The Man I Love - Unusual Trio

[@valenticasanovas9074]

Maquíssima interpretació aquesta que feu. !!! Felicitats i gràcies Artistes.!!!

[@annehandmann869]

JAZZ a Les Fosques, JAZZ in the Darkness - these were 4 evenings with 2 concerts each, from October 9th to October 12th, 2024, a 25th anniversary of the most extraordinary kind. Here, the audience streamed in were presented with a good 1.5 hours of phenomenal JAZZ. After the welcome, and under the overall direction of the most musically and humanly approachable jazz pianist of the moment, Ignasi Terraza, the audience had the opportunity to put themselves in his situation for these one and a half hours in a state of darkness that some people had never experienced before, because the lights were slowly turned down until it was completely dark. Just as Ignasi's personal life slowly led to blindness, so was the program in these concerts; implemented by the sound engineers and with the help of Miriam Guardiola, a coordinated program, each of these concerts different in its design. A perfect overall concept, with Ignasi Terraza's trio, Esteve Pi on drums, bassist Giorgos Antoniau, and a different guest musician every evening, making the audience cheer, scream, whistle and clap. Starting with the well-known and popular singer LAURA SIMÓ, as well as Andrea Motis on vocals and jazz trumpet, the most unusual sound was from Terraza's trio of the same name, which can be heard and seen here in the weekly premiere "The Man I love". The sound of Adrian Cunningham's flute, which drew sounds from this instrument on the concert evening that no listener had expected. You have to have heard it to understand what was meant. From the initial lightning-like sounds that interrupted the silence, imitative screaming or laughter to traced clouds of fog, one could definitely feel goosebumps in this darkness. The jazz trumpeter Joan Mar Sauqué first made gurgling, almost toddler-like cries, getting louder and louder, but with still soothing tones, suggesting a motherly sound, which then gave the (perhaps) fatherly answer, piercing and with a strong, almost shrill sound, in the sense of, finally be quiet, accept it and make something of it. With these last two musicians, Ignasi Terraza tried to paint a successful musical picture of his situation for the listeners and to create a connection to the oversized, equally meaningful POSTER above the entrance to JAMBOREE. It shows a black grand piano parked in the dark forest on a dark night. No Ignasi Terraza is sitting there on a piano bench. But a round, bright light peeks out from the piano strings through the open piano lid and illuminates the surroundings, forest and undergrowth. There could be as many listeners as there could be individual interpretations; one possible interpretation here could be Ignasi's statement: The piano is me and the light that shines out from the piano strings are my tones, my harmonies that "fall to me", make me bright, give me stability, like a grand piano in the darkness, which form into pieces of music within me, such as NOCTURN, 9/8 TIME, and says as much as the translation "nocturnal" or "night tower". These pieces of music, whether original compositions or standards, show Ignasi Terraza as a blind jazz pianist who has found HIS place in a loud JAZZ world, audibly represented by the exceptional drummer, Esteve Pi. And, with the almost faintly audible bass sound of Giorgos Antoniau, this "human part" of Ignasi reaches the audience, making them all laugh at every performance and laughing along himself, as can be seen in an equally oversized picture of a laughing IGNASI in the world-famous JAZZ-JAMBOREE hall, number 3 in Barcelona. The applause, even during the requested piece of music, belonged to him and to all of his musicians.