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Elisabetta Antonini - Big Night Jive - Potenza dello Swing

Potenza dello Swing

31 March 2019

POTENZA DELLO SWING

The Big Night Jive

 

Alessandro Contini, Elisabetta Antonini: vocals
Carlo Capobianchi: trumpet
Andrea Pedroni: tenor sax, arrangiamenti
Walter Fantozzi: trombone
Paolo Bernardi: piano, arrangements
Renato Gattone: bass
Gianluca Perasole: drums

SiFaRe Rec. (2010)

Taking its name from the homonymous film directed and played by Stanley Tucci in 1996, The Big Night, which celebrates Italian-American culture. This small orchestra made up of seven elements, the solo voice, the accompanying rhythm and a section of three horns, proposes a fusion of jazz and dance music, the so-called Jive that emerged strongly in the Harlem of the forties. The absolute energy of the swing mixed with the frenetic and rhythmic musicality of the Boogie-woogie and the enthralling trend of the shuffle, make the repertoire of the Big Night Jive unique and of strong impact. These are the basis of the great success of this Orchestra that punctually conquers the audience.

Elisabetta Antonini - Big Night Jive - Las Vegas Style

Las Vegas Style

31 March 2019

LAS VEGAS STYLE

The Big Night Jive

 

Alessandro Contini, Elisabetta Antonini Pierluca Bonfrate: vocals
Carlo Capobianchi: trumpet, arrangements
Andrea Pedroni: tenor sax, alto sax, arrangements
Walter Fantozzi: trombone
Paolo Bernardi: piano, arrangements
Renato Gattone: bass
Gianluca Perasole: drums

Barvin (2005)

The Big Night Jive Orchestra, founded in 1999 with the aim of reviving post-war Italian American music, takes its name from the movie The Big Night, directed and performed in 1996 by Stanley Tucci, which celebrates in a surreal and typically Italian-American setting. The awaited and never happened arrival of the great trumpeter and singer Louis Prima on the occasion of the great opening night of an Italian restaurant. Taking inspiration from the myth of this great genius of the Fifties, the Big Night Jive retrace and reproduce the great successes of the repertoire of Louis Pirma, often in duet with his wife Keely Smith, and of that generation of actors and singers among which Frank Sinatra, Tony Bennett and Dean Martin stand out. The small orchestra formed by seven elements, the solo voice, the accompanying rhythm and a three-horn section proposes a fusion of jazz and dance music, the so-called Jive, and has gained considerable popularity in the capital and throughout Italy, collaborating over the years with Luciano De Crescenzo, Lino Patruno, Franco Nero, Renzo Arbore and Greg .

Elisabetta Antonini - Cronopios Famas e Speranze

Cronopios Famas e Speranze

31 March 2019

Cronopios, Famas e Speranze

 

Kammerton Ensemble

Manuela Tassani: soprano
Susanna Stivali: soprano
Elisabetta Antonini: mezzosoprano
Alessandro Contini: baritone
Fabrizio Cardosa: bass
Juliane Reiss: violin
Luca Rizzo: tenor sax e clarinet
Emilio Merone: accordion
Sabino De Bari: guitar
Fabrizio Cardosa: electric bass
Mauro Colavecchi: drums and percussions

Crisalide (2007)

“Cronopios, Famas & Speranze”, based on the sparkling musical show for reciting voice, instruments and vocalists, taken from the book of the same name by Julio Cortàzar. The irony, the grotesque and the taste for the paradox present in the work of the South American author come to life in the transposition of Fabrizio Cardosa, author of texts and music, in a fusion of different musical styles: from jazz to contemporary, from ancient music to the popular one. On the stage the Mediterranean harmonies of the Modern Sextet (instrumental group known for the intense concert activity and for numerous recordings for the RAI and Radio Vaticana) and the refined melodies of the Kammerton (ensemble of expert singers that boasts collaborations with Claudio Baglioni and Teresa De Sio and music dubbing for Walt Disney films).

Elisabetta Antonini - Jazzamore

Jazzamore

31 March 2019

Jazzamore

Ho sognato un Blues

 

Alessandro Contini, Elisabetta Antonini, Fabiana Conti: voices
Michael Sunick: trumpet and flugelhorn
Massimo Davola: tenor sax
Primiano Di Biase: piano, accordion and arrangemets
Luca Nostro: guitar
Sergio Piccarozzi: banjo
Ermanno Dodaro: contrabbass
Francesco Bonofiglio: drums

Rai Trade (2009)

 

Jazzamore is based on the song story “Ho Sognato un Blues”, conceived and written by Francesco Pascarito.

Between swing, dixieland, tango, rumba and “bossanova”, the author has woven a sound suit for the contemporary public. Arrangements and lyrics of the twelve songs involve the heart and the mind, evoking timeless and ageless passions, which become intense emotion in the interpretation of the band and the three lead singers.

Elisabetta Antonini - Women Next Door

Women Next Door

31 March 2019

WOMEN NEXT DOOR

 

Elisabetta Antonini: voce

Gaia Possenti: pianoforte

Federica Michisanti: double-bass

Danielle Di Majo: alto sax

feat. Giorgio Cuscito: vibraphone

2010

 

Vocalist Elisabetta Antonini gives life to a new project, Women Next Door, dedicated entirely to the Jazz of the 1950s. These were the wonderful years in which George Shearing lit up the long nights from Manhattan to the West Coast when Frank Sinatra captured the hearts of legions of both young and old people while singing and acting in some of Hollywood’s most famous masterpieces. Meanwhile, Nat King Cole was enchanting crowds with his velvet voice while the pulsing rhythms of his trio played venues all over the United States, Louis Armstong was writing the indelible pages of jazz history, and the unmatched voices of Anita O’Day, Billie Holiday and Ella Fitzgerald were being recorded with the world’s most prestigious orchestras for the first LPs, featuring songs which would become the pillars of vocal jazz.

With an all-female cast, Women Next Door remembers these magnificent artists and their unforgettable performances, and pays tribute to the great jazz writers of the day, centering on the expressive power of those melodies and the freshness of those lyrics with a set of genuine “pearls of jazz”, played in the elegant and provocatively relaxed style of the period. In addition to the live project, an album of the same name, Women Next Door, was recorded, with the addition of the extraordinary Giorgio Cuscito on vibes.

Elisabetta Antonini - Terre Differenti - Cities of Dreams

Different Lands

31 March 2019

Different Lands

Cities of Dreams

 

Elisabetta Antonini: voice

Houcine Ata: voice

Noemi Nori: voice

Yasemin Sannino: voice

Fabio Armani: piano, keyboards, percussions

Luca Barberini: bass

Marco Conti: sax, flute, clarinett

Carlo Cossu: violin, violet

Alessandro D’Aloia: drums, percussions

Miguel Coelho Fernandez: guitar

Flavio Ferrari: electric bass

Abdullah Mohamed: nay flute, kaval, arguol and musmaar

Opensound Music (2006)

 

The “City of Dreams” is a symbolic place, it is outside and within us, this is the essence of our anxieties and our hopes.

In the CD it is often linked to the idea of ​​the desert as a land of origin, as primordial humus from which the babel of languages ​​and cultures developed with the variety and richness of the human experience.

The atmosphere of the songs is given by an original mix between ethnic influences (Trilok Gurtu, Rabih Abou Khalil), rock and progressive suggestions (Peter Gabriel, Enigma, King Crimson), with contemporary jazz contaminations (Jan Garbarek, Oregon, Weather Report).

The texts are projections of real places and virtual, continuously hovering between dream, vision and poetry. They are sung by four different singers, each of whom has contributed to making “Cities of Dreams” a journey through different lands and emotional states.

This new work continues the experimentation and the fusion between different musical styles that can be heard on the first CD of “Different Lands“. The arrangements use ancient and ethnic instruments combined with electronic sounds. Even the voices and the melodies are treated beyond the classical schemes to produce an ethereal and dreamlike sensation.

Why a name like “Different Lands”? In Italian the word lands have many meanings.
Land is the soil and this implies primitive and material concepts. The use of new and different alchemical elements.
Land is clay, and in art rock and clay are used to produce sculptures and colours.
Different Land also means suggestions of concrete realities but also of inner dimensions.

Listen to “Cities of Dreams” is how to make a journey to different lands, between dream and reality, through deep and unexplored dimensions of the soul.

Ah! - Pollock Project

Ah!

31 March 2019

POLLOCK PROJECT

VISUAL JAZZ & CONTEMPORARY ART

 

Marco Testoni handpan, percussions, piano, loop programming

Simone Salza sax soprano, clarinet

Elisabetta Antonini vocal, live electronics

Be Human Records (2016)

 

Pollock Project is built on the force of the intuition and the aesthetics of Art-Jazz which is able to conceive of a “visual music” with intense colours and surrealist spirit so that the live act is intertwined with the visual arts and video mashups. This is a musical tribute to the beauty of creative freedom, with numerous references to the visual arts of the twentieth century, as well as to the cinema and literature of our own day.

In their albums, the reference to the most visionary contemporary art is fundamental and is largely based on the re-interpretations of various jazz standards – In A Silent Way by Miles Davis, After The Rain by John Coltrane, and Angels and Demons At Play by Sun Ra, to name just a few. The unconventional technique of “dripping” is translated into its musical equivalent: an improvisational style similar to Jackson Pollock’s “action painting”.

  • Videos
  • Photos

Videos

Pollock Project - SO WHAT / Marco Testoni, Simone Salza, Elisabetta Antonini, Mats Hedberg
  • Pollock Project - SO WHAT / Marco Testoni, Simone Salza, Elisabetta Antonini, Mats Hedberg

    Pollock Project - SO WHAT / Marco Testoni, Simone Salza, Elisabetta Antonini, Mats Hedberg

    SO WHAT / Pollock Project
    (P) 2017 - Be Human Records
    Music by Miles Davis (C) Jazzhorn

    Marco Testoni (keyboards, handpan, programming), Simone Salza (alto sax), Elisabetta Antonini (vocal, live electronics), Mats Hedberg (guitars). Feat. Primiano Di Biase (piano).
    www.pollockproject.com

    Special thanks to New Era Museum and Giulia Baita, Andrea Bigiarini, William Nessuno, Dilshad Corleone, Dieter Gaebel, Roger Guetta, Marco Di Battista, Dieter Gaebel, Lorenza Somogyi Bianchi, Alex Visage, Victor Enrich, Istvan Horkay, Antonia Carmi, Ale Sordi

    Press office: Lorenza Somogyi Bianchi / Studio Alfa
    www.alfaprom.com
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Pollock Project - Unnecessary - 2017 euphoria version
  • Pollock Project - Unnecessary - 2017 euphoria version

    Pollock Project - Unnecessary - 2017 euphoria version

    Unnecessary - 2017 euphoria version
    Album title: Speak Slowly Please
    2017 / Be Human Records
    Artist: Pollock Project
    Marco Testoni (piano, handpan, programming), Simone Salza (alto sax), Elisabetta Antonini (vocal), Mats Hedberg (true temperament guitars, ebow), Giancarlo Russo (bass).
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IMPOSSIBLE HUMANS - Pollock Project / ft. New Era Museum
  • IMPOSSIBLE HUMANS - Pollock Project  / ft. New Era Museum

    IMPOSSIBLE HUMANS - Pollock Project / ft. New Era Museum

    IMPOSSIBLE HUMANS / 2017 - Pollock Project ft. New Era Museum
    Marco Testoni (piano, caisa drum), Simone Salza (alto sax), Elisabetta Antonini (vocal, live electronics), Mats Hedberg (guitars).

    Music by Marco Testoni - 2016 (P) Be Human Records
    www.pollockproject.com

    The Unexpected Happening
    Mobile movie: Giulia Baita - Camera: Marco Pellegrino - Camera/New Era Museum: Andrea Bigiarini, Dieter Gaebel,, Edward Santos, Headattacks Crealitys, Manuel Matos Monteiro, William Nessuno, Clarisse Debout, Marco Di Battista, Joao Lafuente,

    Mobile movie scenes extract from the clip "How to tell a concert" by Giulia Baita.

