Both lyrical and free in nature, the etched, post-Coleman/Cherry interplay of Pastor, Waterman and Haslam offers appropriate, now provocative, now abstractly swinging frames for the philosophically inclined musings of Italian poet Dagnino. As far as can be imagined from the mellow "dream deferred" blues of Langston Hughes (but not that far from the protestation of Kenneth Patchen) her 10 post-Beckett-and-Cage prose-poem "chants" (printed in the sleeve) are delivered in the sort of impassioned yet flat English which should appeal to followers of the Fluxus art movement.
Michael Tucker Jazz Journal Dec 2012
Buy this for Steve Waterman exploring the trumpet with a freedom that is absent when he is in a more conventional setting.
GeorgeHaslam in addition to the baritone also plays a tarogato (looks like a clarinet and sounds like a bag pipe).Combined with Stefano Pastor on violin and bass they make some wonderfulsounds and textures.
Thenwe come to Erika Dagnino, the Italian poet. Poetry and jazz has been temptingpeople since before the 1950s. Erika has not been deterred by the partialsuccesses that have littered the years since Kerouac first attempted to workwith Steve Allen.
Gettingthe balance right between the words and the music is the goal.It is even more important here because Dagnino's stern voice and accentmakes little attempt to work with the music.Thankfully her words are reproduced on the album notes. You have toadmire her chutzpah. Has anythingbeen lost in translation? Is itgreat or even good poetry? Whoknows? But to thislistener the words and music seem to go together like Coltrane andBublé
Theexperience reminded me of a concert in the Albert Hall in the 1960s. I remember seeing Yoko Ono work withOrnette Coleman.Ornettewon.
Alimited success then? Yes, butworth having for Haslam and Waterman.
Reviewedby Jack Kenny June 2013 http://jazzviewscdreviews.weebly.com/
Erika Dagnino, Stefano Pastor, George Haslam, Steve Waterman – NARCETE:You will need to be in a certain "frame of mind"
to enjoy this music… "Chant I" will give you a pretty fair idea of what you're about to encounter on this splendid 10-song spoken-
word and improv adventure! I've been reviewing a lot of violin work from Stefano & I imagine that's how this particular outing
wound up in my review box. From a strictly "jazz" perspective, I expect many listeners will enjoy pieces like "Chant III" more than
others. The highlight of all these works is that they blend musical and spoken voices together into a quite comprehensible
roller-coaster ride for the listener who demands a taste of the insane in the listening experience. For those types of listeners
(tho' not for more "conventional" types), this one gets a MOST HIGHLY RECOMMENDED, with an "EQ" (energy quotient) rating
of 4.98. Get more information at theSLAM Productions pages. Rotcod Zzaj http://rotcodzzaj.com/wordpress/?page_id=3884
Opera poetica "Narcéte", che l'autrice declama, con 'voce bella, forte e chiara' (come l'ha definita Peter Brötzmann).
Un febbrile ed efficace insolito quartetto.
Dove son furori fine sessanta, quelli che si materializzano.
L'Africa sognata/bramata, dal fondo d'un ghetto americano.
Non tralasciando silenzi, balbettamenti avant, incursioni contemporanee e ruggini blues.
Terra fra le dita, cielo negli occhi.
Notti e lampadine penzolanti.
Dice: la pozzanghera sembra un lago...
Ti ci puoi perdere.
Con urgenza ed amore.
Erika Dagnino (poesie, voce), Stefano Pastor (violino, contrabbasso), George Haslam (sax, tarogato), Steve Waterman (tromba).
Marco Carcasi April 2013
http://www.kathodik.it/modules.php?name=Reviews&rop=showcontent&id=5313
TRANSLATION
Poetry "Narcéte", which the author recites, with 'beautiful voice, loud and clear' (as defined by Peter Brötzmann).
A feverish and effective unusual quartet.
Where I end fury sixty, those that materialize.
The AfricaN dream /yearning, from the bottom of an American ghetto.
Not forgetting silences, stutters, avant, raids contemporary blues and rusts.
Earth between his fingers, heaven's eyes.
Nights and bulbs dangling.
Says the puddle looks like a lake ...
You can not miss us.
With urgency and love.
Erika Dagnino (poems, vocals), Stephen Pastor (violin, double bass), George Haslam (sax, Tarogato), Steve Waterman (trumpet).
Erika Dagnino è una poetessa e performer genovese che insieme a Stefano Pastor conduce una ricerca in ambito musicale che fonde, in un'unica anima creativa, poesia e jazz, parole e note, in quello che si potrebbe definire come un cammino d'introspezione tra suono, silenzio e significati interpretabili.
In Narcéte sono affiancati dai musicisti inglesi Steve Waterman e George Haslam e danno vita a dieci passaggi dalle forti connotazioni cameristiche e sperimentali, artisticamente affascinanti e nelle quali si avverte forte la voglia di abbinare atmosfere contrastanti ed equilibri timbrici. Intenzioni chiare già nella prima traccia, dove si innesca una sorta di rincorsa tra fiati e violino che si conclude tra i versi che descrivono situazioni immaginarie e idee astratte enunciati dalla Dagnino. La musica proposta difficilmente prende forma in maniera lineare, e anche quando ciò avviene, come in "Chant II," s'avverte la voglia di destrutturare ogni certezza acquisita, mentre sono diversi i passaggi ostici e melodicamente inospitali, come la stridente "Chant IV".
Un lavoro nel suo complesso molto interessante, al quale va dato il giusto grado di attenzione e verso il quale bisogna avvicinarsi con mente libera e pronta ad accogliere significati distanti dalle consuetudini.
