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It is the work of Joseba Larratxe Berazadi, also known as Josevisky (Irun, 1 March 1985). Larratxe started his professional career as a creator of cartoon strips for newspapers while studying Architecture in San Sebastian. Today, he illustrates for the magazine Argia, as well as for other publications and books. In 2019 he brought out the graphic novel Joana Maiz (Harriet Editions) with the screenwriter Yurre Ugarte, and he is soon to launch the album corresponding to the comic series Basolatik berri onik ez (Ikastolen Elkartea), written by Asisko Urmeneta. This year’s poster was created during the lockdown, a situation prompting a dynamic and light-filled result, featuring the public as its protagonist, understanding the Jazz Festival as a celebration. According to the artist: “Generally speaking, I believe it reflects our ability to remain happy in the face of adversity, come hell or high water.” For this year’s Jazz Festival poster, Joseba Larratxe made no attempt to conceal his cartoon roots in the outline or characterisation of the figures. In the illustrator’s own words: “I try to make my style identifiable, even if I have to adapt it to the characteristics of each project. Usually I start working on paper and end on the computer, but in this case I produced the complete process digitally.” The poster and more information for the press in this link: https://jazzaldia.eus/en/prensa-2/ [post_title] => The cartoonist and illustrator Joseba Larratxe Berazadi is the author of the poster for the 55th San Sebastian Jazz Festival. [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => the-cartoonist-and-illustrator-joseba-larratxe-berazadi-is-the-author-of-the-poster-for-the-55th-san-sebastian-jazz-festival [to_ping] => [pinged] => [post_modified] => 2020-06-16 12:43:07 [post_modified_gmt] => 2020-06-16 10:43:07 [post_content_filtered] => [post_parent] => 0 [guid] => https://jazzaldia.eus/?p=22935 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [1] => WP_Post Object ( [ID] => 22436 [post_author] => 2 [post_date] => 2020-05-29 11:51:50 [post_date_gmt] => 2020-05-29 09:51:50 [post_content] => [vc_row][vc_column][vc_column_text]The Festival will run, as planned, from July 22-26 As we announced some weeks back, San Sebastian’s Jazzaldia is preparing an edition adapted to the new circumstances, on the same dates as planned (22-26 July 2020) and with a programme of Basque and Spanish jazz, although we’ll be keeping an eye out for the possibility to include European musicians if they can travel to our city in July. The stages for this edition of the San Sebastian Jazz Festival will be the Plaza de la Trinidad, the Kursaal Auditorium, the Victoria Eugenia Theatre and the San Telmo Museum, all with assigned seating. While the final programme will be announced and the tickets will go on sale in late June or early July, work is already underway at the Jazzaldia to confirm a number of prestigious names from the Basque and Spanish Jazz scene. Recovered from the previous programme is the presence of Marco Mezquida, the new piano whizzkid, with three projects presented in earlier years in Donostia, and that of Oreka TX. Among the new features are Iñaki Salvador, the musician to have performed most often at the Jazzaldia and the pride and joy of Basque Jazz; Jorge Pardo, the sax and flute player recognised as one of Europe’s greatest Jazz musicians; Channo Domínguez, our most international pianist; the alto sax Perico Sambeat, who brings an instrumental tribute to Frank Zappa; Javier Colina, a double bass player and all-round musician from Pamplona of undeniable musical finesse, and the guitarists Josemi Carmona and Chicuelo, exceptional flamenco players with a sensitive and intelligent approach to Jazz, all joined by other great musicians, such as the harmonica player Antonio Serrano. Perhaps one of the most remarkable new additions, even if she is a regular at our Festival, is Sílvia Pérez Cruz, with the presentation of her album MA, recorded in Tokyo in 2019. Also deserving special mention is the extraordinary pianist Joachim Kühn, who recently released an album of solo piano dedicated to the most lyrical facet of the great Ornette Coleman, which he will present to us at the coming Jazzaldia in Donostia, being able to travel here from his home in Ibiza. More news will be announced shortly. Please keep an eye on our networks and on our website (www.jazzaldia.eus) .[/vc_column_text][/vc_column][/vc_row] [post_title] => Sílvia Pérez Cruz, Jorge Pardo, Chano Domínguez, Iñaki Salvador, Marco Mezquida, Carles Benavent, Javier Colina, Joachim Kühn, Josemi Carmona, Chicuelo, Oreka TX, Perico Sambeat and Antonio Serrano to participate in the Jazzaldia [post_excerpt] => [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => silvia-perez-cruz-jorge-pardo-chano-dominguez-inaki-salvador-marco-mezquida-javier-colina-joachim-kuhn-josemi-carmona-chicuelo-oreka-tx-perico-sambeat-and-antonio-serrano-to-participate-in-t [to_ping] => [pinged] => [post_modified] => 2020-06-03 12:08:25 [post_modified_gmt] => 2020-06-03 10:08:25 [post_content_filtered] => [post_parent] => 0 [guid] => https://jazzaldia.eus/?p=22436 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 22033 [post_author] => 2 [post_date] => 2020-04-02 11:08:22 [post_date_gmt] => 2020-04-02 09:08:22 [post_content] => Ellis Marsalis RP_160

In the photo, Ellis Marsalis with her son Branford

Today is a day of great losses for the jazz world. Ellis Marsalis, one of the great patriarchs of our music, and Wallace Roney, a trumpet player outstanding for his tremendous lyricism and musicality, have died.