    Special thanks to Giulia Baita, Andrea Bigiarini, Dilshad Corleone, Dieter Gaebel, Roger Guetta, Lorenza Somogyi Bianchi, Alex Visage.

    Press office: Lorenza Somogyi Bianchi / Studio Alfa
    www.alfaprom.com
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Pollock Project - L AS IN A GIFT (Official Video)
  • Pollock Project - L AS IN A GIFT (Official Video)

    Pollock Project - L AS IN A GIFT (Official Video)

    L AS IN A GIFT
    Pollock Project issues its fourth album featuring song-writing and jazztronica. The first single is L AS IN A GIFT, a song composed by Marco Testoni with lyrics by the Irish songwriter Kay McCarthy.
    Artist: Pollock Project - Album: Speak Slowly Please! / 2017 - Be Human Records
    Elisabetta Antonini (vocal), Marco Testoni (piano, handpan, programming), Simone Salza (sax soprano), Mats Hedberg (true temperament guitars).
    Thanks to May, Alessia Bellotto, Lorenza Somogyi Bianchi, Kent Industries.
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Photos

Pollock Project JazzUp Festival Viterbo 1
Pollock Project JazzUp Festival Viterbo 1
Pollock Project JazzUp Festival Viterbo 5
Pollock Project JazzUp Festival Viterbo 5
Pollock Project JazzUp Festival Viterbo 4
Pollock Project JazzUp Festival Viterbo 4
Pollock Project JazzUp Festival Viterbo 3
Pollock Project JazzUp Festival Viterbo 3
Pollock Project JazzUp Festival Viterbo 2
Pollock Project JazzUp Festival Viterbo 2
Pollock Project Milano
Pollock Project Milano
Pollock Project Octopus Film Festival Villafranca
Pollock Project Octopus Film Festival Villafranca
Pollock Project Radio Tre Suite La Stanza della Musica
Pollock Project Radio Tre Suite La Stanza della Musica
Pollock Project Radio Tre Suite La Stanza della Musica 2
Pollock Project Radio Tre Suite La Stanza della Musica 2
Pollock project recording session con Antonio
Pollock project recording session con Antonio
Radio Tre Suite 2
Radio Tre Suite 2
Radio Tre Suite
Radio Tre Suite
Radio Tre Suite 4
Radio Tre Suite 4
Radio Tre Suite 3
Radio Tre Suite 3
Project Pollock - Speak Slowly Please

​SPEAK SLOWLY PLEASE!

31 March 2019

POLLOCK PROJECT

VISUAL JAZZ & CONTEMPORARY ART

 

Marco Testoni piano, handpan, percussions, keyboards, backing vocals, programming

Simone Salza soprano & alto sax

Elisabetta Antonini lead vocal & live electronics

Mats Hedberg guitars

Feat. Primiano Di Biase (piano), Guido Benigni (bass), Giancarlo Russo (bass).

Be Human Records (2017)

 

Speak Slowly Please! This album represents a jazztronica turning point in the history of the Pollock Project. If the first three CDs followed a visionary, art-jazz pathway, that matrix has blended into a unique, transversal musical style which has now become the group’s distinctive trait. An unpredictable, evocative mix of contemporary jazz, electronic, post-progressive and world music flanked by the visual arts and moving freely between the classical and the modern.

This the mark of this record is the number 4: the fourth album and four musicians, as the Pollock Project is now a quartet. Alongside the group’s creator Marco Testoni, the composer of all the pieces (piano, handpan, percussions; winner of the Premio Colonne Sonore 2014 award for soundtracks and that for video-clip composer of the year Premio Roma Videoclip 2016) we find Elisabetta Antonini (voice, live electronics. Winner of the Top Jazz 2014 – best talent award) and Simone Salza (saxophones and clarinet; interpreter of music by masters of soundtracks Ennio Morricone and Nicola Piovani) and the Swedish guitarist Mats Hedberg, who, with his intense, ductile style, has joined the group permanently. Invaluable contributions to this album were provided by special guests: Primiano Di Biase (Dire Straits Legacy), Giancarlo Russo (Meteor Shower) and Guido Benigni (Acustica Medievale).

As is the Pollock Project’s won’t, the title of the album is programmatic: an ironic and friendly invitation to use language clearly and directly while expressing profound musical and cultural concepts. From the very first track, L As In A Gift, a song composed by Marco Testoni with lyrics by the Irish songwriter Kay McCarthy, but above all, with its title-track Speak Slowly Please!, a modern ballad inspired by Julio Cortazar and Carol Dunlop’s book (Autonauts of the Cosmoroute. A Timeless Voyage from Paris to Marseilles), the record reveals its discontinuity with the group’s previous productions as it emerges from its previous realm of instrumental music to enter into that of songwriting.

This is how Marco Testoni explains the title of the album: “Speak Slowly Please is a small phrase which conceals, however, beautiful, simple contents. It is a request for clarity, but also a desire to understand one’s interlocutor. I ask you to talk slowly in order to understand you better and you try to make yourself understood by not presuming that I know your language well. It may look like nonsense, but it is not! This, whether referred to everyday life or to music.“

Among the other tracks we have Nana, a song dedicated to the musicians who accompanied in 1958 the strip act by the turkish dancer Aiché Nana which ushered in La Dolce Vita, and a selection of pieces from the first three albums, re-arranged for the new formation: Unnecessary, Pe No Chao and Impossible Humans. Last but not least, two instrumental which cried out for reinterpretation to reveal their profound novelty: Miles Davis’s So What and Frank Zappa’s incredibly poetic and lyrical Watermelon in Easter Hay, so different from the rest of the great American musician’s production. These two tracks, apparently poles apart, are actually united by the extraordinary and unpredictable transversal character of their authors.

  • Videos
  • Photos

Videos

Photos

Pollock Project JazzUp Festival Viterbo 1
Pollock Project JazzUp Festival Viterbo 1
Pollock Project JazzUp Festival Viterbo 5
Pollock Project JazzUp Festival Viterbo 5
Pollock Project JazzUp Festival Viterbo 4
Pollock Project JazzUp Festival Viterbo 4
Pollock Project JazzUp Festival Viterbo 3
Pollock Project JazzUp Festival Viterbo 3
Pollock Project JazzUp Festival Viterbo 2
Pollock Project JazzUp Festival Viterbo 2
Pollock Project Milano
Pollock Project Milano
Pollock Project Octopus Film Festival Villafranca
Pollock Project Octopus Film Festival Villafranca
Pollock Project Radio Tre Suite La Stanza della Musica
Pollock Project Radio Tre Suite La Stanza della Musica
Pollock Project Radio Tre Suite La Stanza della Musica 2
Pollock Project Radio Tre Suite La Stanza della Musica 2
Pollock project recording session con Antonio
Pollock project recording session con Antonio
Radio Tre Suite 2
Radio Tre Suite 2
Radio Tre Suite
Radio Tre Suite
Radio Tre Suite 4
Radio Tre Suite 4
Radio Tre Suite 3
Radio Tre Suite 3
Nuance

Nuance

31 March 2019

NUANCE

Elisabetta Antonini Marcella Carboni – Harp & Voice

 

Elisabetta Antonini: voice and live electronics

Marcella Carboni: harp and live electronics

Blue Serge (2011)

 

A project unique in its genre, Nuance is the product of a creative encounter between a harp and a voice which explores the numerous timbric expressive shades of two acoustic instruments enriched by the use of ambient electronic effects created by filters and other sound modulators. The music incorporates elements of jazz, songwriting, classical music and improvisation, shifting elegantly between original pieces and compositions by Ralph Towner, Kenny Wheeler, Tom Jobim and Guinga.

The duo has performed at numerous prestigious Jazz Festivals, such as Tuscia in Jazz Summer, Nuoro Jazz, International Festival of Contemporary Jazz at Casa del Jazz, Auditorium Parco della Musica, as well as at the Festival Internacional de Jazz de Madrid, in Hong Kong and at the Harp Festival di Rio de Janeiro.

Additionally, the duo has given a number of live national radio performances, at Radio Social Club on Radio Rai 2 (Italy), Tele Radio Stereo, Isorario Radio Rai, as well on Officina del Jazz with Gegè Telesforo, who dedicated a full episode to the duo.

  • Videos
  • Photos
  • Press

Videos

NUANCE ARPA&VOCE DUO

with Marcella Carboni
TUTU (RESURRECTIVE BLUES) Nuance Duo with Marcella Carboni
  • TUTU (RESURRECTIVE BLUES) Nuance Duo with Marcella Carboni

    TUTU (RESURRECTIVE BLUES) Nuance Duo with Marcella Carboni

    OFFICINA DEL JAZZ Club TV feat. GEGE' TELESFORO
    Live in Matera Dec 9, 2010

    TUTU (M. Miller - C. Wilson)

    Elisabetta Antonini – voice & live effects
    Marcella Carboni – harp & electronics

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • Elisabetta Antonini - Marcella Carboni - Aldo Bassi

    Elisabetta Antonini - Marcella Carboni - Aldo Bassi

    by Valerio Giulianelli - "NUANCE"
    ELISABETTA ANTONINI, Voce e live effects
    MARCELLA CARBONI, Arpa e live electronics
    A harp and a voice: a game of nuances and references that embraces jazz and this song, classic sounds and improvisation. "Nuance", the duo composed of Elisabetta Antonini and Marcella Carboni, glows for the light and dark of the timbre. Those "flexible and light gravities", as the voice sings in “Cerco il mare”, that shows his intention to hang in balance between the delicacy of a soothing sound and complexity of the refined compositions.
    The material contained in this first album (produced by Sergio Cossu for BlueSerge) glides elegantly between songs of Ralph Towner and Guinga, Kenny Wheeler and Tom Jobim, focusing on the points of contact between history and modernity thanks to the great technique of the two musicians, teachers of the Nuoro Jazz Seminars (directed by Paolo Fresu), where the project started in 2008.
    The agreement of that first duet, wanted by Ente Musicale in Nuoro, was strong enough to become a stable project listened by in many occasions of prestige, such as the International Festival of Contemporary Jazz at House of Jazz, Jazz They travel, Time In Jazz, until that "Officine Jazz" hosted by Gege Telesforo and recorded at Caffé Borghese in Matera and dedicated entirely to the duo.
    In the palette of "Nuance" the background color is given by the parallel paths of the two artists, culminated with two recorded works published recently: the solo disc "Textures" (BlueSerge) for Marcella Carboni and the album "A Minute After" (Dodicilune ) for Elisabetta Antonini, characterized by the exploration of a jazz-flavored chamber music and the desire to highlight some pearls of Italian contemporary jazz, redesigning the contours.
    -Un’arpa e una voce: un gioco di sfumature e rimandi che abbraccia il jazz e la canzone, le sonorità classiche e l’improvvisazione. “Nuance”, il duo composto da Elisabetta Antonini e Marcella Carboni, brilla per i suoi chiaroscuri timbrici. Quelle «flessibili e leggere gravità», come canta la voce in Cerco il mare, da cui traspare l’intenzione di restare in equilibrio fra la delicatezza di un sound carezzevole e la complessità di composizioni ricercate. Il materiale contenuto in questo loro primo disco (prodotto da Sergio Cossu per BlueSerge) scivola elegantemente fra brani di Ralph Towner e Guinga, Kenny Wheeler e Tom Jobim, soffermandosi sui punti di contatto fra la storia e la contemporaneità grazie alla grande tecnica delle due musiciste, docenti dei Seminari di Nuoro Jazz (diretti da Paolo Fresu), dove il progetto è nato nel 2008. L’intesa di quel primo duetto, voluto dall’Ente Musicale di Nuoro, è stata talmente forte da trasformarsi in un progetto stabile che si è fatto ascoltare in tante occasioni di prestigio, come il Festival Internazionale di Jazz Contemporaneo alla Casa del Jazz, Viaggiano Jazz, Time In Jazz, fino alla trasmissione “Officine del Jazz” condotta da Gegè Telesforo e registrata al Caffé Borghese di Matera e dedicata interamente al duo. Nella tavolozza di “Nuance” il colore di fondo è dato dai percorsi paralleli delle due artiste, culminati con due lavori discografici pubblicati recentemente: il disco solistico “Trame” (BlueSerge) per Marcella Carboni e l’album “Un Minuto Dopo” (Dodicilune) per Elisabetta Antonini, caratterizzato dall’esplorazione di un jazz dal sapore cameristico e dalla voglia di mettere in luce alcune perle del jazz italiano contemporaneo, ridisegnandone i contorni.
  • Nuance - Elisabetta Antonini - Marcella Carboni - 8 Marzo 2012