Roberto Paviglianiti http://italia.allaboutjazz.com/php/article.php?id=8606
TRANSLATION
Erika Dagnino is a poet and performer Genoese with Stefano Pastor conducts research in the field of music that combines, in one creative soul, jazz and poetry, words and notes, in what could be described as a journey of introspection between sound, silence and interpretable meanings.
In Narcéte are joined by British musicians Steve Waterman and George Haslam and give life to ten passages with strong connotations chamber and experimental, artistically fascinating and in which you feel a strong desire to combine contrasting atmospheres and timbral balance. Intentions clear already in the first track, where it triggers a sort of spiral between horn and violin ending between verses describing imaginary situations and abstract ideas enunciated by Dagnino. The music offered hardly takes shape in a linear fashion, and even when this happens, as in "Chant II," especially felt the desire to deconstruct all certainty gained, while there are various steps melodically difficult and inhospitable, as the striking "Chant IV ".
A very interesting work as a whole, which must be given the right level of attention and to which we must approach with an open mind and ready to welcome meanings far from the usual.
The sonically intense Narcéte is a multi-disciplinary collection of chants released by four
artists of the avant-garde. This quartet uses an odd combination of instruments to weave
their contrapuntal sonorities into a conceptual blanket of sound. The spoken-word artist,
Dagnino, has had her poems translated into English for this special recording. Dagnino's
word-painting juxtaposes her stimulating poems with the fast-paced, yet subtle interactions
of the ensemble. Phrases like "rat poison" and "unhappy people" reveal a humble author whose
poems are not created to be brilliant literature, but do create an overwhelming effect when mixed
with the ensemble. However, the topical nature of each poem stretches the imagination into
areas of religion, mortality, and androgyny. Most of the chants begin with an instrumental
introduction before the poem begins.
The ensemble usually finds itself in very fast-paced improvisations that are frequently tonally-
centered in some way, but allow the instruments to venture out. "Chant III" introduces a bass
line that appears to be walking, and an adventurous trumpet language that suggests bebop,
but the music often derives as much of its influence from Western Art Music as it does anything
else. The timbre of the tarogato is very course and almost sounds like a plastic saxophone,
but the effect is awe-inspiring and creates just the right temperament for the performance.
The recording quality does seem to bog the experience down a little, though. One high spot
comes when the word "mortality" in "Chant VII" leaves the listener hanging on the edge before
painting a macabre, yet somehow attractive, vision of a thunderstorm where "Love is drowned
with martyr fingers."
Dustin Mallory http://www.cadencejazzmagazine.com/membersonly/admin/assets/cadencejan2013twopages.pdf
Erika Dagnino in dieci "chants"(…) possibilità espressiv(a) da ricondurre nel magmatico alveo delle note afroamericane, ambito espressivo aperto a tutte le declinazioni possibili. La voce di Erika Dagnino (…) è secca e declamante (in inglese), non voce di canto. La sua opera poetica Narcéte suddivisa in dieci "chants"è avvolta, trasfigurata, trafitta e accompagnata da una formazione eccellente con il violino e il basso di Stefano Pastor, abile anche nel trattamento elettronico dei suoni , la tromba di Steve Waterman, sax e tarogato di George Haslam.
Guido Festinese , Il Manifesto – Alias : ‘Jazz Italia' – 26 gennaio 2013, Italy
TRANSLATION
Erika Dagnino in ten "chants" (...) the possibility espressiv (a) due in magmatic channel of African-American notes, expressive field open to all possible forms. The voice of Erika Dagnino (...) is dry and declaiming (in English), not singing voice. Her poetry Narcéte divided into ten "Chants" is wrapped, transfigured, pierced and accompanied by an excellent education with the violin and the bass Stefano Pastor, skilful in the electronic processing of sounds, Steve Waterman trumpet, sax and Tarogato George Haslam.
Guido Festinese, Il Manifesto - Alias: 'Jazz Italy' - January 26, 2013, Italy
Il connubio tra jazz e poesia si ricompone in Narcéte, un lavoro frutto della collaborazione tra
la scrittrice Erika Dagnino, non nuova a simili esperienze, e i musicisti Stefano Pastor,
Steve Waterman e George Haslam. La parola (in inglese, ma il libretto riporta la traduzione)
si aggancia alle musiche e viene trascinata in un vortice sonoro che ne trasfigura senso, ritmo,
prosodia. Suoni puntuti e urticanti accompagnano l'ascolto in un percorso non facile, ma in cui,
nel giusto stato d'animo, ci si può abbandonare. Inquieto.
Giulio Cancelliere -Silenziosa(mente)- December 26, 2012
The combination of jazz and poetry comes together in Narcéte, work collaboration between the writer
Erika Dagnino, not new to such experiences, and musicians Stefano Pastor, Steve Waterman and
George Haslam. The word (in English, but the book shows the translation) is hooked to the music
and is dragged into a vortex of sound that transfigures sense, rhythm, prosody. Sounds pointy and
stinging accomp
any listening in is not easy, but in which, in the right frame of mind, you can leave. Restless.
