A huge storm unleashed a downpour on San Sebastian at 8 o’clock in the evening. The rain stopped at 9, and the concert in the Plaza de la Trinidad was able to start on time, as it always does, with the chiming of the hour on the Santa María Basilica clock. The square was packed with an audience decked out in the ponchos issued by the organisation.
In the end, everyone was delighted to have been there. Because the concert given by the Donny McCaslin Quintet, in the first half, and by the Maria Schneider & Ensemble Denada in the second, was one of the most impressive in the festival’s recent history. A brilliant McCaslin, splendidly accompanied by his dynamic musicians, is today one of the soundest values of contemporary jazz. The Norwegian band Ensemble Denada is a prodigy of group accomplishment combined with the excellence of its soloists; and when fronted by the directing, composing and arranging of Maria Schneider, things could hardly get any better.
In the Kursaal Auditorium, Joe Jackson opened his concert at full pelt. Fearless, like a daring trapeze artist. Many were those in the audience who asked themselves how he was going to keep up the intensity. A pointless question. A career of forty years and twenty-one albums isn’t made in a day, and if you’ve invented new wave and taken a tour through reggae, jump and R&B before returning to your original fury, it’s no problem at all for the likes of Joe Jackson.
Goshu ondo is a type of Japanese traditional dance. Around its beat, the delicate pianist Eri Yamamoto has constructed a delightful musical piece for jazz trio and choir. The trio is hers, and their mutual empathy is flawless. The voices are provided by a local group, the veteran Coro Easo, highly respected and acclaimed at home and abroad. Taken through its steps by Gorka Miranda, the choir perfectly understood Eri Yamamoto who, as well as being a fine instrumentalist, also revealed a warm personality. This was a pleasant and emotional performance played to a packed audience in the Victoria Eugenia Theatre.
Zahara began her career as a singer-songwriter of gentle guitar playing and captivating voice. Today we’re in Zahara’s rock period at the front of a hugely effective band as the vehicle for her new compositions. If the intimate Zahara enchanted listeners, her rock persona simply charms them. Her numerous fans were there, cheering her on as she performed on the Green Stage.
Following her on the same stage was the group from Barcelona, Dorian, all of a reference in today’s Spanish music scene with a successful international career, moving between new wave and electronics. Their show is musically and aesthetically striking and those who gathered to watch them on the beach were delighted.
A hugely successful day which would have hit new heights without the rain. While a number of the concerts on the Kursaal terraces had to be cancelled, for the main events on the programme it was business as usual and both the Trinidad and Green stages proceeded normally; of course the same applies to the closed venues, such as the Victoria Eugenia, the Kursaal and San Telmo where, incidentally, Paul San Martín and Lluís Coloma were the protagonists of an intense piano duo.
[post_title] => Jazzing in the rain
[post_excerpt] => A huge storm unleashed a downpour on San Sebastian at 8 o’clock in the evening. The rain stopped at 9, and the concert in the Plaza de la Trinidad was able to start on time, as it always does, with the chiming of the hour on the Santa María Basilica clock. The square was packed with an audience decked out in the ponchos issued by the organisation.
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Joan Baez is a myth who became a reality yesterday for the 44,000 people who gathered on the Zurriola Beach, before the Green Stage, to hear the great dame of folk. A legend who joins others who have preceded her in the same setting, such as Bob Dylan, Patti Smith and B.B. King. It was also the last chance to see her: as she herself has announced, at the end of this “Fare Thee Well Tour”, she will no longer give concerts in big venues. The memory she leaves is excellent. Added to her timeless repertoire were nods to the local public, with songs like Mikel Laboa’s Txoria Txori and the hymn No nos moverán. She bid us adieu with Fare Thee Well.
Jamie Cullum’s not a myth, not yet. He’s too young to be one; but if he continues in this impeccable direction, he’ll be one in thirty years. He’s already an idol in San Sebastian. All of his concerts in our city have been magnificent, without fail. That’s why yesterday’s gig was unlikely to be any different, and it didn’t let us down. He attracted a crowd of 53,000 people, and had them in the palm of his hand from the very first minute, continuing to enthral them for another two hours. He ended on an emotional note, improvising a love song to Donostia tied in with I’ve Got You Under My Skin.
The best part of the Festival’s opening celebration with the Jazz Band Ball was the audience. As usual. With its continual to-and-fro between the four stages set up around the Kursaal Centre, the audience gave yet another lesson on how to conduct themselves and have fun.
As an example, their enthusiastic reaction to Love & Revenge: Music and Cinema from the Arab World, combining images from old Egyptian films with cutting-edge music taking its inspiration from Arab instruments. Undoubtedly unique, this is a performance requiring an open cultural sensitivity for the appreciation of its full intensity.
Its variety of styles is part and parcel of the Jazz Band Ball. The most traditional of jazz styles were brought to us by two North American bands: Dan Barrett Classic Jazz All Stars and Saxophone Con-Clave. The modern counterpoint was provided by Elkano Browning Cream, a multinational trio fronted by San Sebastian’s Mikel Azpiroz with an easy-going groove.