    Nuance - Elisabetta Antonini - Marcella Carboni - 8 Marzo 2012

    Un'arpa e una voce: un gioco di sfumature e rimandi che abbraccia il jazz e la canzone, le sonorità classiche e l'improvvisazione. "Nuance", il duo composto da Elisabetta Antonini e Marcella Carboni, brilla per i suoi chiaroscuri timbrici. Il materiale contenuto in questo loro primo disco scivola elegantemente fra brani di Ralph Towner e Guinga, Kenny Wheeler e Tom Jobim, soffermandosi sui punti di contatto fra la storia e la contemporaneità grazie alla grande tecnica delle due musiciste.
  • Nuance - Elisabetta Antonini e Marcella Carboni in concerto

    Nuance - Elisabetta Antonini e Marcella Carboni in concerto

    Registrato il 6 ottobre 2011 all'Auditorium - Parco della Musica di Roma da
    LRV - Laboratorio dei Racconti Visivi
    _____________________________________________________________

    Marcella Carboni arpa e live effects

    Elisabetta Antonini voce e live electronics

    Un'arpa e una voce: un gioco di sfumature e rimandi che abbraccia il jazz e la canzone, le sonorità classiche e l'improvvisazione. "Nuance", il duo composto da Elisabetta Antonini e Marcella Carboni, brilla per i suoi chiaroscuri timbrici. Quelle «flessibili e leggere gravità», come canta la voce in Cerco il mare, da cui traspare l'intenzione di restare in equilibrio fra la delicatezza di un sound carezzevole e la complessità di composizioni ricercate. Il materiale contenuto in questo loro primo disco scivola elegantemente fra brani di Ralph Towner e Guinga, Kenny Wheeler e Tom Jobim, soffermandosi sui punti di contatto fra la storia e la contemporaneità grazie alla grande tecnica delle due musiciste, docenti dei Seminari di Nuoro Jazz (diretti da Paolo Fresu), dove il progetto è nato nel 2008.
  • LAZY AFTERNOON Nuance Duo with Marcella Carboni

    LAZY AFTERNOON Nuance Duo with Marcella Carboni

    OFFICINA DEL JAZZ Club TV feat. GEGE' TELESFORO
    Live in Matera Dec 9, 2010

    LAZY AFTERNOON (J. Moross - J. La Touche)

    Elisabetta Antonini – voice & live effects
    Marcella Carboni – harp & electronics

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
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NUANCE ARPA&VOCE DUO

Album
Choro Pro Zè
  • Choro Pro Zè

    Choro Pro Zè

    Provided to YouTube by DashGo

    Choro Pro Zè · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • Circe

    Circe

    Provided to YouTube by DashGo

    Circe · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • From a Dream

    From a Dream

    Provided to YouTube by DashGo

    From a Dream · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • Lazy Afternoon

    Lazy Afternoon

    Provided to YouTube by DashGo

    Lazy Afternoon · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • Cerco il mare

    Cerco il mare

    Provided to YouTube by DashGo

    Cerco il mare · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • Luiza

    Luiza

    Provided to YouTube by DashGo

    Luiza · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

    Released on: 2011-10-10

    Auto-generated by YouTube.
  • Tutu (Resurrection Blues)

    Tutu (Resurrection Blues)

    Provided to YouTube by DashGo

    Tutu (Resurrection Blues) · Elisabetta Antonini & Marcella Carboni

    Nuance

    ℗ 2011 Blue Serge

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  • Parole e ali incerte

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    Parole e ali incerte · Elisabetta Antonini & Marcella Carboni

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    On the Rope · Elisabetta Antonini & Marcella Carboni

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Nuance feat Girotto Alexanderplatz
Nuance feat Girotto Alexanderplatz
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Nuance feat Girotto Alexanderplatz
Nuance feat Girotto Alexanderplatz
Nuance Festival Jazz di La Spezia
Nuance Festival Jazz di La Spezia
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Nuance Madrid Festival Internacional de Jazz
Nuance Madrid Festival Internacional de Jazz
Nuance Madrid Festival Internacional de Jazz
Nuance Madrid Festival Internacional de Jazz
Nuance Madrid Festival Internacional de Jazz
Nuance Matera TV feat. Gegè Telesforo
Nuance Matera TV feat. Gegè Telesforo
Nuance Matera TV feat. Gegè Telesforo
Nuance Matera TV feat. Gegè Telesforo
Nuance Genova
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Nuance Genova
Nuance Radio Social Club Live
Nuance Radio Social Club Live
Nuance Radio Social Club con Luca Barbarossa
Nuance Radio Social Club con Luca Barbarossa
Nuance Rio de Janeiro Rio Harp Festival
Nuance Rio de Janeiro Rio Harp Festival
Nuance Recording Session Cavalicco
Nuance Recording Session Cvalicco
Nuance Recording Session Cavalicco
Nuance Recording Session Cavalicco
Nuance Recording Session Cavalicco con Stefano Amerio
Nuance Recording Session Cavalicco
Nuance Rebeccu Film Festival
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Nuance Rebeccu Film Festival
Nuance Taste&Sound Barbaresco
Nuance Taste&Sound Barbaresco
Nuance Taste&Sound Barbaresco
Nuance Taste&Sound Barbaresco
Castroreale Jazz Festival
Castroreale Jazz Festival
Nuance Jazz per l'Aquila
Nuance Jazz per l'Aquila

Press

Francisco Cruz per JAZZMAN FRANCE

http://www.jazzman.fr/blog/2009_08_01_blogarchive.html

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Versienti MUSICA JAZZ 2012
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Luciano Vanni JAZZIT genn 2012
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IL SECOLO XIX 2-01-09
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AUDITORIUM 6 ottobre 2011 - NUANCE Arpa _ Voce
AUDITORIUM 6 ottobre 2011 - NUANCE Arpa _ Voce
Un minuto dopo

Un Minuto Dopo

31 March 2019

UN MINUTO DOPO

 

Elisabetta Antonini: vocals

Alessandro Gwis: piano and electronics

Gabriele Coen: clarinet and soprano sax

Feat. Paul McCandless: oboe, english horn, soprano sax

Dodici Lune Koinè (2009)

 

Un Minuto Dopo features compositions and arrangements by Elisabetta Antonini which are characterized by exploration, evoking atmospheres which are at times rarefied and melancholy, and at others ironic and carefree. One can hear elements of tango, folkloric rhythms, european traditions, ancient music, combined in a kind of sonoric impressionism.

Elisabetta Antonini, primarily a jazz singer, on this occasion chose to involve pianist Alessandro Gwis and clarinettist/saxophonist Gabriele Coen, two musicians involved respectively in Aires Tango and Kletzroym, important projects are known to the public for their revisitation of popular/folkloric music and its hybrids presented in a jazz context.

The musical alchemy of these three acoustic elements is enriched by the lyricism of a precious special guest. Esteemed oboist and saxophonist from the group Oregon, Paul McCandless.

Antonini’ sings both melodies as well as words, primarily in italian, poetically composed by Marina Tiezzi, who transforms into song several of Rava’s pieces, while enriching the original melodies.

In this small ensemble, no single instrument prevails. The individual parts search out and follow one another in rhythmic and melodic interplay. Simultaneously, the lyrics transcend their literary function, becoming music while the music surpasses the expressiveness of the words in a suggestive patchwork rich in meaning.

  • Videos
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Videos

UN MINUTO DOPO

Live at Alexanderplatz feat. Giuseppe Tortora on cello
CERTI ANGOLI SEGRETI Live at Alexanderplatz
  • CERTI ANGOLI SEGRETI Live at Alexanderplatz

    CERTI ANGOLI SEGRETI Live at Alexanderplatz

    CERTI ANGOLI SEGRETI (Enrico Rava - Marina Tiezzi)
    Live at Alexanderplatz Nov 10, 2012

    UN MINUTO DOPO TRIO
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Gabriele Coen - soprano sax & clarinets
    guest Giuseppe Tortora - cello

    Music from
    Elisabetta Antonini UN MINUTO DOPO feat. PAUL McCANDLESS
    Dodicilune Records, 2009

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • CERCO IL MARE Live at Alexanderplatz

    CERCO IL MARE Live at Alexanderplatz

    CERCO IL MARE (Elisabetta Antonini - Marina Tiezzi)
    Live at Alexanderplatz Nov 10, 2012

    UN MINUTO DOPO TRIO
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Gabriele Coen - soprano sax & clarinets
    guest Giuseppe Tortora - cello

    Music from
    Elisabetta Antonini UN MINUTO DOPO feat. PAUL McCANDLESS
    Dodicilune Records, 2009

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • OUT OF THE ROLLING OCEAN Live at Alexanderplatz

    OUT OF THE ROLLING OCEAN Live at Alexanderplatz

    OUT OF THE ROLLING OCEAN (Elisabetta Antonini - Walt Whitman)
    Live at Alexanderplatz Nov 10, 2012

    UN MINUTO DOPO TRIO
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Gabriele Coen - soprano sax & clarinets
    guest Giuseppe Tortora - cello

    Music from
    Elisabetta Antonini UN MINUTO DOPO feat. PAUL McCANDLESS
    Dodicilune Records, 2009

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • LA BALLATA DELL'ALFIERE Live at Alexanderplatz

    LA BALLATA DELL'ALFIERE Live at Alexanderplatz

    LA BALLATA DELL'ALFIERE (Gabriele Coen)
    arranged by Elisabetta Antonini
    Live at Alexanderplatz Nov 10, 2012

    UN MINUTO DOPO TRIO
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Gabriele Coen - soprano sax & clarinets
    guest Giuseppe Tortora - cello

    Music from
    Elisabetta Antonini UN MINUTO DOPO feat. PAUL McCANDLESS
    Dodicilune Records, 2009

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • LEO RISING Live at Alexanderplatz

    LEO RISING Live at Alexanderplatz

    LEO RISING (Frank Foster)
    arranged by Elisabetta Antonini
    Live at Alexanderplatz Nov 10, 2012

    UN MINUTO DOPO TRIO
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Gabriele Coen - soprano sax & clarinets
    guest Giuseppe Tortora - cello

    Music from
    Elisabetta Antonini UN MINUTO DOPO feat. PAUL McCANDLESS
    Dodicilune Records, 2009

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
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UN MINUTO DOPO

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Photos

Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo 1
Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo 2
Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo 3
Kenny Wheeler Villa Celimontana Un Minuto Dopo
Kenny Wheeler Villa Celimontana Un Minuto Dopo 4
Paul McCandless Villa Celimontana 2010
Paul McCandless Villa Celimontana 2010
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Un Minuto Dopo Paul McCandless Recording Session
Un Minuto Dopo Paul McCandless Recording Session
Registrazione Un Minuto Dopo Io _ Gabri
Registrazione Un Minuto Dopo Io _ Gabri
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Registrazione Un Minuto Dopo
Un Minuto Dopo
Un Minuto Dopo
Un Minuto Dopo
Un Minuto Dopo
Paul McCandless Alexanderplatz Jazz Club 2009
Paul McCandless Alexanderplatz Jazz Club 2009
Paul McCandless Alexanderplatz Jazz Club 2009
Paul McCandless Alexanderplatz Jazz Club 2009

Press

Andrea Gaggero per Jazzitalia

Quello di Elisabetta Antonini è nome nuovo nel non ricco panorama del canto jazz nostrano. Siamo in presenza di una musicista e di una proposta musicale di grande valore e sicuro interesse. L’ augurio è che una musica raffinata e seducente quale è quella della Antonini, possa trovare uno spazio congruo. Talento, passione, studio, coerenza e rigore, sono elementi importanti che, però, sempre trovano adeguato riscontro: v’è che, fortuna vuole, si materializzano in “Un minuto dopo“.