Chancellor Julius - Silent (mind) - December 26, 2012
Il jazz ha suggerito alla sensibilità ed alla cultura dei nostri tempi, una
lunga serie di rovesciamenti di prospettive e di valori. Fra i tanti esempi
possibili c'è quello dell'uso della voce umana. Fin dalle origini, ancor prima
di Louis Armstrong, la pratica dell'improvvisazione scat aveva trasformato puri
e semplici fonemi in stralunata poesia. In qualche maniera il jazz ha quindi
riportato la poesia stessa alla sua natura primordiale di fenomeno orale, e
musicale, prima ancora che scritto. Molti artisti hanno lavorato su questa
suggestione. Per tutti citeremo Jack Kerouac, senza tuttavia dimenticare gli
infuocati reading di Amiri Baraka. Su questi sentieri si muovono, già da anni,
i genovesi Erika Dagnino, poetessa e performer, e Stefano Pastor violinista e
polistrumentista (ma il suo violino ha spesso il respiro degli strumenti a
fiato). Narcéte è l' ultima tappa della loro ricerca (Slam Production). Con
loro in questo cd suonano anche due musicisti inglesi: il trombettista Steve
Waterman e George Haslam, che improvvisa con il sax baritono ed il tarogato.
Non è un reading in senso stretto. Non è la lettura di un testo commentata da
una musica. La voce e i versi della Dagnino, sono invece parte essenziale di un
ardente e radicale percorso di improvvisazione, nel quale non esistono
gerarchie di sorta. Potremmo dire che Narcéte è un lungo racconto dalla trama
sottile, l'evocazione di paesaggi e solitudini indicibili, la memoria di ferite
antiche che bruciano e sanguinano tanto nella musica quanto nella voce della
Dagnino. Si sente la storia del jazz sperimentale in Narcéte. Ma anche, e
soprattutto il vento del blues. Un'arte che raccontava (e racconta), lo
sradicamento, l'indeterminatezza, la precarietà di ogni esistenza.
Marco Buttafuoco, 22 ottobre 2012 pubblicato nell'edizione Nazionale (pagina
18)
Jazz has suggested that the sensitivity and culture of our times, a
long series of reversals of perspectives and values. Among the many examples
is possible that the use of the human voice. From the beginning, even before
Louis Armstrong, the practice of improvisation scat had turned pure
simple and phonemes in bewildering poetry. Somehow jazz has therefore
reported the poem itself to its primordial nature of oral phenomenon, and
music, even before written. Many artists have worked on this
suggestion. For all quote Jack Kerouac, without forgetting the
fiery reading of Amiri Baraka. Of these paths move, for years,
the Genoese Erika Dagnino, poet and performer, and violinist Stefano Pastor and
multi-instrumentalist (violin but his breath often has the tools to
breath). Narcéte 's the last stage of their research (Slam Production). with
them in this cd also play two English musicians: trumpeter Steve
Waterman and George Haslam, who improvises with baritone sax and Tarogato.
It is not a reading in the strict sense. It is not the reading of a text commentary by
music. The voice and the verses of Dagnino, are an essential part of a
ardent and radical path of improvisation, in which there is no
hierarchies of sorts. We could say that is a long story Narcéte the plot
thin, the evocation of landscapes and unspeakable loneliness, the memory of wounds
old that burn and bleed so much in the music as the voice of
Dagnino. You can feel the history of jazz experimental Narcéte. But also, and
especially the wind of the blues. An art that told (and told), the
eradication, indeterminacy, the precarious nature of all existence.
Mark Buttafuoco, October 22, 2012 published in the National (page 18)
The Italian violinist Stefano Pastor,thanks to its vast and prolific musical career, has established HIMself in recent years as one of the most salient identities of European jazz scene.In the grounds of their aesthetic proposal converge an unusual ability to express multidimensional interests, an unwavering attachment to explore new horizons of improvisation and invariable fidelity to developing a sound all their own and others-even cliché that travelling various musical contexts - has given public recognition and international critics as one of the most personal and original voices on his instrument.
The record production fertile and scenic deployed byStefano Pastorthrough the years, accounts for both their versatility and the breadth of artistic interests that drive it.After an early approach to music-classical stage where he shared the stage with artists such as Jose Carreras, Cecilia Gasdia, Daniele Gatti and Massimo De Bernart and served as first violinist of theQuartet Alberti- and a brief but intense approach to Art-rock singer-songwriter Paolo Conte accompanying and integrating the famous progressive rock bandPicchio del Pozzo- the career of Pastormade definitive center leading jazz trends.In that field, plus close collaborations with Harry Beckett, Dominic Duval, Ken Filiano,George Haslam, Joe Morris, Satoshi Takeishi and Harris Eisenstadt, among others, set about developing a successful work as leader and sideman; starred various musical projects, such asChet Moods(with pianist Carlo Morena),The Stefano Pastor Jazz-Poetry Connection(withErika Dagnino,Steve Waterman,George Haslamand Ken Filiano),Easy Clan(in the company ofGeorge Haslam, Steve Kershaw and Carlo Sezzi) and integrated two separate duets with bassist Furio Di Castri, pianist Borah Bergman and Kash Killion cellist.The indisputable qualities of his work are well documented in a motley discography including albumUna Notte in Italia2004,Transmutationsin 2006,Cycles,Uncrying Sky,Holywell Session - Live in OxfordandHelios Suite2007,July Forgiving - Live at Novara Jazz,Live at TortonaandChantsin 2009,FreedomandBows, 2010 andNorth South Dialin 2011.All this not to mention their multimedia projects with artist-visual poets Roberto Masotti and Steve Dalanchinsky, Anthony Barnett, Mark Weber andErika Dagnino- and the work displayed in the educational field as a teacher of the famousVerdi Conservatoryin Milan and assistant the prestigiousSeminari di Siena Jazz.
The truth is that the course artistic deployed by Stefano Pastor speaks clearly of a strong knowledge of their inner world, a strong acceptance of his own musical identity and a constant desire to improve.These qualities, of which his work gives full testimony-they seem to St. Augustine's maxim that heads this comment as north on the compass of the path traveled by Pastorin relation to art.