And for easy-going we have the Japanese guitarist and singer, Rei. With a fresh, young image, the world is her oyster for this new figure of Nippon blues-pop since having been signed by a major record label. With a cheeky stage approach, great guitar playing and a naturally engaging character, Rei has great future ahead of her.
Another person to have left his mark on the opening fest is the Anglo-Nigerian singer Ola Onabulé, a real gentleman of soul, who delivered his songs with vocal virtuosity and profound emotional intensity.
[post_title] => Warm farewell to a myth [post_excerpt] => Joan Baez is a myth who became a reality yesterday for the 44,000 people who gathered on the Zurriola Beach [post_status] => publish [comment_status] => closed [ping_status] => open [post_password] => [post_name] => warm-farewell-to-a-myth [to_ping] => [pinged] => [post_modified] => 2019-07-25 18:20:52 [post_modified_gmt] => 2019-07-25 16:20:52 [post_content_filtered] => [post_parent] => 0 [guid] => https://heinekenjazzaldia.eus/?p=20215 [menu_order] => 0 [post_type] => post [post_mime_type] => [comment_count] => 0 [filter] => raw ) [2] => WP_Post Object ( [ID] => 20120 [post_author] => 2 [post_date] => 2019-07-24 10:28:05 [post_date_gmt] => 2019-07-24 08:28:05 [post_content] =>
The restaurants Ni Neu and Topa will set up stall on the Kursaal Centre Terraces during the 54th Heineken Jazzaldia with an interesting gastronomic selection.
Ni Neu will propose Basque-Creole Jambalaya Rice: an adaptation by their chef Mikel Gallo of Jambalaya, a typical dish from New Orleans, the birthplace of Jazz. The dish comes with rice, vegetables, meat and a touch of chilli. They will also serve their usual variety of baguettes with the finest ingredients.
As far as Topa is concerned, Jordi Bross and his team will prepare 3 kinds of corn tacos: squid and onions with mole sauce, txerri-txiki pork pibil and Iberian round steak with huancaína sauce. Attendees will have the option of tasting all three at a special price with their Talo Taco Mix.
They will also serve their classic Micheladas, beer cocktails with lime and a slight kick.
[post_title] => The restaurants Ni Neu and Topa will complete the gastronomic offer at the 54 Heineken Jazzaldia
[post_excerpt] => The restaurants Ni Neu and Topa will set up stall on the Kursaal Centre Terraces during the 54th Heineken Jazzaldia with an interesting gastronomic selection.
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This year, the Festival is launching a new waste collection system
The Heineken Jazzaldia has received the “Erronka Garbia” ("Clean Challenge") certificate in recognition of the Festival’s sustainable nature awarded by IHOBE (a publicly-owned environmental management company dependent upon the Basque Government Ministry of the Environment).
This year, to continue improving, the Festival is launching a new waste collection system, thanks to which it’ll be able to offer festival-goers a wider range of facilities and improved efficiency. Forty sets of 3 small bins will be distributed throughout the area occupied by the Festival: 29 in the area around the Kursaal, 6 in the Plaza de la Trinidad, and 5 at the Nauticool.
Thanks to these bins, the collection of waste generated during the Festival will be continuous and selective.
This initiative is carried out with the collaboration of IHOBE and the San Marcos Association, which manages garbage in the San Sebastian area.
[post_title] => The Heineken Jazzaldia wins the certificate "Erronka garbia" ("Clean Challenge") in recognition of the Festival's sustainable nature
[post_excerpt] => This year, the Festival is launching a new waste collection system
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John Zorn will receive the 2019 Donostiako Jazzaldia Award, presented by the San Sebastian Heineken Jazzaldia in recognition of his profound influence on contemporary jazz.
John Zorn is a composer, instrumentalist and catalyst of an innovative scene encompassing hundreds of musicians of enormous importance and repercussion in today’s jazz. It is impossible to conceive the jazz made in New York today without the intervention of musicians who move in Zorn’s sphere.
John Zorn will return to the Heineken Jazzaldia following the resounding success of his Masada Marathon in 2013. This time round, he’ll do it as the frontman of the Bagatelles Marathon, split into two afternoon sessions at the Kursaal Auditorium; one on July 27th and the other on July 28th.
Zorn will receive the Donostiako Jazzaldia Award on Sunday 28 July at 17:00 on stage, before the start of his second concert.
The musical marathon will involve 14 different ensembles who will perform more than 50 compositions from The Bagatelles, John Zorn’s expansive new book of music. Among the more than thirty participating musicians are Mary Halvorson, Marc Ribot, Kris Davis, Julian Lage, Dave Douglas, Joey Baron, Craig Taborn, Peter Evans, John Medeski, Ikue Mori, Erik Friedlander, Mark Feldman, Sylvie Courvoisier, Kenny Wollesen, Trevor Dunn and many more who understand Zorn’s creative universe like nobody else.
