Baptiste Trotignon and Minino Garay in Podgorica

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On 21 of June we will celebrate the Worldwide Music Day – Fête de la musique, with great Parisian piano-percussion jazz duo: Baptiste Trotignon and Minino Garay. They will be playing for the first time at the stage of the “Budo Tomovic” Cultural Information Center of Podgorica, Montenegro, thanks to the organizers and supporters: French Institute Montenegro, Cultural Center of Podgorica – KIC “Budo Tomovic”, Jazz Art, and Societe Generale Montenegro.

After a few years of touring and playing all over the world, their album is available, and it’s full of joy! Baptiste Trotignon, one of the finest French pianists, and Argentinean percussionist Minino Garay, will play their music from recent album “Chimichuri”, and celebrate worldwide event – Fete de la musique – Worldwide Music Day.

“Chimichurri: a chili-based condiment from Argentina! The art of the duet is at once so spare and so full. Two musicians being so close to each other on stage soothe my mind and body. It enables direct communication from you to me, a true, simple relationship to sound. This duet with Minino is like a point where two mirror identities meet: on one side, my European genetic heritage, which wanted to dig deep into its tribal truths in search of a form of authentic Corazon that would stray from reason and its turpitudes, also as if to go further than the self in its desire for the unknown. On the other side, the musician who plays at working-class dances in Córdoba and who wanted to cross the Atlantic 20 years ago to fully embrace the sophistication and colors of another form of music, another language to share.

The music on Chimichurri is a journey between North and South, between the sounds of wood and hides, between languid nostalgia and mad frenzy, depending on the melodies lovingly chosen together. The album has something raw about it. There’s no beating around the bush, no artifice. We just wanted to make the music tasty, in perpetual motion, never still, and of course with a bit of a kick!”  –  Baptiste Trotignon

http://www.baptistetrotignon.com/

Admission is free of charge. We are looking forward to seeing you at the KIC Budo Tomovic, and celebrate in spirit of Franco-Argentinean musicianship.

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JAM 2017 – Jazz For All Ages

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Our eleventh annual edition of Jazz Appreciation Month – JAM 2017 – takes place under the general motto of “Jazz for All Ages”.   Guided by the idea that jazz can speak to younger generations, and that adults and children can come together in both playing and listening to jazz and blues, we developed our annual April presentation of jazz by combining the spirit of play, modern sensibility, and tradition.

The Montenegrin jazz musical production of New York composer Eli Yamin’s “Message from Saturn” is the first event of JAM 2017 that contributes to our theme.  The production includes lots of children and young people and adults.  Under the leadership of the composer himself, the musical draws on students and teachers of Podgorica’s”Vasa Pavic” Art School of Music and Ballet. The premiere is planned for 8 April (to be repeated 9 April) in the “Budo Tomovic” Cultural-Information Center in Podgorica. “Message from Saturn” is a story about teenagers who are looking for a way to save the galaxy from certain destruction, and it turns out that the only cure is to learn to play the blues. The musical is scored for young soloists plus musical groups of children and teenagers – in the characters of constellations, asteroids, stars – with a jazz instrumental ensemble, plus string quartet.

Eli Yamin

Eli Yamin

 

JAM 2017 then continues its concert program with the singer Bojana Stamenov, Bojana Stamenovwidely known as a a representative of the Serbian ESC 2015.  She is a passionate performer of jazz, soul and funk, and a performer devoted to young people, including performance at the “Bosko Buha” children’s theater in Belgrade.  Accompanied by prominent musicians such saxophonist Gabor Bunford and the pianist Aleksandra Banjac, she will perform a repertoire of favorite jazz standards made famous by the likes of Etta James, Aretha Franklin, Dianne Warwick, Ella Fitzgerald, Chaka Khan and others. This concert will, naturally, be in support of the theme “Women in Jazz” – following the initiative of the National Museum of American History.  The very talented Bojana Stamenov and her highly esteemed musical colleagues will appear in in Podgorica at Capital Plaza on April 11 and then at Naval Heritage Collection in Porto Montenegro in Tivat on April 12..

Our JAM 2017 also provides the chance to present the international trio of Morten Ramsbøl (bass), Pippo Corvino (guitar) and Anıl Bilgen (guitar), highlighting their new album “How Far Is the Moon”.  For those who find this trio to be a novelty, let us point out that it includes the Montenegrin guitarist Filip Gavranovic (alias Pippo Corvino), who found his way to jazz in Austria, where he finished his jazz education and began making music with various collaborators.  All three members of this trio have contributed to its modern, balanced, chamber-jazz sound, not only as performers but also as talented composers.  Their mid-April tour will include Podgorica (April 14), Kotor (April 17) and Cetinje (April 18).