Our Festival presented Ellis Marsalis with its Donostiako Jazzaldia Award in 2016, in recognition of his essential contribution to jazz history as a whole. As well as being one of the leading modern jazz pianists, he had accumulated enormous prestige as a music instructor: he taught hugely important musicians including Jesse Davis, Terence Blanchard, Donald Harrison, Nicholas Payton and, naturally, his sons Wynton, Branford, Delfeayo and Jason, all front-line jazz figures. The legacy left by Ellis Marsalis is impressive.

Wallace Roney was considered to be one of Miles Davis’s most outstanding students; in fact, the Davis offspring have issued a statement of their sorrow over Roney’s passing, highlighting the ties that connected them. But Roney also had his own voice and earned recognition for his personal merits. His quality was obvious in his two visits to the Heineken Jazzaldia: in 2006 as a member of the septet accompanying another recently disappeared icon, McCoy Tyner, and in 2012 with the Miles Smiles project recreating the work of Miles Davis.

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Charles-McPherson-Quartet_web

The total number of spectators came to 168,000 The dates for the 55th Heineken Jazzaldia are 22-26 July 2020 From the artistic point of view, the 54th Heineken Jazzaldia was extraordinary. All of the concerts were a hit with the audience and, generally speaking, with the critics. While it’s not easy to choose the best among them, if we had to establish a podium, the highest step would probably be occupied by Maria Schneider, Atomic and John Zorn with his Bagatelles Marathon. Maria Schneider is prodigious as a composer, as an arranger and as a conductor. She needs an orchestra capable of rendering her work’s range of hues and intensity. A powerful yet subtle orchestra. Ensemble Denada, composed of extraordinary Norwegian instrumentalists, is that very orchestra. The concert they gave in the Plaza de la Trinidad has already gone down in the history of the Festival as one of its most memorable. John Zorn’s Bagatelles Marathon too will be remembered for a long time to come. The entirety of Zorn’s wide-ranging and complex musical universe condensed into two concerts of almost three hours with the participation of nineteen musicians grouped into different formations. John Zorn received this year’s Donostiako Jazzaldia Award, with which the Festival recognises the musicians who have had a special influence on the history, development and transmission of jazz. Atomic is, in itself, an innovative, inquisitive group overflowing with musical ideas. And if a quintet of this calibre surrounds itself with the Trondheim Jazz Orchestra, a group of seven first-rate Norwegian musicians, it’s easy to imagine that their concert in the Kursaal Auditorium was bound to be memorable. Also on the imaginary podium of the 54th Heineken Jazzaldia would be two illustrious veteran sax players, Houston Person and Charlies McPherson, representatives of a generation we’ll greatly miss when it disappears. The way they perform ballads is unique. These are musicians who exude wisdom and elegance, who instantly put the audience under their spell. Completing the perfect line-up of this 54th Heineken Jazzaldia were the big names topping the bill, whose spirit and popularity drew huge crowds. None of them let us down, and all continue to climb the steps of their career: Jamie Cullum, Joe Jackson, Diana Krall, Sílvia Pérez Cruz with Toquinho and Javier Colina. Joan Baez gave an especially moving concert before a packed Zurriola Beach on the penultimate gig of her “Fare Thee Well” tour, one of the last chances to applaud a legend. The Japanese cycle too was highly interesting. It was a huge surprise for the audience, who were generally unaware of the high level of jazz produced in Japan and the excellence of its performers. The recitals given by the pianists Chihiro Yamanaka and Ai Kuwabara were simply extraordinary, and the young guitarist Rei won over the spectators with her nerve and powerful stage presence. On the subject of Basque groups, one aspect worthy of note is the increasing prominence of female artists, referring both to their numbers and to their quality, in jazz groups (Reunion Big Band, Lurpekariak, Juan José Cabillas with Strings, The Funk & Risketeers...), rock bands (Belako, Nøgen) and in solo projects (Ainhoa Larrañaga, Sara Zozaya). The audience deserves a special mention too; we should probably even create an award to thank them for their loyalty and education. If the weather’s good, like on the first day, they gather en masse with exemplary civic behaviour. If it’s bad, they’re still there, undaunted, cloaked in the waterproof ponchos handed out by the organisation, encouraging the musicians to give their best. It’s true that this year the rain and the wind were particularly inclement, causing a great deal of trouble and preventing us from hitting the record audience numbers intimated by the throngs at the opening Jazz Band Ball. In this context, the total of 168,000 spectators are a fine demonstration that the Heineken Jazzaldia continues to hold fast as a popular and participatory event. Also worthy of mention and thanks is the Festival team. A combination of young and highly experienced stage managers (most of whom were in fact women) assisted by enthusiastic workers skilfully handled the problems caused by the bad weather. Nothing and nobody stops this Festival and preparations are already underway for the 55th edition, with the exciting yet complicated challenge of topping one that has just ended.   [post_title] => Excellent artistic standards and public response define a fabulous 54th Heineken Jazzaldia [post_excerpt] => The total number of spectators came to 168,000 [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => el-elevado-nivel-artistico-y-la-respuesta-del-publico-definen-un-excelente-54-heineken-jazzaldia-2 [to_ping] => [pinged] => [post_modified] => 2019-07-30 10:50:43 [post_modified_gmt] => 2019-07-30 08:50:43 [post_content_filtered] => [post_parent] => 0 [guid] => https://heinekenjazzaldia.eus/sin-categoria-en/el-elevado-nivel-artistico-y-la-respuesta-del-publico-definen-un-excelente-54-heineken-jazzaldia-2/ [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [4] => WP_Post Object ( [ID] => 20431 [post_author] => 2 [post_date] => 2019-07-28 14:30:35 [post_date_gmt] => 2019-07-28 12:30:35 [post_content] => ZORN-WEB From the point of view of contemporary jazz, everything John Zorn touches turns to gold. He’s an untiring composer, a sharp selector of musicians and a fastidious band conductor. He has converted his latest book of compositions, The Bagatelles, into a concert with the name of Bagatelles Marathon. Seven different groups, nineteen musicians, an uninterrupted two-and-a-half hours of musical torrent. Everything goes in the creative universe of Zorn and the musicians in his team; everything, that is, of exquisite quality. Yesterday’s other protagonist was a pianist. I can hear you say: Diana Krall, of course. Well yes. Diana Krall is always the protagonist, her star shines with its own light. It’s a luxury to have her here in San Sebastian. Hers was the first concert to sell out, and given the reaction of the audience and critics to her yesterday’s performance, she’ll continue to sell out every time she plays here. Diana Krall needs no further words of praise. But in fact we had been referring to the Japanese pianist, Ai Kuwabara. The public packed into the Victoria Eugenia Theatre couldn’t believe that they were witnessing such a wonderful discovery, and in a free concert to boot. While Ai Kuwabara is indeed a prodigy of piano technique and brilliant execution, she has something else that prevents her from falling into simple academic rendition: ideas of her own which enable her to produce a unique reinterpretation of some of the jazz classics. In the Plaza de la Trinidad, moments of great pleasure were brought to us not only by Diana Krall, but also by Houston Person, one of the tenor sax’s big names, who plays ballads as only the veterans know how. And the other illustrious and veteran saxophonist at this Festival, Charles McPherson, gave a fantastic concert in the Victoria Eugenia. The San Telmo Museum hosts small-format concerts which are enjoying rising popularity with the public. Yesterday it was the turn of Baldo Martínez and his group, and the Galician double bassist once again demonstrated that he is one of the most representative musicians of contemporary jazz made in Spain. [post_title] => It’s not a bagatelle; it’s pure gold [post_excerpt] => From the point of view of contemporary jazz, everything John Zorn touches turns to gold. He’s an untiring composer, a sharp selector of musicians and a fastidious band conductor. He has converted his latest book of compositions, The Bagatelles, into a concert with the name of Bagatelles Marathon. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => ez-da-huskeria-urrea-baizik [to_ping] => [pinged] => [post_modified] => 2019-07-28 17:21:57 [post_modified_gmt] => 2019-07-28 15:21:57 [post_content_filtered] => [post_parent] => 0 [guid] => https://heinekenjazzaldia.eus/sin-categoria-en/ez-da-huskeria-urrea-baizik-2/ [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [5] => WP_Post Object ( [ID] => 20333 [post_author] => 2 [post_date] => 2019-07-27 14:32:59 [post_date_gmt] => 2019-07-27 12:32:59 [post_content] => joshua The Atomic and Trondheim Jazz Orchestra combo whipped up a whirlwind leading us to believe that we were listening to free jazz, when in fact the music is precisely written down note for note. In a concert calling for intensity and concentration, these Scandinavian musicians united in the Kursaal Auditorium rolled out a fine example of their excellent savoir-faire. There was also intensity by the bucket-load in the Plaza de la Trinidad. Joshua Redman is one of the most charismatic sax players to have come out of the 90s. All of his visits to the Heineken Jazzaldia have left us wanting more. This time he came with three fabulous musicians, Scott Colley, Ron Miles and Dave King, to present his latest album, Still Dreaming, considered by the critics