E‘ Maria Pia De Vito (sua maestra e mentore) a presentarci, nelle note di copertina, con giusto orgoglio e grande equilibrio, la musica e le qualità di Elisabetta Antonini. Le caratteristiche peculiari della sua musica, in evidenza in diversi momenti, sono non scontate e pochissimo diffuse e mi sembra vadano ricercate soprattutto in un assiduo, profondo, quasi “cocciuto”, lavorio di “arrangiamento”, costruzione e levigatura dei brani, tutti caratterizzati da un equilibrio timbrico e dinamico raffinatissimo. Anche se il soprano di McCandless fornisce un contributo sostanzioso, è la scelta dell’insieme timbrico piano, clarinetto, sax soprano, voce a caratterizzare la musica. Altri tratti peculiari di “Un minuto dopo” si possono scorgere nello stretto rapporto tra scrittura e improvvisazione, nella integrazione profonda tra parti cantate e parti strumentali.

Diverse le scelte vincenti: un ambito timbrico-dinamico cameristico, “liederistico” si potrebbe quasi dire; di fatto un album in trio voce, pianoforte, soprano e/o clarinetto, anche se i musicisti sono quattro i due fiati non sono mai armonizzati. Vincente la scelta dei musicisti dalla sensibilità affine e tutti con una grande capacità di ascolto; così anche la scelta di cantare in italiano brani di propria composizione (quattro in tutto) o temi scritti da Enrico Rava cui è stato, da Marina Tiezzi (di fatto il quinto componente del gruppo), adattato un testo.

E Antonini-Tiezzi firmano “Cerco il mare“, forse il brano più riuscito e fresco del disco, giustamente posto in apertura d’album. Si trovano altri brani scritti dalla Antonimi, solo vocalizzati e pertanto senza un testo; brani che risultano essere forse un po’ più deboli, o di impatto meno originale degli altri.

Il più grande limite del disco – comunque interessante, maturo ed equilibrato – è proprio il timore di rischiare troppo proponendo solo brani autografi e la necessità di dimostrare le proprie doti di musicista-cantante ora con lo scat, ora confrontandosi con una tradizione un po’ consunta e riproponendo l’ennesima versione di “Alice in Wonderland“, godibilissima per il lavoro sulla timbrica nella parte finale ma “inutile“, da un punto di vista melodico e letterario se eseguita così.

Al primo ascolto del primo brano è tornato alla memoria il nome di Steve Lacy, il disco “Rushes” in trio con Rzewsky e la Aeby e il disco su testi di poeti italiani. Là testi di grandi poeti russi e italiani musicati da Lacy, qui la presenza di due autrici affini dotate di talento, sensibilità e gusto non comuni. Viene da chiedere: a quando una prova tutta a quattro mani?

A parte queste ultime annotazioni un disco ed una musicista da ascoltare ripetutamente.

Andrea Gaggero per Jazzitalia

http://www.jazzitalia.net/recensioni/unminutodopo.asp#.XJX8kbvsbIU

Andrea Romeo per L'Isola che non c'era

Un debutto discografico atteso, su cui Elisabetta Antonini ha lavorato a tutto tondo, curando anche gli arrangiamenti e seguendo passo passo la produzione; un debutto carico di aspettative, perchè le voci femminili che si cimentano nel jazz sono parecchie, decisamente agguerrite, ed il rischio di “perdersi” è davvero alto.
Una voce particolare, delicata ma incisiva, affilata e “ficcante” nel contempo, capace di scivolare colorando in maniera differente i singoli passaggi dei brani interpretati, dal timbro particolare, a tratti quasi “metallico”, scattante nel passare dai timbri più acuti ed aspri a quelli più caldi e pieni.
Le solite cose
è brano che ben rappresenta questo eclettismo, in cui la vocalist si ritaglia anche, giustamente, qualche momento di virtuosismo, mai troppo “carico”, peraltro.

Ad affiancarla, in un gioco di parti sempre molto morbido e suggestivo, il pianoforte di Alessandro Gwis, già reduce da importanti esperienze, anche soliste, l’oboe delicato e affascinante di Paul McCandless ed i fiati misurati e leggeri di Gabriele Coen; Out of the rolling ocean, su testo di Walt Whitman, è un po’ la sintesi di questo affiatamento così spontaneo ed istintivo.
Molto abile a “giocare” con la propria voce, Elisabetta Antonini dimostra quanto sia importante variare continuamente i registri del proprio canto; di fatto non da, ne vuole dare, punti di riferimento, ma affronta ogni brano come fosse una vicenda a sè stante, lasciando aperte, soprattutto in prospettiva futura e dunque non solo con riferimento a quest’album, un’ampia serie di possibilità che riguardano l’evoluzione del proprio approccio all’interpretazione.
Peraltro lascia molto spazio ai compagni di avventura, non focalizzando unicamente sulla propria voce l’attenzione degli ascoltatori, senza per questo creare sterili “competizioni” solistiche; di fatto tutto l’album vive in un continuo equilibrio tra gli strumenti, includendo fra di essi la voce, spesso utilizzata, in Lungo la strada l’esempio più evidente, proprio in veste “strumentale”.

http://www.lisolachenoncera.it/rivista/recensioni/un-minuto-dopo/

Andrea Valiante

“un minuto dopo”

Il talento autentico di Elisabetta Antonini

Ancora una volta, attraverso la Label Koiné dedicata alle giovani voci del jazz italiano, l’etichetta Dodicilune presenta una produzione davvero artisticamente valida: “Un Minuto Dopo”, primo lavoro discografico a proprio nome per la talentuosa singer Elisabetta Antonini.
La sua è una voce pastosa, raffinata, ammaliante, con la quale riesce ad esprimersi con leggerezza e controllo dei timbri anche nei vocalizzi più flessuosi e nello scat. Oltre ad un naturale talento ed una spiccata predisposizione per il canto jazz, la sua tecnica sofisticata ed elegante prende forma a partire dagli studi persistenti con artisti di grande rilevanza quali Norma Winstone, Judy Niemack, John Clayton, Bob Stoloff, Roseanna Vitro, Roger Treece e Maria Pia De Vito (che ha curato con  sensibilità e affetto le note di presentazione del disco). Durante questo vivido periodo Elisabetta Antonini ha anche avuto la fortuna di confrontarsi con il fervido ambiente musicale americano, quella che ancor oggi molti considerano“culla del jazz”, fonte inesauribile (ma non unica) di ispirazione per ogni artista che col jazz intenda cimentarsi.
Gli strumentisti che hanno partecipato alla registrazione sono tutti di sicuro spessore, non certo una novità nel panorama jazzistico italiano, quali Alessandro Gwis e Gabriele Coen, entrambi molto attenti nella definizione delle strutture melodiche con le proprie riconoscibili scelte stilistiche:  il primo con le sue note saltellanti, tintinnanti, dinamiche, le sincopi improvvise accostate con squisito gusto estetico a melodie a volte latine, altre più dolci; il secondo per i lineamenti rarefatti, densi, squillanti ed emozionali provenienti dalla propria cultura yiddish.
Altra guest star  è il polistrumentista Paul McCandless (membro del famoso quartetto degli Oregon) illustre ospite e pedina importante per definire le sfumature decisive con il suo oboe. A lui è affidato l’incipit del brano di apertura “Cerco Il Mare”, introducendo l’ascolto alla registrazione con un esecuzione intensa e avvolgente.  
I torniti arrangiamenti costruiti dalla band leader si materializzano con coloriture molto personali, estetismi originali definiti con intelligenza per mantenere l’equilibrio e l’alchimia dell’interplay, terreno ove raramente si incrociano i fiati di Coen e McCandless, in maniera tale che i due possano esprimere il loro lirismo senza specifiche inibizioni di pentagramma. La vocalist riesce a risultare autentica anche nella rilettura di brani non originali, come nell’enigmatica interpretazione della canzone “Leo Rising” di Frank Foster o nei freschi arrangiamenti disegnati sulle quattro composizioni di Enrico Rava “Le Solite Cose”, “Tomo Y Recuerdo”, “Certi Angoli Segreti” e “Sola”.  Molto originale anche la scelta di lavorare senza la ritmica della batteria, spesso sostituita magistralmente dal pianismo colto di Gwis. 
In ogni canzone le scritture mantengono costantemente il pathos espresso nei testi di Marina Tiezzi definendo, a seconda del messaggio, movimenti di sentimento, di dinamismo, di allegria. L’apice di questa osmosi viene raggiunto nel brano “Out Of The Rolling Ocean”, rielaborazione musicale di una poesia di Walt Whitman, un momento di ascolto sospeso tra le parole senza tempo del poeta e scrittore statunitense ed un arrangiamento delicatissimo, sottile e arioso, dove si inseriscono davvero bene i morbidi movimenti di Coen.  
Meritano a nostro avviso una specifica menzione il brano “Certi Angoli Segreti”, ove Gwis agisce (come denota la titolazione) nella ricerca di quelle “note nascoste” dietro l’arrangiamento riportandole alla luce con un dolce lirismo, e anche le duttili e solari armonizzazioni ne “La Ballata dell’Alfiere” tra la voce ed il tenue clarinetto basso, che colorano la performance con melodie di  intensità lucente e rara.
Artisti così bravi, sia nelle esecuzioni decise che nelle composizioni fresche e culturalmente fini, meriterebbero certamente più spazio sui grandi palcoscenici jazz italiani. Spazi riservati per lo più, e purtroppo, ancora soltanto ad una stretta cerchia di nomi già noti.

