
Piano ja pilates: Iiro Rantala ja pilatesohjaaja Tommi Hyytinen

17:00 Kapsäkin sali
Musiikki paremman keskittymisen ja stressinhallinnan työkaluna: musiikin tohtori Sami Pirkolan luento

18:00 Kapsäkin sali Liput: 25/20€
Michael Wollny, Iiro Rantala & Pekka Kuusisto Subterraneo tango duo

21:00 Ravintola Allotria Liput: 15€
Joona Toivanen Trio

Sunnuntai 20.11.2011

13:00 – 15:00 Kapsäkin sali
Perhepäivä: Iiro Rantalan avoin pianokoulu pianisteille ja kaikille musiikista kiinnostuneille, piano-opiskelijoiden yllätysesityksiä.

……………………………………..

KANSI AUKI –JAZZPIANOFESTIVAALIN VIERAAT
Festivaalin johtaja Iiro Rantala

GWILYM SIMCOCK is one of the most gifted pianists and imaginative composers on the British scene. Able to move effortlessly between jazz and classical music, he can, at times, inhabit both worlds and has been described as stylistically reminiscent of Keith Jarrett, complete with ‘harmonic sophistication and subtle dovetailing of musical traditions’ as well as being a pianist of ‘exceptional’, ‘brilliant’ and ‘dazzling’ ability. His music has been widely acclaimed as ‘engaging, exciting, often unexpected, melodically enthralling, complex and wonderfully optimistic’.

Aside from his renowned solo piano work, Gwilym has worked extensively throughout Europe with the cream of British and international jazz artists including Dave Holland, Kenny Wheeler, Lee Konitz, Bill Bruford’s Earthworks, Bob Mintzer, Bobby McFerrin, Steve Swallow and Adam Nussbaum. His own groups as leader range from trio to big band. His debut album “Perception” featuring his sextet with Stan Sulzmann (saxophones), John Parricelli (guitar), Phil Donkin (bass), Martin France (drums) and Ben Bryant (percussion). was nominated for Best Album in the BBC Jazz Awards 2008 and has been critically acclaimed at home and abroad. His 2009 release “Blues Vignette” featured both solo piano and work with his new trio with Yuri Goloubev (bass) and James Maddren (drums). The album has been universally praised as “sublime”, “flawless”, “impressive” “a marker that few others are likely to equal”. His most recent solo album “Good Days at Schloss Elmau” on the prestigious ACT label was nominated for the Barclaycard Mercury Prize 2011 and has been lauded as “dazzlingly fresh”, “world class”, “stupendous” “phenomenal” “a cause for huge celebration”. His new collaborative band The Impossible Gentlemen with Mike Walker (guitar), Steve Swallow (bass) and Adam Nussbaum (drums) whose album was released in June 2011 has been described as “nothing short of sensational”.

MICHAEL WOLLNY received piano and violin tuition as a five year-old, and along with classical studies, improvisation was part of the curriculum from the very beginning. “As a seven or eight year-old, playing piano to me always meant improvising as well as playing Bach or Mozart.” He finally discovered jazz when an uncle gave him an LP of Keith Jarrett’s Köln Concert. Sixteen year-old Wollny started commuting to Würzburg to take part in the jazz course at the Hermann-Zilcher Conservatory. It was here that Wollny met Chris Beier, Wollny’s teacher from 1997 through to his diploma in 2002, and an idiosyncratic jazz pianist who prompted Wollny to develop his own concepts instead of following the academic process of learning the standard repertoire from second hand sources.