A vibrant production that now must be added his two most recent: the solo albumSongsand multidisciplinary assemblyNarcéte.
Songsseem to be a natural continuation of the imprint launched byStefano Pastorin 2009 with his albumChants, ie an exploration solo song format through the violin and voice.To this end, the interpreter provides here a very personal reading of a diverse program of songs from different authors and integrating in the same body of work together genres as diverse as classic rock, Brazilian music and traditional jazz.
In compliance with that company,Pastorwill work with nurturing the unique musical identity of his violin-enhanced here by the imaginative use of amplified acoustic violin and a limited arsenal of effects such as modulation throughphaser, signal saturation sound, delay pedal modulated by adelayand signal mix withchorus effect- coupled with the use of his voice in a more prone to physical examination of the song that the structural rigidity of the vocal techniques of interpretation.
The album opens withI Got Rhythm, piece that brothers George and Ira Gershwin composed in the thirties for the musicalGirl Crazyand later-both for its unusual chord progression (was the first song to use so-calledrhythm changes) popularity as obtained by integrating the soundtrack of the filmAn American in Paris-end becoming a jazz standard.The reading offered here by Stefano Pastoris mostly instrumental (vocal segments appear only at the beginning and end of the release, "hidden" behind an effect that resembles the "frying" a vinyl) and the violin in the center of the scene, thus enabling the full splendour of an interpreter capable of pooling technical sophistication, energy and imagination.
Then two threads happenBrazilian Songbook(both sung byStefano Pastorin Portuguese): the classic Edu Lobo and Chico BuarqueBeatrizand Luiz piece and Lyle Mays AvellarQuemè você.The first one gets a full treatment of contrasts, with an opening section that favors warm vocal performance asceticPastorand a final chapter-instrumental-exclusive manner in which the figure is exaggerated violin to give vent to a hallucinated speech, magnetic and hyperbolic.While in the second case the version running on a more subtle imprint contained threading going ethereal ornaments, a strategic use of tonal elements, which provide a bridge between the original score and the forms of free improvisation, and incorporated herein choose a voice whisper lyrics accentuate your temperament intimate.A recreation of the classic restrained James Lamont "Haven" Gillespie and John Frederick CootsYou Go to My Head, 1938, ensues an effervescent cover of Jimi HendrixPurple Haze(originally included in the albumAre You Experienced?, 1967 ) where instrumental flare emerging from the imaginative and sweeping violinStefano Pastorseem to contrast with the idea, perhaps not too happy-to emulate Hendrix's voice through an echo chamber.Finally the album closes with an exquisite interpretation of the instrumental piece belonging to Charles MingusDuke Ellington's Sound of Love, 1974.
Songsis a job-even with uneven logic imposed by the chosen repertoire and changes in self-treatment at all times looks interesting, honest, credible and, especially, very "physical", very human.
NarcéteshownStefano Pastorinvolved-as it did, for example, on the albumCycles2007 - a proposal that unites music and poetry.This project is powered by the Anglo-Italian ensemble that complete the eminent poetErika Dagnino(who in addition to the texts that give life to this album is the author, among other books, ofIl canto del cuore passer, I Canti dell'occhio MotionsWalls , Signs), veteran saxophonistGeorge Haslam(leader ofThe George Haslam Quartet, former member ofMeltdownandBritish Saxophone Quartet,founded the record labelSLAMand one of the leading actors of the British musical vanguard) and renowned trumpeterSteve Waterman(Steve Waterman Jazz Orchestra,Steve Waterman Trio & QuintetandWaterman / Hooper Band).
Aesthetics designed here by the quartet exploits the close link between poetry and music, both rhythmic relationship implicit in his line as in creating sound spaces capable of being significant.
InNarcétecarefully observed sequence of words, sounds and silences where neither arts disciplines that nurture the work, music and poetry seems to undergo another, thereby enthrone the consecration of an organic body of work marked by their creative freedom.
The album - of inherent conceptual-favors a mix of simultaneous meanings regardless of these come from words or musical notes, a metaphor or a jazz chord and making the spontaneity of improvisation and avoidance of predefined structures share traits with the thought in poetry writing and correctly.
Just as musical notes, depending on who and how the run-related attributes are the words that emerge from a poem acquire meanings that are subject to the temperament and degree of understanding of the reader.InconsequenceNarcéte, to tell here with the presence of three eminent improvisers and with the voice of the author of the texts, acquires an unusual degree of verisimilitude creative and expressive undeniable authority.
The album travels climates and different moods in certain passages allowing garnish music poems in other segments latter seem verbalize sounds and also, at times, causing both evolve in tandem.
The musical motifs, either aposentándose vaguely blues-likeChant I,Chant IIIandVI Chant- or adopting a more exploratory route-as inChant II,Chant IV,VIII ChantandChant X-, assuming an introspective temperament -as inChant V-or tone-chamber music as inChant VIIandIX Chant- and outstanding contributions interpretiveStefano Pastoron violin and bass,Steve Wastermanon trumpet andGeorge Haslamon baritone sax and tarogato, are linking to poetry conposeded byErika Dagnino.Texts where the numerous references to the dreamlike and subliminal world of dreams or icons isolated references to Greek mythology (NarcissusChant IIIand Hermaphrodite inChant V) end mancomunándose to music to officiate as an episteme of life itself.
Narcéteexpression is a multidisciplinary art too.A job that, beyond the aesthetic values circumstantial, is destined to become a must for those who, in times to come-hurguen in the history of the connection between jazz and poetry of our time.