Daniela Domenici per Italia Notizie

“Donne in Jazz 2009”: Elisabetta Antonini

Serata di grande alchimia musicale all’Auditorium Scuderie Aldobrandini di Frascati nell’ambito della rassegna “Donne in jazz 2009”: si è esibita Elisabetta Antonini accompagnata da due musicisti,  Alessandro Gwin al pianoforte  e Gabriele Coen sassofonista e clarinettista.
Elisabetta Antonini è una cantante e un’interprete molto particolare di jazz contemporaneo ed è anche leader di diverse formazioni musicali con cui partecipa a rassegne e festival in tutta  Italia presentando un repertorio che va dalla song americana d’autore a brani originali e di jazz contemporaneo. Svolge attività didattica come  insegnante di canto jazz, di improvvisazione ed è direttrice del coro  jazz alla Saint Luis Music School e nei seminari di Nuoro Jazz diretti  da Paolo Fresu. La Antonini ha una tecnica vocale distinta con  un respiro cameristico. Nelle songs cantate si nota la ricercatezza delle assonanze sonore ed effetti ritmici sincopati nello scambio di vocalizzi con lo strumento a fiato di Gabriele Coen. Tra le particolari interpretazioni  ascoltate durante il concerto riteniamo siano da mettere in particolare evidenza :
 – Both Sides now  di Joni Mitchell  con particolare senso del respiro tra le note .
 – Yatra-ta’  di  Tania Maria, una difficilissima interpretazione con un gioco ironico saltellante delle note ritmiche.
 – Love is stronger than pride  di Sade, un brano pop molto conosciuto  riproposto in una chiave intimista con rallentamento della partitura originale ed effetto quasi meditativo.
Un notevolissimo ”bravo” ad  Alessandro Gwis al piano con degli arrangiamenti e un’interpretazione  che denotano un background pianistico di impronta classica. Il suo pianismo contemporaneo si esprime con l’alternanza di note classiche ma rivestite di un abito elettronico che rende un effetto più penetrante.
Gabriele Coen è stato un interprete assoluto delle espressioni vocali di strumenti a fiato quali  sax e clarinetto con fusione di espressioni etniche – jazzistiche.

http://www.italianotizie.it/2009/11/16/”donne-in-jazz-2009″-elisabetta-antonini/

David Giacanelli per l'Unità

Il jazz di certi «angoli segreti» Elisabetta Antonini, Gabriele Coen e Alessandro Gwis all’Alexanderplatz

SARÀ REGISTRATO a maggio il primo disco di Elisabetta Antonini, Gabriele Coen e Alessandro Gwis. Qualche indiscrezione sul titolo ma niente di certo, ancora, se non l’imperdibile occasione di ascoltarli in «Certi angoli segreti» domani alle 22 all’Alexander Platz di Roma. L’Antonini, accompagnata da Gabriele Coen al clarinetto e sax soprano e da Alessandro Gwis al pianoforte, studia vocalità jazz e approfondisce stile e linguaggio jazzistico dopo avere viaggiato negli Stati Uniti e in Italia confrontandosi con musicisti del calibro di Maria Pia De Vito, Mark Murphy, Cinzia Spata, Barry Harris, Norma Winstone, Roseanna Vitro, Judy Niemack, Roger Treece, Jay Clayton e Bob Stoloff. Con lei nel progetto ‘Certi angoli segreti’, che è il tema/titolo della performance di domenica sera, ritornano il suono intenso e penetrante di Gabriele Coen, già conosciuto per la continua rivisitazione e contaminazione della musica klezmer, che negli ultimi anni ha creato nuovi gruppi musicali percorrendo differenti interessanti strade, e il tocco energico e lirico del pianista Alessandro Gwis. Un nuovo gruppo dunque? Sì. E stabile anche, che per presentarsi al pubblico sceglie, per la sua prima volta, l’Alexander Platz esplorando e sviluppando un’idea della stessa Antonini: la dimensione segreta, il non detto, reale o immaginario, comunque forte e condizionante. Ad accomunare i percorsi artistici dei tre musicisti è senza alcun dubbio la passione per il jazz. «Certi angoli segreti – come spiega l’Antonini – prende ispirazione dal titolo di una composizione del famosissimo Enrico Rava che per la prima volta viene rivisitato musicalmente e vi si associano parole. Il risultato? Credo e spero un’atmosfera rarefatta e avvolgente. La particolarità della performance – prosegue l’Antonini – sta proprio nel tradurre in musica certi angoli segreti che ognuno di noi si porta dentro, con i quali convive. Mistero, inafferrabilità e mutevolezza del non detto tradotti dall’alchemica miscela del nostro trio». Tre artisti, dunque, tre differenti sensibilità, tre «diversi segreti». Una scelta non casuale ma ponderata, proprio nel rispetto dell’intimità e unicità di ogni segreto. «Certi Angoli Segreti» si costituisce, come progetto e performance romana, di composizioni firmate da Enrico Rava, Elisabetta Antonini e Gabriele Coen, dove la parola cantata conserva la propria efficacia letteraria e s’arricchisce di musica. Nella serata romana di domenica saranno inseriti inoltre pezzi di autori contemporanei, sempre rivisitati dal trio, come «Alice in Wonderland» e, con un pizzico di pop internazionale, «Love is Stronger than Pride».

Giulia Di Dato per SoundContest

Elisabetta Antonini scrive e arrangia ricercatamente testi e musica e si avvale di collaborazioni raffinate come Gabriele Coen, Paul McCandlesse Alessandro Gwis, che seguono le sue inclinazioni amalgamandosi morbidamente con accompagnamenti o improvvisazioni eleganti.
I fiati dominano in questo disco donandogli sonorita’ anni ’20, giocano con la voce continuamente rincorsi da un pianoforte scattante e ironico. A tratti appare eccessivamente ricercato nelle sempre inaspettate modulazioni e cadenze, volte del pensiero.

http://www.soundcontest.com/speciali/le-ninfee-della-dodicilune/

Laura Mancini per JazzItalia

Musicista completa – suona il piano, conosce l’armonia, conosce la tradizione del jazz, scrive i suoi brani, è insegnante ed arrangiatrice – Elisabetta Antonini presenta il 16 Novembre 2009 sul palco dell’AlexanderPlatz di Roma il suo primo lavoro discografico, “Un minuto dopo“, accompagnata e sostenuta da Alessandro Gwis e Gabriele Coen.

Le composizioni hanno una loro originalità che colpisce dal principio: “Cerco il mare“, “Lungo la strada“, “Un minuto dopo” sono brani che rispettano la tradizione jazz e ben si coniugano con gli standard rivisitati nel concerto proponendo insolitamente testi in lingua italiana. La voce della cantante mostra immediatamente uno stile interpretativo singolare: non ha grande potenza, ricorre allo scat e fa sfoggio a tratti di un vibrato intenso. Non convince pienamente ma perlomeno incuriosisce.

Il suono suadente del clarinetto, con i suoi bei virtuosismi e quello melodico e cristallino del piano apportano un contributo fondamentale, sono le loro “voci” a conquistare. Favoleggiante l’assolo di Gwis inframmezzato dai gorgheggi della Antonini; il pianista alterna momenti intensi ad altri leggeri e giocosi e catalizza l’attenzione del pubblico.

Interviene poi Paul McCandless suonando l’oboe inglese con una dolcezza infinita. Il dialogo tra i quattro è fluido e telepatico e le parti strumentali sono senza dubbio le più riuscite e coinvolgenti mentre i vocalizzi della cantante a lungo andare risultano prevedibili.

http://www.jazzitalia.net/IoCero/ElisabettaAntonini_Roma.asp#.XJYADrvsbIU

Note di Copertina di Maria Pia De Vito

“Quando, ormai qualche anno fa, sentii cantare Elisabetta per la prima volta,  accompagnandola al piano su uno standard jazz, pensai che quella era un’allieva speciale: aveva già un bel di fraseggio, un suono coerente, una grande passione per gli standard del jazz… ma il suo obiettivo andava ben oltre se stessa e il suo successo. Aderì totalmente alla mia filosofia, alla cosa banale e brutale che dico da sempre ai miei allievi: per essere cantante di jazz, in pieno godimento delle tue prerogative, devi essere una musicista completa. Suonare il piano, conoscere l’armonia, conoscere la tradizione del jazz , essere consapevole della contemporaneità musicale in tutte le sue forme, scrivere i tuoi brani, o almeno rileggere ciò che interpreti. E, nel tempo,  trovare la tua voce.

La sua modestia e la sua caparbietà hanno fatto di lei nel giro di pochi anni una insegnante capace, una cantante raffinata ed una compositrice ed arrangiatrice di talento, come potrete sentire in questo suo primo lavoro discografico, molto atteso da me e dai tanti colleghi che la conoscono e la stimano.

Un minuto dopo è un primo disco straordinariamente maturo,  pieno di cura e di invenzioni compositive, esaltate dalla scelta di un organico drumless, e da due compagni di viaggio quanto mai adatti a questo compito :Alessandro Gwis, a suo agio su ritmiche complesse, latine e non,  quanto su atmosfere spaziose, col suo tocco impeccabile e risonante, e le sue pennellate  elettroniche  discrete e stranianti; e Gabriele Coen, col suo clarino bruno e pastoso, a suo agio nel ruolo ritmico quanto in quello solistico, nell’improvvisazione melodica che in quella umoristico-rumoristica.

Infine, ospite d’onore,  il meraviglioso Paul Mc Candless, il cui  inconfondibile, siderale oboe apre il disco, con un intro lirica su “Cerco il mare”, prima  notevole composizione di Elisabetta. Ma troverete poi”Lungo la strada”, “Un minuto dopo” (ascoltate che delizia il solo di Gwis, che interrompe il flusso ritmico, suggerendolo e richiamandolo a contrasto nelle ottave alte del piano, e l’ingresso rilassato e mellifluo di Coen…una gioia nella gioia.), brani che mostrano la sua destrezza melodico-ritmica, soluzioni armoniche mai scontate o prevedibili. E poi La Ballata dell’Alfiere, e  Out of the rolling Ocean, splendida interpretazione in musica di una poesia di Walt Whitman, mostrano d’altro canto la sua conoscenza di quella  scuola di jazz europeo che trova in Kenny Wheeler uno dei fari, col suo uso sapiente di melodia e contro-melodia, …e che lusso favoloso avere l’oboe di Mc Candless, a sostenere e colorare con la sua classe infinita le delicate campiture sonore descritte dalla voce.

Ma Elisabetta è capace anche arrangiamenti complessi ed originali. Chi accosterebbe l’originale Leo Rising di Frank Foster a questa rilettura fuori dalle cornici del fastbop? Il trattamento cui Elisabetta lo sottopone ne impreziosisce gli aspetti melodici, e ne esalta i fraseggi velocissimi donandogli un fondale spazioso, in cui i suoi magnifici compagni di viaggio, intessono una trama preziosa allo splendido assolo al soprano di Mc Candless. E infine la rilettura di quattro brani del nostro grande Enrico Rava, melodie a molti di noi  care, e conosciute da tempo, che godono di una luce differente, nelle interpetazioni sentite di Elisabetta sui testi profondi  e immaginifici della autrice  Marina Tiezzi. 

Una vocalità precisa, delicata e autorevole allo stesso tempo, che accarezza le note e le parole. L’intonazione impeccabile, il colore soffiato delizioso, che ritroviamo infine in Alice in wonderland, che chiude dolcemente questo disco denso con un omaggio agli standard del jazz che ben conosce ed ama.

“Un minuto dopo “ è il primo passo nella carriera artistica di Elisabetta, che prevedo –  e le auguro – sia lunga e fruttuosa.

Ecco un  primo ritratto di una artista  in continua evoluzione e ricerca. Enjoy”

Neri Pollastri per All About Jazz

Primo disco per la cantante e compositrice Elisabetta Antonini, che sceglie una formula atipica, facendosi accompagnare da pianoforte e fiati, senza altro supporto ritmico. I musicisti in scena sono di altissimo livello e questo facilita il compito della leader: Alessandro Gwis interpreta con duttilità il ruolo centrale assegnato al pianoforte in un tal organico, rimanendo presso la voce per accompagnarla e incardinarla ai fiati, ma anche aprendo spazi rarefatti nei quali la Antonini può agire espressivamente; Gabriele Coen, ai clarinetti e al soprano, mette al servizio della cantante il suo ben noto lirismo e la sua espressività. C’è poi lo straordinario ospite speciale, Paul McCandless, che illumina il lavoro fin dalla prima nota, introducendo con il suo oboe il brano d’apertura, ma poi intervenendo in più parti al soprano e, soprattutto, ancora all’oboe.

Si aggiunge a questa cornice già preziosa la selezione dei brani: quattro della stessa Antonini, quattro tra i più noti e apprezzabili di Enrico Rava, uno di Coen e due tratti dalla tradizione degli standard. Una varietà che ruota attorno alla rilettura italiana del jazz, così da avere un buon equilibrio tra mainstream e radici culturali nostrane, rappresentate anche dai testi, in gran parte opera di Marina Tiezzi.

Nel quadro può così prendere ben posto la Antonini, che mostra chiaramente il suo riferimento a Maria Pia De Vito (che introduce il disco nel booklet), spesso prendendosi spazi per improvvisazioni su vocalizzi e gorgheggi, ma alternandovi con misura il canto, su stilemi diversificati. È tuttavia il modo in cui la voce della cantante interagisce con i suoni dei suoi accompagnatori ciò che maggiormente rende caratteristico questo lavoro, nel quale importante appare proprio l’ottimo interplay del trio. Tra i brani, si segnalano particolarmente l’iniziale “Cerco il mare,” l’elaborata “Leo Rising” e la suggestiva, astratta “Alice in the Wonderland”.