Trio Ramsbol Corvino Bilgen cover CD

As the final part of JAM 2017’s musical program, there will be the vibrant sounds of Dixieland music as performed by the Belgrade Dixieland Orchestra.  Made up of eight exceptional musicians, all soloist caliber, it creates the playful atmosphere that is the spirit of traditional jazz, bound to the multicultural environment of the city where it was born – New Orleans.  Recalling the very beginnings of jazz, its joy and dance, its dynamism and diversity, its mélange of musical styles from blues to gospel to ragtime to military music, the Belgrade Dixieland Orchestra evening concert in Tivat on April 29 and matinee concert in Cetinje on April 30 will joyfully commemorate UNESCO’s International Jazz Day global celebration.

 Belgrade Dixieland Orchestra

Belgrade Dixieland Orchestra

In addition to JAM’s musical productions this year, once again we remain faithful to our traditional jazz film program.  Working in cooperation with the American Corner in Podgorica, this year’s films will celebrate the centennial of jazz’s birth with films about Thelonious Monk, Dizzy Gillespie and Ella Fitzgerald.  Feature documentaries about such great, creative work and the life stories behind it help to illuminate entire epochs and enrich us even further.

Many thanks to all the partners who have supported this year’s JAM!  They are: “Budo Tomovic” Cultural-Information Center; “Vasa Pavic” Art School for Music and Ballet; the US Embassy in Montenegro; the American Corner in Podgorica;  Porto Montenegro; Crnogorska Komercialna Banka; the Montenegrin National Commission for UNESCO; the “Zetski Dom” Royal Theater; the Podgorica Tourist Organization; the Historic Capital City of Cetinje; the “Nikola Djurkovic” Cultural Center in Kotor; the “Yunus Emre” Turkish Cultural in Podgorica; and JazzDenmark.

The entire program is available here: JAM 2017 Events

Come and experience jazz – we’re waiting for you!

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Montenegrin Emotional Fulfilment

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We are pleased to present the review about JAM impressions of our dear friend and guest lecturer prof. Virgil Mihaiu, Romanian writer, jazz critics and performer, who has contributed JAM 2016 with his inspired lectures.

If anyone has any doubts that music and geography are intimately connected, Montengero should serve as an example of a country as spellbinding as an exquisite symphony. I had the fortune to encounter Crna Gora’s divine beauty in 1965, when I was 14 years old. Ever since, I’ve become more and more aware that its scenery attests the inner structure and conveys the aesthetic impact of symphonic mastepieces (to name a few: Beethoven’s Ninth Symphony, Bedrich Smetana’s Vltava, Stravinsky’s Rite of Spring, Gershwin’s Rhapsody in Blue, Jan Sibelius’s Tapiola). After entering this land, the visitor’s emotions are under continuous challenge. If one travels, for instance from North to South, the succession of landscapes is as enchanting as the thematic transformation of a symphonic poem (a notion perfected by Liszt − as a type of variation in which one theme is changed, not into a related or subsidiary theme but into something new, separate and independent). The Montenegrin scenery goes through countless changes − majestic successions of mountain peaks, dramatic passages through gorges, emerald rivers and lakes, surprising outbursts of waterfalls − then calms down for a while in lowlands like Bjelopavlići, Zeta, or the littoral at Bar and Ulcinj. From Zeta the music of the landscapes moves by the splendours of Lake Skadar and Rijeka Crnojevica, rising towards other culminations: the plateau around the ancient capital of Cetinje, preceding the climax of Lovcen, outlined in the accute range by Njegos’s mausoleum and the bird’s-eye view over the Fjord of Kotor. Descending the breathtaking serpentine road towards the marvels of Kotor and Perast is a most adequate aftermath for such a tone-poem created by nature. Like in a symphony by Shostakovich, the enchanting succession of landscapes conveys continuous delight to the soul. Experiencing Montenegro leaves a sensation of emotional fulfillment comparable to that engendered by musical masterpieces.