In short:Stefano Pastor, bothSongslikeNarcéte,interpretive exhibits its well-known qualities, reaffirms the variety of aesthetic interests and, above all, manifests loyalty and conviction to continue attached to building an own artistic identity.
El violinista italianoStefano Pastor,merced a su vasta y prolífica trayectoria musical, ha logrado posicionarse en años recientes como una de las identidades más sobresalientes de la escena jazzística europea. En los fundamentos de su propuesta estética confluyen una inusual capacidad para expresar intereses multidimensionales, un inquebrantable apego por explorar los nuevos horizontes de la improvisación y la invariable fidelidad con el desarrollo de un sonido propio y ajeno a todo cliché que -aun transitando contextos musicales diversos- le ha conferido el reconocimiento del público y la crítica internacional como una las voces más personales y originales en su instrumento.
La fecunda producción discográfica y escénica desplegada porStefano Pastora través de los años, da cuenta tanto de su versatilidad como de la amplitud de los intereses artísticos que lo impulsan. Luego de un temprano acercamiento a la música clásica –etapa en la que compartió escenario con artistas del calibre de José Carreras, Cecilia Gasdia, Daniele Gatti y Massimo De Bernart y ofició como primer violinista delCuarteto Alberti- y de una fugaz pero intensa aproximación al Art-rock –acompañando al cantautor Paolo Conte e integrando el célebre grupo de rock progresivoPicchio del Pozzo-, la carrera dePastorhizo centro definitivo en las tendencias punteras del jazz. En ese campo –además de estrechas colaboraciones con Harry Beckett, Dominic Duval, Ken Filiano,George Haslam, Joe Morris, Satoshi Takeishi y Harris Eisenstadt, entre otros- se abocó a desarrollar una fructífera labor como líder y sesionista; protagonizó diversos proyectos musicales, tales comoChet Moods(junto al pianista Carlo Morena),The Stefano Pastor Jazz-Poetry Connection(conErika Dagnino,Steve Waterman,George Haslamy Ken Filiano),Easy Clan(en compañía deGeorge Haslam, Steve Kershaw y Carlo Sezzi) e integró sendos dúos con el contrabajista Furio Di Castri, el pianista Borah Bergman y el cellista Kash Killion. Las indiscutibles cualidades de su obra se encuentran debidamente documentadas en una variopinta discografía que incluye a los álbumesUna Notte in Italiade 2004,Transmutationsen 2006,Cycles,Uncrying Sky,Holywell Session – Live in OxfordyHelios Suitede 2007,Forgiving July – Live at Novara Jazz,Live at TortonayChantsen 2009,FreedomyBowsde 2010 yNorth South Dialen 2011. Todo esto sin dejar de mencionar sus proyectos multimedios -junto al artista visual Roberto Masotti y los poetas Steve Dalanchinsky, Anthony Barnett, Mark Weber yErika Dagnino- y las labores desplegadas en el campo pedagógico como profesor del afamadoConservatorio Verdide Milán y asistente en el prestigiosoSeminari di Siena Jazz.
Lo cierto es que el derrotero artístico desplegado porStefano Pastorhabla a las claras de un marcado conocimiento de su mundo interior, una decidida aceptación de su propia identidad musical y un permanente afán de superación. Esas cualidades –de las que su obra da pleno testimonio- hacen parecer a la máxima de San Agustín que encabeza este comentario como el norte en la brújula del camino transitado porPastoren relación al arte.
A esa vibrante producción deben agregarse ahora sus dos trabajos más recientes: el álbum en solitarioSongsy el ensamble multidisciplinarioNarcéte.
Songsparece ser la continuación natural de la impronta iniciada porStefano Pastoren 2009 con su álbumChants; es decir, una exploración en solitario del formato canción a través del violín y la voz. A tal fin, el intérprete ofrece aquí una lectura muy personal de un heterogéneo programa de canciones pertenecientes a diferentes autores e integrando en un mismo cuerpo de trabajo géneros tan diversos entre sí como el rock clásico, la música brasilera y el jazz tradicional.
En el cumplimiento de esa empresa,Pastorva nutriendo a la obra con la particular identidad sonora de su violín –aquí potenciado mediante el imaginativo uso de violín acústico amplificado y un acotado arsenal de efectos tales como modulación a través dephaser, saturación de la señal sonora, retraso modulado mediante un pedal dedelayy mezcla de señales conchorus effect-, sumado a la utilización de su voz desde una perspectiva más proclive a la exploración física del canto que a la rigidez estructural de las técnicas vocales de interpretación.
El álbum abre conI Got Rhythm, pieza que los hermanos George y Ira Gershwin compusieran en los años treinta para el musicalGirl Crazyy que tiempo después –tanto por su inusual progresión de acordes (fue el primer tema en usar los denominadosrhythm changes) como por la popularidad obtenida al integrar la banda sonora del filmUn Americano en París-terminaría transformándose en un estándar de jazz. La lectura ofrecida aquí porStefano Pastores mayormente instrumental (los segmentos vocales sólo aparecen al principio y al final de la versión, "ocultos" tras un efecto que asemeja la "fritura" de un vinilo) y con el violín en el centro de la escena, posibilitando así el cabal lucimiento de un intérprete capaz de mancomunar sofisticación técnica, energía e imaginación.