Un ottimo gruppo e un bell’esordio per una nuova voce del jazz italiano.

Bruno Pollacci per Anima Jazz

http://www.animajazz.eu/wordpress/category/dubidubidu/

Latina Oggi
Latina Oggi
Romualdo Del Noce recensione SUONO
Romualdo Del Noce recensione SUONO
Pierluigi Avorio AUDIOPHILESOUND Jul 2009
Pierluigi Avorio AUDIOPHILESOUND Jul 2009
Luciano vanni JAZZIT Sep10
Luciano vanni JAZZIT Sep10
Guido Michelone MUSICA JAZZ
Guido Michelone MUSICA JAZZ
Federica Gradoli MUSICBOX Sept 2009
Federica Gradoli MUSICBOX Sept 2009
FEDELTA DEL SUONO OCT 10
FEDELTA DEL SUONO OCT 10
The Beat Goes On

The Beat Goes On

31 March 2019

THE BEAT GOES ON

Sulla strada della Beat Generation

 

Elisabetta Antonini: voice, live electronics, compositions, arrangement

Francesco Bearzatti: tenor sax, clarinet

Luca Mannutza: piano

Paolino Dalla Porta: contrabass

Marcello Di Leonardo: drums

Candid Records (2014)

Featured in Tokyo and at the Mumbai Jazz Festival, The Beat Goes On is the musical project that led to Elisabetta Antonini winning the 2014 Top Jazz Award as The Best New Talent. It is a unique homage to The Beat Generation, the anti-conformist literary youth movement that developed in the United States during the fifties which included authors such as Jack Kerouac, Allen Ginsberg, William Burroughs and Lawrence Ferlinghetti. The album mirrors the ideas of these influential visionaries using original music and other works, ranging from Thelonious Monk to Bob Dylan. It features suggestive backgrounds comprised of written compositions, electronic and other special effects, sampling and moments of collective free improvisation, creating an atmosphere of countless contrasts. The recorded voices of Kerouac, Ginsberg, Corso, Burroughs, Ferlinghetti have been utilized on most of the tracks and serve as the common thread throughout the whole work, making them the true protagonists of the cd, in a creative and original dialogue with the music.

In The Beat Goes On, Antonini is accompanied by some of Italy’s top talents, like Francesco Bearzatti (ten), Luca Mannutza (pn), Paolino Dalla Porta (bs), e Marcello Di Leonardo (drms). The innovative nature of the project and high level of musicianship give an international slant to the album, published by Alan Bates for his U.K-based label Candid Records, and distributed in Italy and the United States.

  • Videos
  • Photos
  • Press

Videos

THE BEAT GOES ON

Live at Auditorium Parco della Musica
Elisabetta Antonini On The Road
  • Elisabetta Antonini On The Road

    Elisabetta Antonini On The Road

    Elisabetta Antonini
    ON THE ROAD
    (J. Kerouac- E. Antonini)

    Live at Auditorium Parco della Musica
    Rome, 19-1-2015

    Elisabetta Antonini, voice, live electronics, compositions, arrangements
    Francesco Bearzatti, tenor sax, clarinet
    Luca Mannutza, piano
    Paolino Dalla Porta, doublebass
    Marcello Di Leonardo, drums

    From the recording
    The Beat Goes On -An Homage to the Beat Generation
    Produced by Alan Bates for Candid Records, London 2014
  • ORUJO feat. Francesco Bearzatti

    ORUJO feat. Francesco Bearzatti

    LIVE AT AUDITORIUM PARCO DELLA MUSICA - Rome, Jen 19 2015

    ORUJO - MARRIAGE (Dave Douglas - Gregory Corso)
    read by Gregory Corso

    THE BEAT GOES ON GROUP
    Elisabetta Antonini - voice
    Francesco Bearzatti - clarinet/ tenor sax
    Luca Mannutza - piano
    Paolino Dalla Porta - doublebass ​
    Marcello Di Leonardo - drums

    A reading by Gregory Corso of his poem "Marriage"
    from THE BEAT GOES ON - Homage to The Beat Generation
    Candid Records, producted by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • WELL, YOU NEEDN'T feat. Francesco Bearzatti

    WELL, YOU NEEDN'T feat. Francesco Bearzatti

    LIVE AT AUDITORIUM PARCO DELLA MUSICA - Rome, Jen 19 2015

    WELL, YOU NEEDN'T (It's Over Now) (Thelonious Monk - Mike Ferro)
    Jack Kerouac reads an extract from his novel Desolation Angels (1965)

    THE BEAT GOES ON GROUP
    Elisabetta Antonini - voice & arr.
    Francesco Bearzatti - clarinet/ tenor sax
    Luca Mannutza - piano
    Paolino Dalla Porta - doublebass ​
    Marcello Di Leonardo - drums


    from THE BEAT GOES ON - Homage to The Beat Generation
    Candid Records, producted by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • HOLY Live at AUDITORIUM PARCO DELLA MUSICA

    HOLY Live at AUDITORIUM PARCO DELLA MUSICA

    LIVE AT AUDITORIUM PARCO DELLA MUSICA Jen 19, 2015

    HOLY (Elisabetta Antonini - Allen Ginsberg)
    read by Allen Ginsberg

    THE BEAT GOES ON GROUP
    Elisabetta Antonini - voice & music
    Francesco Bearzatti - clarinet/ tenor sax
    Luca Mannutza - piano
    Paolino Dalla Porta - doublebass
    Marcello Di Leonardo - drums

    A musical comment to the Allen Ginsberg’s poem "Holy" read by the poet himself
    from THE BEAT GOES ON - Homage to The Beat Generation
    Candid Records, producted by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • ON NIRVANA feat. Francesco Bearzatti

    ON NIRVANA feat. Francesco Bearzatti

    LIVE AT AUDITORIUM PARCO DELLA MUSICA - Rome, Jen 19 2015

    ON NIRVANA (Elisabetta Antonini - William Burroughs)
    reading by William Burroughs

    THE BEAT GOES ON GROUP
    Elisabetta Antonini - voice & music
    Francesco Bearzatti - clarinet/ tenor sax
    Luca Mannutza - piano
    Paolino Dalla Porta - doublebass ​
    Marcello Di Leonardo - drums

    The voice of William Burroughs taken from a conference "On Nirvana"
    from THE BEAT GOES ON - Homage to The Beat Generation
    Candid Records, producted by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
  • NEW YORK BLUES feat. Francesco Bearzatti

    NEW YORK BLUES feat. Francesco Bearzatti

    LIVE AT AUDITORIUM PARCO DELLA MUSICA - Rome, Jen 19 2015

    NEW YORK BLUES (Elisabetta Antonini - Allen Ginsberg)

    THE BEAT GOES ON GROUP
    Elisabetta Antonini - voice & music
    Francesco Bearzatti - clarinet/ tenor sax
    Luca Mannutza - piano
    Paolino Dalla Porta - doublebass ​
    Marcello Di Leonardo - drums

    A musical adaptaion of the Allen Ginsberg's poem "New York Blues"
    from THE BEAT GOES ON - Homage to The Beat Generation
    Candid Records, producted by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
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THE BEAT GOES ON

Album
Cookin' at the Continental
  • Cookin' at the Continental

    Cookin' at the Continental

    Provided to YouTube by Candid

    Cookin' at the Continental · Elisabetta Antonini · Jasper Kviberg · Simon Thorpe

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Jasper Kviberg
    Featured Artist: Simon Thorpe
    Composer: H.Silver

    Auto-generated by YouTube.
  • New York Blues

    New York Blues

    Provided to YouTube by Candid

    New York Blues · Elisabetta Antonini · Simon Thorpe · Steve Brown

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Simon Thorpe
    Featured Artist: Steve Brown
    Composer: E.Antonini

    Auto-generated by YouTube.
  • On the Road

    On the Road

    Provided to YouTube by Candid

    On the Road · Elisabetta Antonini · Dave Green · Jeff Hamilton

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Dave Green
    Featured Artist: Jeff Hamilton
    Composer: Elisabetta Antonini

    Auto-generated by YouTube.
  • Orujo

    Orujo

    Provided to YouTube by Candid

    Orujo · Elisabetta Antonini · Jasper Kviberg · Simon Thorpe

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Jasper Kviberg
    Featured Artist: Simon Thorpe
    Composer: D.Douglas

    Auto-generated by YouTube.
  • For Miles

    For Miles

    Provided to YouTube by Candid

    For Miles · Elisabetta Antonini · Jasper Kviberg · Simon Thorpe

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Jasper Kviberg
    Featured Artist: Simon Thorpe
    Composer: E.Antonini

    Auto-generated by YouTube.
  • Requiem for Bird Charlie Parker

    Requiem for Bird Charlie Parker

    Provided to YouTube by Candid

    Requiem for Bird Charlie Parker · Elisabetta Antonini · Dave Chamberlain · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Dave Chamberlain
    Featured Artist: Matt Home
    Composer: E.Antonini

    Auto-generated by YouTube.
  • Holy

    Holy

    Provided to YouTube by Candid

    Holy · Elisabetta Antonini · Jasper Kviberg · Simon Thorpe

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: Jasper Kviberg
    Featured Artist: Simon Thorpe
    Composer: E.Antonini

    Auto-generated by YouTube.
  • Woodstock

    Woodstock

    Provided to YouTube by Candid

    Woodstock · Elisabetta Antonini · James Suggs · Jolin Lamb · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: James Suggs
    Featured Artist: Jolin Lamb
    Featured Artist: Matt Home
    Composer: J.Mitchell

    Auto-generated by YouTube.
  • Howl!

    Howl!

    Provided to YouTube by Candid

    Howl! · Elisabetta Antonini · James Suggs · Jolin Lamb · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: James Suggs
    Featured Artist: Jolin Lamb
    Featured Artist: Matt Home
    Composer: E.Antonini

    Auto-generated by YouTube.
  • Well You Needn't

    Well You Needn't

    Provided to YouTube by Candid

    Well You Needn't · Elisabetta Antonini · James Suggs · Jolin Lamb · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: James Suggs
    Featured Artist: Jolin Lamb
    Featured Artist: Matt Home
    Composer: T.Monk

    Auto-generated by YouTube.
  • On Nirvana

    On Nirvana

    Provided to YouTube by Candid

    On Nirvana · Elisabetta Antonini · James Suggs · Jolin Lamb · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: James Suggs
    Featured Artist: Jolin Lamb
    Featured Artist: Matt Home
    Composer: E.Antonini
    Composer: L.Mannutza
    Composer: M. Di Leonardo
    Composer: P.Dalla Porta

    Auto-generated by YouTube.
  • Lsd

    Lsd

    Provided to YouTube by Candid

    Lsd · Elisabetta Antonini · James Suggs · Jolin Lamb · Matt Home

    The Beat Goes On

    ℗ 2014 Candid Productions Ltd.