No wonder that jazz has found its way towards these realms. In April 2016 the internationally acclaimed Jazz Appreciation Month was celebrated here for the 10th year in a row. This occurred during the same year that marked one decade since the proclamation of Montenegro’s retrieved independence. Auspiciously, the event received support from various entities: the National Commission for UNESCO of Montenegro; the City of Cetinje – Ancient Royal Capital; the US Embassy in Montenegro; and the Montenegrin Commercial Bank of Podgorica. Nevertheless, nothing would have been imaginable without the complete commitment and – so to speak − body&soul dedication of Maja Popovic, leader of Podgorica’s Jazz Art Association, and longstanding coordinator of Montenegro’s jazz life. Like during the previous editions, she managed to overcome the vicissitudes of an unending economic crisis, and to concoct an exciting programme. This year’s main attraction was Vasil Hadzimanov Band from Belgrade, a solid post-ethno-fusion outfit, balanced between the leader’s conceptual approach and percussionist Bojan Ivkovic’s restless percussion (bringing to mind Airto Moreira’s volcanic inventiveness). The group gave recitals in Podgorica, Tivat and Cetinje, starring David Binney, one of today’s most representative alto sax players. Hadzimanov and Binney started their friendship around the turn of century, while the first was studying jazz at the Berklee College of Music in Boston. As shown by their recent album Alive, such collaboration continues to bear fruit. Furthermore, a lyrical duo piece played by keyboardist Hadzimanov and saxophonist Binney during the Montenegrin tour also conferred a pensive dimension to the utterly extrovert performances of the group. By and large, Binney’s clear-cut phrases accurately went along with the band’s offensive style, climaxing in a final Ornette-style delirium.

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Another highlight of JAM Montenegro 2016 was the presence of the celebrated Macedonian guitarist, composer, conductor, arranger Toni Kitanovski. Himself an alumnus of Berklee (between 1990-1997), Kitanovski started his musical education with Dragan Gjakonovski, a reference in Macedonian jazz, and achieved credentials such as: composition seminars under the guidance of Luciano Berio and Gyorgy Ligeti, private studies with Dennis Grillo, collaborations with jazz luminaries Greg Hopkins, Charlie Mariano, Steve Bernstein & Sex Mob, and so on. Nowadays Kitanovski leads the Jazz Department of the Stip Music Academy in his homeland. In Podgorica he conducted a workshop entitled Balkan Jazz Bridges, which also comprised master classes by Vasil Hadzimanov and US guest David Binney. In a matter of days, Kitanovski managed to make his students (originating from Macedonia, Serbia and Montenegro) sound as a coherent band of 15 youngsters. Its most conspicuous member was Enes Tahirovic, a twentysomething Montenegrin pianist. The latter’s natural gift for improvisation brings hopes for the future of the local scene, after the tragic death of trombonist Nikola Mitrovic (1941-2010), a founding-father figure of jazz in Montenegro. Other two remarkable young talents of this ensemble were bassist Pence Kralev and drummer Viktor Filipovski. Thanks to Kitanovski’s competent arrangements and conducting, his ad hoc orchestra gave exhilarating performances in Podgorica, as well as on the Royal Square in Cetinje, in an open air concert dedicated to the International Jazz Day. The conductor displayed empathy, relaxed control and sense of humour, enabling his disciples to reenact the spirit of Charles Mingus’s ensembles for the benefit of younger generations.

A memorable performance was offered at Podgorica’s Hard Rock Café by the ever inventive guitar-player Kitanovski, in the company of his own group featuring Vasil Hadzimanov as a skilful explorer of the depths and delights of the Hammond organ timbre, with due support from drummer Peda Milutinovic (doubled by Viktor Filipovski in most of the pieces). That performance was another occasion for the unwavering David Binney to join in, and to deliver a couple of spectacular solos.

As expected, the live performances were complemented by interesting side events: jazz-related films, an exhibition of the previous editions’ posters, lectures. I was privileged to get involved in the latter chapter. Right after my arrival in Montenegro’s capital (thanks to the automobile-driving talents of my friend Dr. Thomas Mendel) I was invited to give a lecture for the participants of the Balkan Jazz Bridges workshop. I gladly accepted, and the encounter took place in the friendly atmosphere of the American Corner at KiC (Kulturni Informativni Centar) in Podgorica. On the same occasion I had the pleasure to meet Anica Vujnovic, the generous translator of my texts for JAM Bilten. But the paramount experience was yet to come: it was an unforgettable accomplishment to address the professors and students of the Music Academy in Cetinje, located in the building that had hosted the British Embassy until 1918. My conference was entitled Geopolitical & Cultural Perspectives on Jazz, and featured the same introduction as this article. The event was hosted by the Academy’s Assistant Dean for international cooperation, Bojan Martinovic, a young and distinguished pianist of classic music, and by Maja Popovic’s efficient assistant, Ksenja Vukmirovic. I felt truly honoured when Mr. Martinovic told me that I was the first person to have ever delivered a lecture on jazz in the Music Academy of Montenegro. Any priority of this kind, concerning the cultural relationships between Romania and Montenegro, makes me feel happy.

Virgil Mihaiu

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