Luego se suceden dos temas delBrazilian Songbook(ambos cantados porStefano Pastoren portugués): el clásico de Edu Lobo y Chico BuarqueBeatrizy la pieza de Luiz Avellar y Lyle MaysQuemè você. El primero de ellos recibe un tratamiento pleno de contrastes, con una sección inaugural que privilegia la cálida y ascética interpretación vocal dePastory un capítulo final -excluyentemente instrumental- en donde la figura del violín se agiganta para dar rienda suelta a un discurso alucinado, magnético e hiperbólico. En tanto que en el segundo de los casos la versión discurre sobre una impronta más sutil y contenida que va enhebrando etéreos ornamentos, un estratégico uso de elementos tonales –que establecen un puente entre la partitura original y las formas de improvisación libre aquí incorporadas- y una voz que opta por susurrar la letra para acentuar su temperamento intimista. A la mesurada recreación del clásico de James Lamont "Haven" Gillespie y John Frederick CootsYou Go to My Headde 1938, le sobreviene una efervescente versión del tema de Jimi HendrixPurple Haze(en origen incluido en el álbumAre You Experienced?de 1967) en donde los brillos instrumentales que emergen del imaginativo y arrollador violín deStefano Pastorparecen contrastar con la idea –quizás no demasiado feliz- de emular la voz de Hendrix mediante una cámara de eco. Finalmente el álbum cierra con una exquisita interpretación de la pieza instrumental perteneciente a Charles MingusDuke Ellington's Sound of Lovede 1974.
Songses un trabajo que -aun con los lógicos desniveles que impone el repertorio elegido y las variaciones en el tratamiento del mismo- luce en todo momento interesante, honesto, creíble y, especialmente, muy "físico", muy humano.
Narcétemuestra aStefano Pastorinvolucrado –como ya lo hiciera, por ejemplo, en el álbumCyclesde 2007- en una propuesta que hermana música y poesía. Este proyecto es propulsado por el ensamble anglo-italiano que completan la eximia poetisaErika Dagnino(quien además de los textos que dan vida a este álbum es autora, entre otras publicaciones, deIl canto del cuore viandante, I Canti dell'Occhio MotionsWalls, Signs), el experimentado saxofonistaGeorge Haslam(líder deThe George Haslam Quartet; otrora integrante deMeldowyBritish Saxophone Quartet,fundador del sello discográficoSLAMy uno de los actores protagónicos de la vanguardia musical británica) y el renombrado trompetistaSteve Waterman(Steve Waterman Jazz Orchestra,Steve Waterman Trio & QuintetyWaterman/Hooper Band).
La estética diseñada aquí por el cuarteto explota el estrecho vínculo existente entre la poesía y la música, tanto en la relación rítmica y en su consonancia implícita como en la creación de espacios sonoros capaces de ser significativos.
EnNarcétese observa una cuidada sucesión de palabras, sonidos y silencios en donde ninguna de las dos disciplinas artísticas que nutren la obra –música y poesía- parece someterse a la otra para, de ese modo, entronizar la consagración de un cuerpo orgánico de trabajo signado por su libertad creativa.
El álbum – de inmanente carácter conceptual- propicia una mezcla de significados simultáneos sin importar que estos provengan de palabras o notas musicales, de una metáfora o de un acorde de jazz y haciendo que la espontaneidad de la improvisación y la elusión de estructuras preestablecidas compartan rasgos con el pensamiento en la escritura y la poesía en su plenitud.
Del mismo modo que las notas musicales –dependiendo de quién y cómo las ejecute -tienen atributos relativos; las palabras que emergen de un poema adquieren significados que están sujetos al temperamento y el grado de comprensión del lector. EnconsecuenciaNarcéte, al contar aquí con la presencia de tres eximios improvisadores y con la voz de la autora de los textos, adquiere un inusual grado de verosimilitud creativa y una innegable autoridad expresiva.
El álbum transita climas y humores diversos permitiendo que en ciertos pasajes la música adorne los poemas, en otros segmentos estos últimos parecen verbalizar los sonidos y también, por momentos, haciendo que ambos evolucionen a la par.
Los motivos musicales, ya sea aposentándose vagamente en el blues –como enChant I,Chant IIIyChant VI- o adoptando una ruta más exploratoria –como ocurre enChant II,Chant IV,Chant VIIIyChant X-, asumiendo un temperamento introspectivo –como sucede enChant V-o un tono camerístico –tal como enChant VIIyChant IX- y los sobresalientes aportes interpretativos deStefano Pastoren violín y contrabajo,Steve Wastermanen trompeta yGeorge Haslamen saxo barítono y tarogato, se van enlazando a la poesía pergeñada porErika Dagnino.Textos en donde las abundantes referencias a lo onírico y el mundo subliminal de los sueños o las aisladas menciones a íconos de la mitología griega (Narciso enChant IIIy Hermafrodita enChant V) terminan mancomunándose a la música para oficiar como una episteme de la vida misma.
Narcétees una expresión puntera del arte multidisciplinario. Un trabajo que, más allá de las valoraciones estéticas circunstanciales, está destinado a convertirse en cita obligada para quienes -en las épocas por venir- hurguen en la historia de la unión entre el jazz y la poesía de nuestro tiempo.
En síntesis:Stefano Pastor, tanto enSongscomo enNarcéte,exhibe sus consabidas cualidades interpretativas, reafirma la variedad de sus intereses estéticos y -sobre todo- manifiesta fidelidad y convicción para seguir apegado a la construcción de una identidad artística propia.