Michael Wollny has naturally shown that he has become a notable international pianist by his contribution to the ACT-anthology Piano Works-Romantic Freedom (ACT 9749-2) that presents jazz piano in its purest form. Part of the same series as Joachim Kühn (the subject of his graduation paper) and Brad Mehldau, Wollny presents “There Again”, his first solo recording, and a debut with consequences. Faced with the prospect of recording a complete solo-album, Wollny retreats to the Swedish island of Gotland. He listens to a lot of Schubert, Steve Reich, Björk and Joachim Kühn. He performs solo at JazzBaltica alongside colleagues like Brad Mehldau, Marcin Wasilewski and Kenny Barron, and in late February 2007, ACT released his solo-album Hexentanz (ACT 9456-2) as the seventh volume of the series Piano Works. Wollny got rave reviews for this album and provided “further evidence that he is an important new voice on piano, his off-centre lyricism and subtle touch giving unexpected depth to the album, but there is excitement too in listening to these haunting etudes because also lurking among the mists and shadows of these well crafted moods are glimpses of a huge potential gradually being realised.” (JAZZWISE).

BUGGE WESSELTOFT Since the early 1990´s Bugge (conveniently pronounced Boogie!) has made an impressive, truly post-modern transistion from ECM nordic jazz traditions, playing and recording together with the likes of Jan Garbarek, to forming his own exquisite label “Jazzland”, and creating a unique, fresh blend of “future jazz”. Which finds itself equally at home with fans of deep house, techno, ambient, as well as traditional and experimental jazz purists.

Having joined Arild Andersens band in 1990, Bugge participated in Sagn, Arild’s commissioned work for Vossa Jazz. He was also part of the recording of this work for ECM. In the same year, he also participated in performing Jan Garbarek’s commission for the Molde International Jazz Festival, Molde Canticle, and in its subsequent recording that appeared on Garbareks album I Took Up The Runes, ECM 1990. Bugge became more and more involved with the best musicians on the Norwegian jazz scene at that time. In 1991, he joined a quartet with Nils Petter Molvær, Bjørn Kjellemyr and Audun Kleive, and he also became member of Terje Rypdal’s quintet; in 1992, he joined Jon Eberson’s Jazzpunkensemble.

Since 2004, Bugge has been developing a solo project. He has played live at several festivals and venues in Norway (including Numusic festival in Stavanger, Jazzland Sessions at Blå in Oslo, and StåOpp Jazz in Bergen). For this show he uses piano, synthesizer, keyboard, samplers and a looping device. As you can expect from Bugge, his solo work covers a broad spectrum: from melodic piano parts to experimental and atonal music and noise (and even manages to find space to integrate a new version of a standard). Many rhythms and grooves, both primeval and modern, are looped and entwined, and often sounds are distorted and reshaped on the fly; the concerts have a strong free improvisational component.

Today Bugge is developing his solo project further. His creativity and musical evolution will continue to be exciting, original, and challenging. Is anything predictable? Only to expect the unexpected!

JASPER VAN’T HOF was born in Enschede, Holland on June 30, 1947. The child of a jazz trumpeter and a classically trained singer and pianist, his great interest in music became evident at an early age. The groundwork was laid with private piano lessons. At the age of fourteen he wrote his first compositions and became increasingly interested in jazz. His parents would have liked to send him to a conservatory, but JASPER VAN’T HOF preferred to play live. At nineteen he was already participating in various jazz festivals and raking in prizes.

Jasper Van´t Hof recorded his first solo album, THE SELF KICKER, in 1976, following the dissolution of PORK PIE, and it was already a clear avowal of faith to fully developed melody and precisely conceived music; it is still one of JASPER’s favourite albums today. This period also witnessed a number of duo contacts with musicians like Archie Shepp, Manfred Schoof, Wolfgang Dauner, Zbigniew Seifert, Toto Blanke, Stu Martin, Alphonse Mouzon and Bob Malach. And solo performances by JASPER VAN’T HOF were also not rare during those years: as a keyboarder with “all the works,” but often alone at the concert grand as well.