    Released on: 2015-04-15

    Main Artist: Elisabetta Antonini
    Featured Artist: James Suggs
    Featured Artist: Jolin Lamb
    Featured Artist: Matt Home
    Composer: E.Antonini

    Auto-generated by YouTube.
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MUSIC FOR POEMS

Elisabetta Antonini - Requiem For Bird Charlie Parker (Official Video)
  • Elisabetta Antonini - Requiem For Bird Charlie Parker (Official Video)

    Elisabetta Antonini - Requiem For Bird Charlie Parker (Official Video)

    A musical adaptation of Gregory Corso's poem "Requiem for Bird Parker" (permission kindly granted by City Lights Books)
    from the album THE BEAT GOES ON - Homage to The Beat Generation
    a Candid Records production by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV


    REQUIEM FOR “BIRD” PARKER (excerpt)

    Then came a nowhere bird
    Yeah, a nowhere bird-
    While BIRD was blowin’
    Another bird came
    An unreal bird
    A nowhere bird with big draggy wings
    BIRD paid it no mind; just kept on blowin’
    And the cornball came on comin’
    Right, like that’s what I heard
    The draggy bird landed in front of BIRD
    Looked BIRD straight in the eye
    BIRD said: “cool it”
    And kept on blowin’

    Seems like BIRD put the square bird down
    Only for a while, man
    The nowhere bird began to foam from the mouth
    Making all kinds of discords
    “man, like make it somewhere else”, BIRD implored
    But the nowhere bird paced back and forth
    Like an old miser with a nowhere scheme
    Yeah, by the time BIRD realized the fake
    Had come to goof
    BIRD was about to split, when all of a sudden
    The nowhere bird sunk its beady head
    Into the barrel of BIRD’s horn
    Bugged, BIRD blew a long crazy note
    It was his last, man, his last
    The draggy bird ran death into BIRD’s throat
    And the whole building rumbled
    When BIRD let ho his horn
    And the sky got blacker…blacker
    And the nowhere bird wrapped its muddy wings round BIRD
    Brought BIRD down
    All the way down

    BIRD is dead
    BIRD is dead
    Yeah, yeah
    Wail for BIRD
    For BIRD is dead
  • Elisabetta Antonini - On The Road to The Beat Generation (The Beat Goes On, Candid, 2014)

    Elisabetta Antonini - On The Road to The Beat Generation (The Beat Goes On, Candid, 2014)

    TEASER OF THE BEAT GOES ON -On the road to The Beat Generation
    Elisabetta Antonini, vocals & music
    Francesco Bearzatti, tenor sax & clarinet
    Luca Mannutza, piano
    Paolino Dalla Porta, doublebass
    Marcello Di Leonardo, drums

    Candid Records, London, Sept 2014

    Website | https://elisabettaantonini.com
    Facebook | https://facebook.com/ElisabettaAntoniniVoice
    Instagram | https://instagram.com/elisabetta.antonini.756
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV0
  • ON THE ROAD -Elisabetta Antonini

    ON THE ROAD -Elisabetta Antonini

    ON THE ROAD
    Music by Elisabetta Antonini
    Words by Jack Kerouac from On the Road

    con

    Elisabetta Antonini
    Davide Bernardini
    Giancarlo Sangineto
    Sharon Teti

    Realizzato da LRV
    LABORATORIO DEI RACCONTI VISIVI

    Scritto e diretto da Davide Iannuzzi

    Direttore della Fotografia
    Roberto Di Domenicantonio

    Montaggio FABIO LAZZARI

    Operatori di mdp
    CARLO COCCO
    FABIO LAZZARI

    Segretaria di Produzione
    TIZIANA IAROSSI

    Trucco e parrucco
    SONIA BONISOLLI

    Costumi
    MARTINA PANGRAZI

    Allestimento scenico
    Pierfrancesco Mariani

    Ringraziamenti speciali
    Alexanderplatz nella persona di Eugenio Rubei
    Pro Art Lab nella persona di Saverio Mancino
    Fabio Ricci per le forniture scenografiche
    Angela Napolitano per l'oggettistica di scena
    Anna Loguercio per la consulenza artistica
  • Elisabetta Antonini

    Elisabetta Antonini

    by Valerio Giulianelli - Elisabetta Antonini, si esibisce al Signorino Jazz Club con la sua stupenda voce, accompagnata dalla sua band per il suo “The beat goes on”. Sul palco Elisabetta Antonini, voce, live electronics, composizioni, arrangiamenti, Tino Tracanna, sax tenore, clarinetto, Luca Mannutza, pianoforte, Paolino Dalla Porta, contrabbasso, Marcello Di Leonardo, batteria. Cantante e band leader, arrangiatrice e compositrice, unica artista italiana a firmare con la prestigiosa etichetta londinese Candid che ha prodotto il suo ultimo lavoro The Beat Goes On, è vincitrice dell’ultima edizione del Top Jazz indetto dalla rivista Musica Jazz come Miglior Nuovo Talento del 2014, e il suo ultimo lavoro discografico, The Beat Goes On, è stato inserito al quarto posto come Miglior Album dell’Anno 2014.

    Da sempre attenta alla composizione e all’arrangiamento, rielabora con cura alcune pagine del jazz di oggi e scrive brani originali, e attraverso un’intensa attività concertistica ha collaborato al fianco di Paul McCandless, Kenny Wheeler, Enrico Pieranunzi, Paolo Fresu, Paolo Damiani, Vassilis Tsabropoulos, Javier Girotto, Francesco Bearzatti.
  • Elisabetta Antonini con Alessandro Contini Home Recording for Casa del Jazz

    Elisabetta Antonini con Alessandro Contini Home Recording for Casa del Jazz

    Home concert for Casa del Jazz, 2019

    Elisabetta Antonini - voice, piano & live effects
    Alessandro Contii - voice, electronics & live effects

    REQUIEM FOR BIRD CHARLIE PARKER
    (Gregory Corso -poem / Elisabetta Antonini -music)

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV

    Website | https://alessandro-contini.it/
    Facebook | https://www.facebook.com/alessandrocontinivoice/
    Instagram | https://www.instagram.com/alessandrocontinivoice/
    Spotify | https://open.spotify.com/artist/6Gfio0eiNDbe3VOSAhSqrk
    Youtube | https://www.youtube.com/channel/UCmmDQszmuc0afcLORze0nrg
  • Private video

    Private video

    This video is private.
  • Deleted video

    Deleted video

    This video is unavailable.
  • Elisabetta Antonini Quartet - New York Blues | Nightingale Live Session

    Elisabetta Antonini Quartet - New York Blues | Nightingale Live Session

    🛑Subscribe to this channel 🛎

    as part of the "Celano Jazz Convention" festival 2019.

    Elisabetta Antonini: vocal
    Luca Mannutza: piano
    Daniele Sorrentino: double bass
    Marcello Di Leonardo: drums

    Director - Lorenzo Vella
    Camera - Andrea Vitiello
    Post Production audio/video- Lorenzo Vella Nightingale Studios - Palombara Sabina (Roma)
  • LIVE IN HELSINKI Social Call Group feat. Alessandro Gwis

    LIVE IN HELSINKI Social Call Group feat. Alessandro Gwis

    LIVE IN HELSINKI at Metropolia University Aug 29, 2017
    Italian Jazz on the Road for Saint Louis Music Center

    FOR MILES (E. Antonini - Gregory Corso)

    SOCIAL CALL GROUP
    Elisabetta Antonini - voice
    Alessandro Gwis - piano
    Andrea Avena - doublebass
    Guillermo Eduardo Garcia Varga - guitar
    guest Tommi Rautianen - drums

    A musical adaptation of Gregory Corso's poem "For Miles"
    (permission kindly granted by City Lights Books)
    from the album THE BEAT GOES ON - Homage to The Beat Generation
    a Candid Records production by Alan Bates, London, 2014

    Website | https://elisabettaantonini.com
    Youtube | https://www.youtube.com/channel/UC529FZWsCfDDwk_QqIQAylQ
    Facebook | https://www.facebook.com/ElisabettaAntoniniVoice
    Instagram | https://www.instagram.com/elisabetta.antonini.756/?hl=it
    Spotify | https://open.spotify.com/artist/1yYgTnVzK174Qyw8DktmBV
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Press

Review by Enzo Pavoni, AUDIO REVIEW

After a long absence for some years now Candid has recommenced its activity by diversifying its production and placing its trust in offbeat projects like Elisabetta Antonini’s The Beat Goes On, who is the first musician in Italy to sign with this legendary label. It’s an intriguing concept but not without complications in which the singer puts some of the beat poets to music: Kerouac, Ginsberg, Corso, Burroughs, Ferlinghetti. Antonini does a fine job of giving breathing space to these celebrated rhymes; she avoids suffocating them with pretentious heaviness, instead opting for a simple approach: the most frenetic swing bop, manipulations of sound and voice “as tasteful as they are effective”, altering her own voice, broadening her musical range. This explains the inclusion of Bob Dylan’s Blowing in the Wind, Joni Mitchell’s Woodstock, Horace Silver’s Cookin’ at the Continental, Thelonious Monk’s Well you Needn’t and David Douglas’s Orujo.

The eight remaining tracks are originals which hold their own with the classics thanks to Elisabetta Antonini’s talent (vocals, electronic effects, compositions, arrangements) and her celebrated partners: The unique quality of The Beat Goes On lies in the convincing interplay between the authentic readings of the Beat poets which were extracted from old recordings that, in spite of the use of artifice sound like they come from the same session, and the instruments. Since it’s not possible to cover all the tracks we will limit ourselves to citing Ginsberg’s legendary Howl and above all to the moving Requiem for Bird Charlie Parker (Corso): Bearzatti’s vibrant, overdubbed horns lend support to Antonini, who dares to reach for vocal nuances which penetrate the soul. Highest respect.

Review by Francesco Peluso, FEDELTA’ DEL SUONO

After some significant productions in a minimalist style, singer and composer Elisabetta Antonini offers this intriguing and well-produced album, The Beat Goes On, which is dedicated to The Beat Generation poets and is accompanied by Francesco Bearzatti (tenor sax and clarinet), Luca Mannutza (piano), Paolino Dalla Porta (double bass), Marcello Di Leonardo (drums). For this talented Roman artist, Gregory Corso, Allan Ginsberg, Jack Kerouac, William Burroughs and Lawrence Ferlinghetti represent a starting point from which to propose an interweaving of anxiety, revolutionary thought and the lyrical transgression of these poets and the jazz of those years (Fifties / Sixties). With the perfect fusion between maudit poetry and delirious bebop the five protagonists of this work offer a collective interplay which, to say the least, is thrilling. Bearzatti’s exuberant and dynamic instrumental voice blends with Mannutza’s elegant softness, while Paolino Dalla Porta’s solid groove supports Marcello Di Leonardo’s imposing drumming, and the result is an ensemble of multiple formal nuances. With her singing the band leader expresses an artistic personality and breadth to which with refined vocals she adds the above-mentioned poets and the use of some electronic alchemy. From Horace Silver’s pyrotechnical Cookin’ at the Continental to the funky atmosphere of Antonini’s New York Blues, from the soft melodic line of On the Road to the west coast setting of the medley of Holy and Joni Mitchell’s beautiful Woodstock (U.S.A. poster child of pacifism), from the burning funeral accompaniment of Requiem for Bird Charlie Parker to the rarefied strains of Bob Dylan’s Blowin’ in the Wind which concludes the album, Elisabetta Antonini in The Beat Goes On gives us a slice of American history, bringing to light in an original way the lyrics and musical loves of that group of students that possessed visionary inspiration.

Interview by Roberto Paviglianiti, JAZZIT

What does TBGO represent in terms of your artistic evolution?

My involvement in this cd has been more emotional, more intimate. This work was a direct vehicle for me in which I could express my profound feelings as well as condense images, sound and meanings which are more urgent and personal to me. In this way, it was a more mature artistic phase in that it was more sincere.

 

Why did you decide to pay homage to The Beat Generation?

I was excited by the idea of dedicating myself to a project that translated the 1950’s in the United States into musical terms, embracing the personal stories of the protagonists of the Beat Generation. I think that even today they express and exalt freedom and human dignity in a brilliant, vital and profound way. What’s more, the Beats used to read their poetry to the accompaniment of jazz which best captured the rhythm of their words.

 

What are the traits which best express the cd?

This is a “concept album” in which I open the windows onto the themes, atmosphere and setting of the Beats, giving a musical form to what struck and moved me on the written page. Instead of paying homage to them by resorting to the bop repertoire that was so dear to them I above all felt the need to write my own music in order to give back my own emotional experience when I was reading them. However, the most characteristic trait of the project is the way in which I selected and recomposed acoustically the voices of those very Beats and adapted them to music; audio extracts from that period have been rearranged with the precise intention of looking for a real situation, relocating them into what I imagined was their story, their film, because I wanted to give a musical voice to all the expressive force of those words.