Sé tú mismo, los demás puestos están ocupados (Oscar Wilde)
Sergio Piccirilli http://elintruso.com/2012/10/11/stefano-pastor-x-2/
La lunga collaborazione della poetessa Erika Dagnino con il violinista Stefano Pastor ed ora insieme agli altri due musicisti inglesi, George Haslam al sax tenore ed al tarogato e Steve Waterman alla tromba ha prodotto un risultato originale, che va a mettersi insieme ad altre incisioni in cui i versi e le note si incontrano in un intreccio che dà risalto ad ambedue le arti. Lei è da sempre molto speciale nella sua forma espressiva, nei suoi versi che cercano sempre il conflitto sonoro, la forma trasgressiva e la lontananza dai languori e dalle lascivie dei suoi colleghi colpiti dal
sentimentalismo. Lo dimostra ancora qui, con motivi che esulano dall´ovvio, già con i versi iniziali del Chant Iche descrivono motivi inusuali, il cerchio in cui si può inscrivere qualcosa e le strisce di DNA tumefatto e le macchie opache. Recita in inglese, ed il tutto suona ancora fresco, brillante, anche nell´altra lingua le parole acquistano nuovi ritmi. Il tutto è avvolto dai suoni degli strumenti, gioiosi di intrecciarsi in trame di libertà, di temi che appaiono all´improvviso, di improvvisare senza che si dia loro un limite o un confine. Il sax baritono va per le sue vie gravi ed il violino di Pastor si allontana da quelle del classicismo, mentre la tromba di Waterman appare lirica, distesa, quasi a rappresentare il lato più sensibile, più ricettivo del gruppo verso sentimenti espressi in modo indiretto, presenti ma su linee sotterranee. Il booklet con il poema della Dagnino in inglese ed in italiano e le liner notes di Gennaro Fucile contiene tutto il necessario. Vittorio lo Conte
http://www.musiczoom.it/?p=9137
The long association of the poet Erika Dagnino with violinist Stefano Pastor and now along with two other British musicians, George Haslam on baritone sax and Tarogato and Steve Waterman on trumpet produced a different result, that is to get along with other recordings in which verses and notes come together in a plot that emphasizes both to the arts. She has always been very special in her expressive form, in her verses that are always looking for the sound conflict, the unconventional shape and the distance from languor and licentiousness of her colleagues affected by sentimentality. The shows are still here, with reasons beyond the obvious, already with the opening verses of The Chant describing unusual reasons, the circle in which you can inscribe something and strips of DNA swollen and dull spots. Reads in English, and everything still sounds fresh, bright, even in the other language words assume new rhythms. The whole is surrounded by the sounds of the instruments, and overjoyed to weave in plots of liberty, themes that appear suddenly, to improvise without having to give them a limit or boundary. The baritone sax is serious in his ways and violin Pastor departs from those of classicism, while the trumpet of Waterman is lyrical, relaxed, almost to represent the more sensitive side, more receptive to the group's sentiments expressed in an indirect way, present but of underground lines. The booklet with the poem of Dagnino in English and Italian and liner notes by Gennaro Rifle contains everything you need.
Album tutt'altro che facile questo che vede impegnata la poetessa Erika Dagnino accanto ad un gruppo di musicisti d'avanguardia come il violinista Stefano Pastor (qui anche al contrabbasso) e i due inglesi, George Haslam al sax tenore ed al tarogato e Steve Waterman alla tromba. Come spesso accade quando si incontrano versi e note, il risultato è sicuramente straniante per chi non è abituato a questo tipo di espressione, anche se spesso viene raggiunta una qualità alta. E' il caso di questo album che presenta però una certa particolarità. Spesso, in operazioni del genere, si nota una stretta interdipendenza tra testi e musica nel senso che gli unici non potrebbero vivere senza l'altra e viceversa. Qui il discorso è diverso: come nota acutamente Gennaro Fucile nelle note che accompagnano il CD, le due componenti vivono di luce propria e potrebbero benissimo esistere da sole, senza però che ciò incida sulla compattezza e omogeneità dell'album. Lei, la Dagnino, è artista oramai pienamente affermata grazie ad una poetica del tutto personale che la allontana dal convenzionale e che le ha permesso di collaborare fruttuosamente con altri jazzisti quali lo stesso Pastor, Andrea Rossi Andrea, il pianista e compositore americano Chris Brown…; in questa occasione declama i suoi versi in inglese dando loro ancora maggiore musicalità. Il lato musicale è abilmente coperto dal trio che disegna uno sfondo sonoro su cui si staglia la voce della poetessa; i tre si muovono con assoluta libertà improvvisando continuamente in un gioco di continui rimandi che vengono colti e amplificati con sonorità assolutamente inusuali data la composizione particolare del trio stesso. Così mentre Stefano Pastor adopera il suo strumento in modo assolutamente non accademico, le ance di Haslam esplorano soprattutto i registri gravi mentre latromba di Waterman si incarica di richiamare in qualche modo una certa liricità di fondo. Gerlando Gaffo
http://www.online-jazz.net/wp/2012/10/05/i-nostri-cd-60/5/
Album not easy this which involves the poet Erika Dagnino next to a group of avant-garde musicians like violinist Stefano Pastor (here also the bass ) and two Englishmen, George Haslam on baritone sax and the Tarogato and Steve Waterman to trumpet . As often happens when you encounter verses and notes, the result is certainly alienating for those not used to this kind of expression, even though it is often achieved a high quality. It 's the case of this album, however, presents some peculiarities. Often, in such operations, there is a close connection between text and music in the sense that the only could not live without the other and vice versa. Here is a different matter: as perceptively observes Gennaro rifle in the notes to the CD, the two components are living with their own light and may very well be on their own, without this affecting the compactness and homogeneity of the album. She, Dagnino, is now fully established artist thanks to a poetics of all personnel away from the conventional, and that has allowed us to collaborate fruitfully with other jazz musicians such as the Pastor, Andrea Rossi Andrea, the American pianist and composer Chris Brown ... and on this occasion she declaims her verses in English, giving them even greater musicality. The musical side is cleverly covered by the trio that draws a background sound on which stands the voice of the poet, the three move with absolute freedom continually improvising in a game of references that are picked up and amplified sounds very unusual because of the particular composition the trio itself. So while Stefano Pastor uses his instrument in a completely non-academic mode, reeds of Haslam explore especially the lower registers while the trumpet of Waterman is in charge of calling in some way a certain lyricism background.