to be the culminating moment of his career. For their part, the group Unspeakable Garbage is a sort of spin-off of Mostly Other People Do the Killing, currently one of North America’s most popular bands. Two of MOPDtK’s souls, Moppa Elliott and Ron Stabinsky, front this new project, a real steamroller of sound. The unrelenting rain, which drove many spectators to leave the square, deprived them of greater triumph. The chemistry between Martirio, one of Spanish copla’s most illustrious singers, and the jazz pianist Chano Domínguez continues to buzz. Twenty-three years after launching their album Coplas de madrugá at our Festival, they returned to bring us their new project, based on the work of the Cuban pianist and singer, Bola de Nieve. Judging by the reaction of the audience packing out the Victoria Eugenia Theatre, the project is a hit. The Japanese pianist Chihiro Yamanaka is one of the essential pieces of Japan’s jazz scene. Drawing on a classic sound, strongly influenced by the legendary Oscar Peterson, her music has evolved and acquired new hues. Her concerts, such as the one she gave in the Victoria Eugenia, are a joy embraced with delight by the audience. The Green Stage would have attracted a much larger audience had the weather been kinder. That said, the performers played to the satisfaction of their faithful followers. Jaime Stinus, legendary guitarist from San Sebastian in the 70s, returned to his city to present the album Canvis, recorded with the Catalan singer, Xavi Vidal. Neneh Cherry remains faithful to herself in her album Broken Politics, focal point of the concert, with a ground-breaking aesthetic and musical style. [post_title] => Intensity, concentration, diversity [post_excerpt] => The Atomic and Trondheim Jazz Orchestra combo whipped up a whirlwind leading us to believe that we were listening to free jazz, when in fact the music is precisely written down note for note. In a concert calling for intensity and concentration, these Scandinavian musicians united in the Kursaal Auditorium rolled out a fine example of their excellent savoir-faire. [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => intensity-concentration-diversity [to_ping] => [pinged] => [post_modified] => 2019-07-27 14:32:59 [post_modified_gmt] => 2019-07-27 12:32:59 [post_content_filtered] => [post_parent] => 0 [guid] => https://heinekenjazzaldia.eus/?p=20333 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) ) [post_count] => 6 [current_post] => -1 [in_the_loop] => [post] => WP_Post Object ( [ID] => 22935 [post_author] => 2 [post_date] => 2020-06-16 12:43:07 [post_date_gmt] => 2020-06-16 10:43:07 [post_content] => The 55th San Sebastian Jazz Festival, to run from July 22-26, now has its poster. It is the work of Joseba Larratxe Berazadi, also known as Josevisky (Irun, 1 March 1985). Larratxe started his professional career as a creator of cartoon strips for newspapers while studying Architecture in San Sebastian. Today, he illustrates for the magazine Argia, as well as for other publications and books. In 2019 he brought out the graphic novel Joana Maiz (Harriet Editions) with the screenwriter Yurre Ugarte, and he is soon to launch the album corresponding to the comic series Basolatik berri onik ez (Ikastolen Elkartea), written by Asisko Urmeneta. This year’s poster was created during the lockdown, a situation prompting a dynamic and light-filled result, featuring the public as its protagonist, understanding the Jazz Festival as a celebration. According to the artist: “Generally speaking, I believe it reflects our ability to remain happy in the face of adversity, come hell or high water.” For this year’s Jazz Festival poster, Joseba Larratxe made no attempt to conceal his cartoon roots in the outline or characterisation of the figures. In the illustrator’s own words: “I try to make my style identifiable, even if I have to adapt it to the characteristics of each project. Usually I start working on paper and end on the computer, but in this case I produced the complete process digitally.” The poster and more information for the press in this link: https://jazzaldia.eus/en/prensa-2/ [post_title] => The cartoonist and illustrator Joseba Larratxe Berazadi is the author of the poster for the 55th San Sebastian Jazz Festival. 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Author: jazzaldia

ZORN-WEB
News 0

From the point of view of contemporary jazz, everything John Zorn touches turns to gold. He’s an untiring composer, a sharp selector of musicians and a fastidious band conductor. He has converted his latest book of compositions, The Bagatelles, into a concert with the name of Bagatelles Marathon.

joshua
News 0

The Atomic and Trondheim Jazz Orchestra combo whipped up a whirlwind leading us to believe that we were listening to free jazz, when in fact the music is precisely written down note for note. In a concert calling for intensity and concentration, these Scandinavian musicians united in the Kursaal Auditorium rolled out a fine example of their excellent savoir-faire.

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