 

You also played an important role in the arrangements of the cd.

Yes, in every one of my projects I always try to create a world, to suggest an emotional climate, an intensity of light that represents the key characteristic of the work which moves me most. This effort manifests itself in precise aesthetic choices which I want to embrace in relation to the timber and organic characteristics that I want to use in addition to the compositional solutions I decided to make use of while arranging the material. I am not able to see myself only as a singer but more as a director who guides the protagonists to whom, in following my own taste, I trust the story which must be told.

 

What is the basic idea behind the original compositions?

I began with the evocative force of the poems and the imagery they inspired in me as if I had been called to write the musical comment.

 

On the back of the cover, there’s a complimentary comment by Sheila Jordan.

She’s one of the most authentic voices in the world of jazz with a unique style which is sincere and extremely powerful. She grew up among the boppers; she loved that strange music and learned to appreciate it at a deep level, finding in it her own original and unmistakable language; so it seemed natural to me that I asked her to listen to the recording. Any comment from her would have been an honour but I never expected to receive a personal phone call in which she said she had been struck by the originality and passion of the work as well as the knowledge I showed in relation to jazz and its heroes.

Review by Roberto Paviglianiti, JAZZIT

Elisabetta Antonini’s voice lies at the centre of the expressive discourse of The Beat Goes On: it reveals an instinctive, creative and repeated use of scat; in some passages, her voice makes itself harsh and dissonant while at other moments often provides hummable melodies. A group of worthy musicians work with her in a sequence of tracks where the listener encounters original compositions as well as rearrangements which are consistent with the concept of the Beat Generation around which the entire work revolves. The album assumes very stylistic forms, passing from moments that have a bluesy taste to ballads, from bop arrangements to electronic music. Everything has been conceived and arranged by the leader who has also inserted the recorded voices of some of the Beat protagonists such as Jack Kerouac and Allen Ginsberg, going beyond stereotypes to create a personal vision (…). The aesthetic aspects of the album are delineated through a careful selection of literary material which has been transformed into music and the final result reflects the consistency of artistic intention.

From an article by Luca Conti, MUSICA JAZZ

This year the Gian Mario Maletto Award “…goes to Elisabetta Antonini, an accomplished singer the recognition of whom will only surprise those who in the course of the years have not followed her notable artistic evolution and maturity.“

Interview by Paolo Odello, MUSICA JAZZ

Here is the spirit of freedom of the Beat Generation.

Winner of the Top Jazz Poll for Best New Talent, the singer tells us how such an original album was born.

Singer and bandleader, arranger and composer, who grew up musically between Europe and the United States, Elisabetta Antonini alternates concerts and teaching and undertakes refined and original paths, paying particular attention to the by now classic pages of today’s jazz and the composition of new works in addition to embarking on other approaches and languages. So there is the taste of chamber music jazz of the trio Un Minuto Dopo, the rarefied atmosphere of contemporary jazz of the Harp&Voice Nuance Duo and the quartet album The Beat Goes On, dedicated to the Beat Generation.  

 

How did The Beat Goes On come into being?

From the desire to pay homage to sublime forms of poetry and prose which are very close to jazz and to the spirit of freedom that inspires and nurtures this music; and above all from the desire to reread Kerouac, Ginsberg, Corso, Burroughs, Ferlinghetti and to borrow the evocative force of their words and through music to call to mind the images, light and atmosphere of that particular style of storytelling. The idea emerged from an evening dedicated to Fernanda Pivano and to her role as an unusual intellectual. In organizing that concert I tried to evoke the complexity and depth by setting literary passages to music and deepening as much as possible the knowledge of her work.  At the end it was natural for me and even necessary to concentrate on the history of those poets that she had translated and encountered; I enhanced the nature the text I already knew and then decided to articulate a musical project about them.

 

Why exactly the Beat Generation?

As I said I went back and read them and I believe that their message is as revolutionary and as iconoclastic today as it was then. With their words and their dramatic and disconcerting lives they provided an example, a more profound sense of such concepts as freedom and human dignity. Accused of homosexuality, of harboring communist sympathies as well being anti-military and Jewish, they were rebels  in the true sense of the word but who in any case were harbingers of the American counterculture, asking questions and expressing themes that had until then being banned by the social and political system. Paraphrasing Ferlinghetti’s words who was a poet but above all the editor of their poems, the Beat Generation showed a way that was different and yet possible and far from conventional thought and which avoided the deadening flatness created by consumerism which today as then we must all endure.

 

Poems, novels, thousands of words: an imposing heritage. How did you manage to transform it all into music without resorting to cliché?

First and foremost there had to be the Beat Generation, a world that was still able to capture us with the force of their words, their poetry. I knew that the project would make sense only if I used the literary material but I wanted to beyond the superficial blending of poetry and music: I wanted to tell and describe the journey through the settings and the atmosphere that was imagined through reading those words. The idea had a precise form. The only problem that remained was how to get there, which passages to extract from so much available material, and whether to proceed by translating their works into Italian or to use the original language, whether to insert recited pieces and whether, in that case, I should recite them or have an actor do it. Suddenly everything became clear: I started to write original music to their words and felt the need to also use their voices (selecting and editing audio recordings from that period) so that they would result as even more powerful. The Beats often performed readings: I decided to follow the same path in order to embark on a more personal approach. I rethought and amplified the sense of their words almost creating new poems and transforming those voices into an instrument among other instruments, which at times became rap, then “off screen” voices, prayers and howling. At that point I needed to find the right traveling companions. Creative musicians interested in a work that goes beyond the musical aspects; through that very language which is jazz I tried to suggest an image, a sensation, a scene. Finding these things was for me the easiest aspect in the production of this album. Engaging Luca at the piano, Paolo at the doublebass, Marcello on the drums and Francesco at tenor sax and clarinet I knew I could count on solid mainstream musicians who could provide the stylistic vocabulary which is typical of jazz and necessary to this project in that the Beats became fans of bebop which is classical jazz today but was then avant-garde music. I also knew that I could obtain an additional series of expressive shadings in line with the themes of the Beat Generation: the frenzy of the journey, the ecstasy arrived at through hallucinatory, drug induced states, the contemplative mysticism, the exaltation given by jazz and its protagonists, to only cite a few. I knew that in their sensitivity they would never permit the music, already rich in sound and rhythm, to overpower the words, and that the project on the whole could maintain in spite of the variety of the material I wrote a homogeneity: the tracks were as much inspired by the bebop hyperbole as by the west coast melody, by the coral nature of old funeral elegies, by the vertiginous perception after having taken acid. I thank these artists for the moments of great lyricism and for their frenetic and furious passages which they enriched my work.

What is jazz for you?

Above all it is music, the language with which I feel able to express my sensitivity, my contradictions, my darker self, my way of looking at the world; I live, think, feel and listen as if I exist in a universe which is free of confines and definitions. Jazz is born out of contamination, which is not globalization but on the contrary is a meeting point and synthesis of roles and different personalities who are strong and yet in a reciprocal relation as well as a dialectic one. For this is more than a genre, more than only one style. It’s a way of facing life, an approach to things and I believe that this is the very essence that the Beats grasped and reached in themselves, a real and raging fever.

And now what’s in your future?

Luckily I don’t know yet. At the moment I am living in that strange phase where I can enjoy what this intense work has given back to me in which a great deal of myself is expressed and revealed; at the same time I am looking for that creative emptiness which is necessary before I can direct myself towards a new horizon.

Review by Lorenzo Viganò, SETTE (weekly supplement to CORRIERE DELLA SERA)

That force which blends notes and texts

It’s more than homage: it’s a real concept album which takes the world, the language, the works, the voices, the transcriptions, the atmosphere and the themes of the Beat Generation and elaborates them, transforming them without ever betraying them. It updates them, it makes them live again, revealing the hidden aspects which have either never been expressed or have been forgotten. It interprets them. You already understand this from the title, The Beat Goes On, which from that literary current explicitly declares the modernity, vitality and historical and cultural need not to forget it. It is confirmed by the thirteen tracks on which Elisabetta Antonini, singer and composer, accompanies the listener in an “on the road” trip in terms of time and the American movement of the 1950’s, through bebop, poetry, protest songs and improvisation. There’s no nostalgia here. Every track (composed, sung and arranged by Antonini) is an elaboration upon the writings of these poets, interweaving voices and readings into scat (for example Jack Kerouac in Cookin’ at the Continental composed by Horace Silver or Allen Ginsberg in the celebrated Howl composed by Antonini); or else she expresses their essence through her singing, as in Gregory Corso’s For Miles and Kerouac’s On the Road. The result is hypnotic and powerful and brings out the musicality of the lyrics and the readings (similar to jazz solo improv) amalgamating her voice (backed up by Luca Mannutza at the piano, Paolino Dalla Porta on double-bass, Marcello Di Leonardo on the drums and Francesco Bearzatti on saxophone). The idea which emerged from an evening in tribute to Fernanda Pivano works very well also as an album. At the moment in which Elisabetta Antonini in perfect sync with the Beat Generation applies the literary cut-up technique made famous by Burroughs to her compositions, cutting and recomposing fragments of composition of the individual musicians.

ALL ABOUT JAZZ Italian
Article by Peluso NEAPOLIS JAZZ MAGAZIN Oct 1
Article by Peluso NEAPOLIS JAZZ MAGAZIN Oct 2
Article by Peluso NEAPOLIS JAZZ MAGAZIN Oct 3
Article by Peluso NEAPOLIS JAZZ MAGAZIN Oct 4
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Carlo Argiolas UNIONE SARDA magg 2016
Carlo Argiolas UNIONE SARDA magg 2016
Claudio Ruggiero ZOOM IL QUOTIDIANO 18 genn 2015Claudio Ruggiero ZOOM IL QUOTIDIANO 18 genn 2015
Claudio Ruggiero ZOOM IL QUOTIDIANO 18 genn 2015
Enzo Pavoni AUDIO REVIEW
Enzo Pavoni AUDIO REVIEW
FEDELTA DEL SUONO Italian
IL FATTO QUOTIDIANO Italian
Marco Molendini IL MESSAGGERO 19 genn 2015
Marco Molendini IL MESSAGGERO 19 genn 2015
Maurizio Amore LA STAMPA 15 genn 2015
Maurizio Amore LA STAMPA 15 genn 2015
MUSICA JAZZ Dec 2014 Top Jazz
MUSICA JAZZ Dec 2014 Top Jazz
MUSICA JAZZ Genn 2015 Cover
MUSICA JAZZ Genn 2015 Cover
MUSICA JAZZ Genn 2015 Intervista 1
MUSICA JAZZ Genn 2015 Intervista 1
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MUSICA JAZZ Genn 2015 Intervista 2
MUSICA JAZZ Genn 2015 Top Jazz
MUSICA JAZZ Genn 2015 Top Jazz
MUSICA JAZZ Jan 2015 Best Album
MUSICA JAZZ Jan 2015 Best Album
MUSICA JAZZ Jan 2015 Best New Talent
MUSICA JAZZ Jan 2015 Best New Talent
MUSICA JAZZ Jan 2015 CD 1
MUSICA JAZZ Jan 2015 CD 1
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MUSICA JAZZ Jan 2015 CD 2
Raffaele Roselli CORRIERE DELLA SERA 19 genn 2015
Raffaele Roselli CORRIERE DELLA SERA 19 genn 2015
Roberto Paviglianiti JAZZIT Intervista 1
Roberto Paviglianiti JAZZIT Intervista 1
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Roberto Paviglianiti JAZZIT Intervista 2
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Roberto Paviglianiti JAZZIT Intervista 3
TROVAROMA LA REPUBBLICA 19 genn2015
TROVAROMA LA REPUBBLICA 19 genn2015

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Credits: Vibes Art Studio