ERIKA DAGNINO/GEORGE HASLAM/STEFANO PASTOR/STEVE WATERMAN - Narcete
(Slam 542; UK) Erika Dagnino - voice & poetry, Stefano Pastor on
violin & double bass, Steve Waterman on trumpet and George Haslam on
baritone sax & tarogato. Ms. Dagnino has performed here at DMG on a
couple of occasions and knows how to network since she always gets a
handful of gigs when she comes to town. This is Erika's second disc
with Italian violinist Stefano Pastor who now has some ten or so
discs out on the Slam label. Mr. Pastor and Mr. Haslam, who runs
Slam, have worked together previously on several discs. Mr. Waterman
also has a few discs out on the Slam label as well. The combination
of bari sax or tarogato, trumpet and violin is a strong combination.
Ms. Dagnino speaks in English with her words printed and translated
into Italian in the liner notes. Erika's words usually fascinating
and take some time to absorb and consider. While Haslam on bari and
Waterman on muted trumpet often play with a warm tone, Mr. Pastor
likes to push things out even further sometimes adding some
electronics to his sound. Erika's voice is used sparingly so that the
rest of trio get a chance to stretch out at length. Improv-wise, this
is a strong disc with often intense interplay and a revolving series
spirited music with incisive words worthy considering. - Bruce Lee
Gallanter, Downtown Music Gallery
BLG DMG August 2012
Se jouant du contrepoint pour mieux accueillir la voix (très) peu assurée d'Erika Dagnino;
George Haslam(saxophone),Stefano Pastor(violon & contrebasse) etSteve Waterman(
trompette) ont à cœur de ne jamais encombrer la matière première à savoir les dix
chants-poèmes de l'Italienne (textes en anglais et italiens reproduits à l'intérieur de la pochette).
Remarquées ici : l'épaisseur deSteve Waterman, ses percées solaires et son art consommé
du contre-chant. Ailleurs, les instrumentistes se laissent aller à entremêler leurs élans, à se
décliner en blues languide ou à durcir leurs souffles. Et dans tous les cas, veillent et respectent
l'étrange poésie d'Erika Dagnino.
s playing counterpoint to better accommodate voice (very) little assured ofErika Dagnino,
George Haslam(saxophone),Stefano Pastor(violin & bass) andSteve Waterman(trumpet)
have at heart never clutter the raw material ie ten songs-poems of the Italian (English and
Italian texts reproduced inside the cover).Noticed here: the thickness ofSteve Waterman,
solar breakthroughs and cons of consummate art-song.Moreover, instrumentalists indulge
their impulses intermingle, to decline in languid blues or harden their breaths.And in all cases,
and ensure compliance with the strange poetry ofErika Dagnino.
Guillaume Belhomme http://grisli.canalblog.com/archives/2012/11/07/25516395.html
Mixing jazz with poetry or prose has been attempted
almost from the music's beginnings, reaching an
apogee in the ‘50s when a clutch of writers, including
Jack Kerouac and Langston Hughes, recorded with
instrumental accompaniment. Only a few of these
efforts, most notably The New York Art Ensemble's
"Black Dada Nihilismus" and Charles Mingus' "Scenes
in the City" are wholly satisfying. Rather than being
jazz with spoken word, these two were jazz and spoken
word, with the speaker's cadences intertwined among
the music.
Narcéte isn't in that category despite the players'
qualifications. Erika Dagnino, who wrote the 10
selections, is an Italian author of nine books of poetry
and three of prose and has performed alongside
musicians such as saxophonist Ras Moshe. Italian
Stefano Pastor, an award-winning violinist who has
performed with pianist Borah Bergman, also reveals an
unexpected talent as a bassist here. From England,
trumpeter Steve Waterman was in Carla Bley's big
band and baritone saxophonist George Haslam has
played with almost everyone in his lengthy career.
So what's the problem? With the musicians
playing exemplarily, the drawback is Dagnino and her
material. The English translations that Dagnino emotes
aren't the highest form of prose-poetry. Many of the 10
"chants" seem either needlessly prosaic or rife with
pseudo-classical allusions that don't jibe. It's also
beneficial that the words are published in the CD
booklet. For when the music pauses for Dagnino, she's
often difficult to understand. While her accented
English isn't the same as foreign singers who learn
lyrics phonetically, misplaced accents or mumbled
expressions add confusion. For instance "pinches"
sounds like "beaches" and "sticking fingers" like
"chicken fingers". Plus if she wants idiomatic English,
the expression is "hemming and hawing", not
"humming and hawing" - poetic license or not.
On their own, the musicians reference the blues
plus some extended techniques. Pastor occasionally
adds electronic oscillations to his showy triple stopping
while stacked harmonies cleanly balance the
trumpeter's grace notes or plunger tones with the
saxophonist's mellow vamping or low-pitched runs.
Perhaps in Italian Dagnino performs with the aplomb
and confidence of a Leonard Cohen. Narcéte, however,
offers neither of these qualities.
Ken Waxman The New York City Jazz Record Nov 2012.