The year 1984 marked the founding of the Afro-European formation PILI-PILI. Its first album was a major success, above all in the dance and pop scene. PILI-PILI was a stepping stone for Angelique Kidjo, now an internationally successful ethnopop singer who worked with JASPER VAN’T HOF in his band for four years and recorded a number of CDs with him. The members of PILI-PILI include Marion Klein (Bielefeld), also a musician in the ethno band Dissidenten, the bassist Frank Itt of Hamburg and the trumpeter Eric Vloeimans. The band is VAN’T HOF’s most continuous project and celebrate its twentieth anniversary in 2004.

AXIOMA – solo CD, was released 2003. The main theme is the explainable, mathematical and recurrent aspect of music, inspired by Gödel, Escher and Bach, who traced this formula back to its origins in mathematics, painting and music, respectively.

ERIKOISVIERAANA:

HANS-KRISTIAN KJOS SØRENSEN, norwegian percussionist and cimbalist, is internationally recognised for his versatility and creative performances. As soloist he might include improvisations, as well as singing, acting and resitating lyrics, at the same time as he controls the colours, rhythmes and harmonic possibilities that percussion-instruments can offer. Sørensen has released several cd´s on ECM, a.o. with Misha Alperin, Arve Henriksen and Christian Wallumrød. In 2008 he released the percussion-concerto ”Readings of Mr.G” by Henrik Hellstenius with Ensemble BIT-20 conducted by Pierre-André Valade. Sørensens solo-cd ”OPEN” on BIS received international acclaim and won a norwegian Grammy.

Sørensen is a frequent guest at festivals in Europe and USA. Amongst his chambermusicpartners are violinists Florian Donderer, Daniel Hope, Pekka Kuusisto, Christian Tetzlaf and Terje Tønnesen, clarinetists Martin Frøst and Patrick Messina, drummer Stewart Copeland from The Police, percussionists Jean-Pierre Drouet and Stefan Rapp, pianists Alexander Lonquich, Misha Alperin and Bugge Wesseltoft, trumpeters Ole Edvard Antonsen, Håkan Hardenberger and Arve Henriksen, violist Gro Løvdahl, cellists Øystein Birkeland, Anja Lechner and Tanja Tetzlaf, conductors HK Gruber and Thomas Hengelbrock and ensembles like The Norwegian Soloistchoir and The Moscow Art Ensemble.

Sørensen is often involved in projects including both music and theatre, finding himself taken by the influence the two forms of art have on the overall artistic interpretation and presentation. In collaboration with the Oscar-awarded actor Klaus Maria Brandauer and Deutsche Grammophons star-violinist Daniel Hope, he has presented the concert War and Pieces all over the world.

Hans-Kristian Kjos Sørensen repertoire is mostly based on originalcomposed works for percussion and cimbalom. He has over 50 soloworks and concerts which he plays without score, making sure that the sometimes complicated scores, will reach the audiences ears and minds without letting conventions getting in the way.

ALLOTRIA MUSIC CLUB:

SEPPO KANTONEN – “Soolo mallintavalla pianolla (Roland V-piano). Ohjelmistona improvisaatioita, joiden kehyksinä ovat omat kappaleet – joukossa sekä uudehkoja että ihan uusia, tunnelmaltaan vaikea ennustaa. Lähtökohdiltaan seesteähkö.” (Seppo Kantosen haastattelusta Alkumeri –tapahtuman tiimoilta)

JOONA TOIVANEN TRIO – Joona Toivanen – piano, Tapani Toivanen – basso, Olavi Louhivuori – rummut. Modernia, älykästä,monivivahteista ja runollista jazzia.

VEIJO MIDI – Veijo Midi ja Modulit on yhden miehen (ja usean modulin) kokoinen elektroninen musiikki-iloittelu, jonka polttoaineena toimivat tarkoin valitut populäärimusiikin hohtavimmat helmet viimeisen parinsadan vuoden ajalta. Ohjelmisto venyy ja paukkuu AC/DC:n ja Queenin sävelaarteistoista Mozartiin, sekä kotimaisiin hitteihin ja klassikoihin.