Donostiako Jazzaldia Award
1994: Doc Cheatham
1995: Phil Woods
1996: Hank Jones
1997: Steve Lacy
1998: Chick Corea
1999: Max Roach and Clark Terry
2000: Kenny Barron
2001: Ray Brown
2002: Elvin Jones
2003: Bebo Valdés
2004: Shirley Horn and Fernando Trueba
2005: Keith Jarrett and Charles Mingus (in memoriam)
2006: Herbie Hancock
2007: Wayne Shorter
2008: Ahmad Jamal
2009: Roy Haynes
2010: Ron Carter
2011: Toots Thielemans
2012: Jimmy Cobb and Pierre Lafont (in memoriam)
2013: Lee Konitz and Juan Claudio Cifuentes
2014: Toshiko Akiyoshi
2015: Benny Golson
2016: Ellis Marsalis
2017: Charles Lloyd
2018: Mary Stallings and Michel Portal
[post_title] => The artist at the forefront of today’s jazz, John Zorn, will receive the Donostiako Jazzaldia Award in San Sebastian
[post_excerpt] => John Zorn will receive the 2019 Donostiako Jazzaldia Award, presented by the San Sebastian Heineken Jazzaldia in recognition of his profound influence on contemporary jazz.
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A huge storm unleashed a downpour on San Sebastian at 8 o’clock in the evening. The rain stopped at 9, and the concert in the Plaza de la Trinidad was able to start on time, as it always does, with the chiming of the hour on the Santa María Basilica clock. The square was packed with an audience decked out in the ponchos issued by the organisation.
In the end, everyone was delighted to have been there. Because the concert given by the Donny McCaslin Quintet, in the first half, and by the Maria Schneider & Ensemble Denada in the second, was one of the most impressive in the festival’s recent history. A brilliant McCaslin, splendidly accompanied by his dynamic musicians, is today one of the soundest values of contemporary jazz. The Norwegian band Ensemble Denada is a prodigy of group accomplishment combined with the excellence of its soloists; and when fronted by the directing, composing and arranging of Maria Schneider, things could hardly get any better.
In the Kursaal Auditorium, Joe Jackson opened his concert at full pelt. Fearless, like a daring trapeze artist. Many were those in the audience who asked themselves how he was going to keep up the intensity. A pointless question. A career of forty years and twenty-one albums isn’t made in a day, and if you’ve invented new wave and taken a tour through reggae, jump and R&B before returning to your original fury, it’s no problem at all for the likes of Joe Jackson.
Goshu ondo is a type of Japanese traditional dance. Around its beat, the delicate pianist Eri Yamamoto has constructed a delightful musical piece for jazz trio and choir. The trio is hers, and their mutual empathy is flawless. The voices are provided by a local group, the veteran Coro Easo, highly respected and acclaimed at home and abroad. Taken through its steps by Gorka Miranda, the choir perfectly understood Eri Yamamoto who, as well as being a fine instrumentalist, also revealed a warm personality. This was a pleasant and emotional performance played to a packed audience in the Victoria Eugenia Theatre.
Zahara began her career as a singer-songwriter of gentle guitar playing and captivating voice. Today we’re in Zahara’s rock period at the front of a hugely effective band as the vehicle for her new compositions. If the intimate Zahara enchanted listeners, her rock persona simply charms them. Her numerous fans were there, cheering her on as she performed on the Green Stage.
Following her on the same stage was the group from Barcelona, Dorian, all of a reference in today’s Spanish music scene with a successful international career, moving between new wave and electronics. Their show is musically and aesthetically striking and those who gathered to watch them on the beach were delighted.
A hugely successful day which would have hit new heights without the rain. While a number of the concerts on the Kursaal terraces had to be cancelled, for the main events on the programme it was business as usual and both the Trinidad and Green stages proceeded normally; of course the same applies to the closed venues, such as the Victoria Eugenia, the Kursaal and San Telmo where, incidentally, Paul San Martín and Lluís Coloma were the protagonists of an intense piano duo.
[post_title] => Jazzing in the rain
[post_excerpt] => A huge storm unleashed a downpour on San Sebastian at 8 o’clock in the evening. The rain stopped at 9, and the concert in the Plaza de la Trinidad was able to start on time, as it always does, with the chiming of the hour on the Santa María Basilica clock. The square was packed with an audience decked out in the ponchos issued by the organisation.
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A huge storm unleashed a downpour on San Sebastian at 8 o’clock in the evening. The rain stopped at 9, and the concert in the Plaza de la Trinidad was able to start on time, as it always does, with the chiming of the hour on the Santa María Basilica clock. The square was packed with an audience decked out in the ponchos issued by the organisation.
→
Joan Baez is a myth who became a reality yesterday for the 44,000 people who gathered on the Zurriola Beach
→
Everything’s ready to go for the Festival, to run in San Sebastian from July 24-28, with 100 performances on 15 stages, more than two-thirds of them free
→
The restaurants Ni Neu and Topa will set up stall on the Kursaal Centre Terraces during the 54th Heineken Jazzaldia with an interesting gastronomic selection.
→
This year, the Festival is launching a new waste collection system
→
John Zorn will receive the 2019 Donostiako Jazzaldia Award, presented by the San Sebastian Heineken Jazzaldia in recognition of his profound influence on contemporary jazz.
→