24.1.07
Vinny, o grande Vinny Golia e o seu quinteto realizaram uma digressão pela Bélgica em Setembro de 2001, logo após o 11 de Setembro. A viagem foi registada e parcialmente publicada pela editora belga Jazz’halo, sob a forma de CD duplo. A música de One, Three, Two é formalmente aparentada às correntes mais ousadas do post-bop, aquela que mantém as melhores relações com a livre-improvisação. O catálogo está recheado de boas composições, com solos e extensões de improvisação colectiva, ângulos, arestas e rugosidades, amplas variações dinâmicas e súbitas mudanças de tempo (dir-se-ia que estes são "tempos difíceis", no melhor sentido da expressão e na linha nas noções trabalhadas por Anthony Braxton), apresentando uma leitura muito personalizada do swing. À vez, Vinny Golia sopra três flautas, três saxofones, clarinete e ocarina; Michael Pierre Vlatkovich, trombone (à última da hora substituiu o trompetista John Fumo); Scott Walton, contrabaixo, e os manos Cline (Nels e Alex, há 30 anos na companhia de Vinny...), em guitarra e bateria, respectivamente. One, Three, Two são 140 minutos do melhor Vinny Golia e companhia. Ao vivo, o que é raro poder-se ouvir, tanto em directo como em disco.
The compositions were picked and written specially for the instrumentation of this quintet. Originally John Fumo was to have played trumpet & flugelhorn on the tour but family obligations kept him at home, so at the last minute I changed the tunes and orchestration of the group. John’s replacement is almost always Mike Vlatkovich, a trombonist who I’ve been performing with since 1981. Come to think of it Scott Walton would be the newest member of the group clocking in at about 5 years. The Clines, Alex & Nels, I have been playing with since I met them in 1976, that’s a little more time than I care to think about. A quintet has been my touring unit since 1981; it’s a comfortable platform to explore composition, improvisation and orchestration. I wanted to bring tunes for the unit that had not been recorded and also to play tunes that would open up our sound yet still use a variety of instrumentation, as I had brought with me piccolo, C & alto flutes, sopranino, soprano and tenor saxophones also an A clarinet and an ocarina. Mike uses a fair amount of mutes (at my consistent prodding) so there are a myriad of colors at our disposal. So what I am getting to is that many of the compositions are new but some are from the older book but that’s not what is important. What is important is the interaction and exploration of the quintet and how the players improvise, using these compositions as a platform for artistic expression. - Vinny Golia
posted by eduardo chagas
@ 24.1.07 The compositions were picked and written specially for the instrumentation of this quintet. Originally John Fumo was to have played trumpet & flugelhorn on the tour but family obligations kept him at home, so at the last minute I changed the tunes and orchestration of the group. John’s replacement is almost always Mike Vlatkovich, a trombonist who I’ve been performing with since 1981. Come to think of it Scott Walton would be the newest member of the group clocking in at about 5 years. The Clines, Alex & Nels, I have been playing with since I met them in 1976, that’s a little more time than I care to think about. A quintet has been my touring unit since 1981; it’s a comfortable platform to explore composition, improvisation and orchestration. I wanted to bring tunes for the unit that had not been recorded and also to play tunes that would open up our sound yet still use a variety of instrumentation, as I had brought with me piccolo, C & alto flutes, sopranino, soprano and tenor saxophones also an A clarinet and an ocarina. Mike uses a fair amount of mutes (at my consistent prodding) so there are a myriad of colors at our disposal. So what I am getting to is that many of the compositions are new but some are from the older book but that’s not what is important. What is important is the interaction and exploration of the quintet and how the players improvise, using these compositions as a platform for artistic expression. - Vinny Golia
