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PRESS : James Senese e i Napoli Centrale in "E' Fernut ‘o Tiempo" al Moro Jazz Club

I like
Ferrara Lucio Quintet
Florian

1. Certificate in 6 / 4 - 5:29
2. In the South - 6:42
3. TYW - 4:20
4. Tutatitaià - 6:32
5. Blat (F. Giampaoli) - 7:17
6. Florian - 7:23
7. Brunzsezes (F. Giampaoli) - 7:19
8. Remember - 7:13

Compositions of Lucio Ferrara

Ferrara Lucio guitar
Maurizio Piancastelli trumpet, flugelhorn
Alessandro Bosetti, soprano sax
Francis Giampaoli low
Stephen Storace battery

Splasc (h) Records (h725)

The summer of Florian "I embraced the summer dawn ... the path now full of fresh and pale gleams ..." Arthur Rimbaud was to write this
record. But the dawn of Ferrara Lucio is not like all the rest: the romance fades slowly and if he does play with the grin of a summer knows
that the prospects of the world. And the joke.
The guitar in Ferrara is not an instrument of meekness and lonely melody is pretty, the crossbow searching for a sense of almost laid down,
edgy because sudden, unexpected, clever in avoiding every possible preparation. It will seem strange, but the unexpected is an art to which the
leader feels it give without restraint: a point that jolts the listener to find themselves tracked, chased, caught by the notes in the multiplicity of
choices directions. Ferrara, in short, is a thief (gentilmusicista seems to best define it) atmospheres that do not actually finding them already
made, it creates them in his mind, subtracts to their own size, you and fantastic on the fumes of rhythm changes following . The melody of the
artist (sweetness AC) do not deceive you, because it's hard to be light and ethereal music and if its author does not know or understand each
share. The sound of Ferrara is a bit 'like this: know seems to understand the meaning of the transformations. But when it comes to such a
concept to be contained within the guitar itself to open up the listener made in all his "madness". And we must admit that it eats the guitar
charged: in "Tutatitaià" flickers like the light of a lantern that would light up the city.
The stamp is as dense as the pitch (Ferrara, no doubt, also knows the history of rock and its derivatives) and scratched the anger of those who
want to hear: for your beauty too, and maybe even more, for extravagance of his genius perched like a shadow that haunts us. The soprano and
the trumpet and flugelhorn Bosetti Piancastelli worthy comrades of the six-string: sometimes, as they say, give it the "the" in this "Florian" is
amazing for the rage of the changes so timely yet linked by a line of light that is not always easy to understand in all its spicy docility. They are
the ones to move like the swaying of a modest petticoat: modest, however, until at some point.
N and a jazz seems to slide out on me, gentle and airy as a ferry boat. This intersection of ebb and flow is gained the freedom of a music almost
"cat", which leaves caress, that seems ambiguous and opportunist, but is also ready, suddenly, to accept the abandonment of certainties to win
their identity. Or, rather, to emphasize the essence and content reserved. Here begins the story of Florian from a fable in six quarters (which
seems written with the pen Bacalov of Troisi), the sunny South, and a mystical poem that takes advantage of a guitar in the balance between
past and present, Charlie Christian and John Scofield.
David Ielmini - May 2000

Sidero Louis - All About Jazz

Florian is a particular disc, a blinding light on the edge of shadows and darkness. At first listen, in fact, the feeling that prevails is
that of a reassuring warmth, the warmth of a live between the notes, but making more careful, you can see, between the meshes of
this dress soft, angularity and hardness first escaped the ear.
This is because the general atmosphere is that of a slow and peaceful journey to "the South" (also the title of a composition), as fire
meant that southern soul and sultry passion, a theme of inspiration for many musicians.

Eight would be the stages of this path, except that sometimes it seems that the intention of Lucio Ferrara is not to fall back to that warm sun, but
to follow other directions, abandoning the path of the Mediterranean shores, and other places.
An example of this is intentional lost the song "Tutatitaià" despite having a clear mind and peculiarities, is a thunderclap, or rather a definite
darkening of the sound plot. If you think the clarity of "TYW", heard just before, with the catchy theme chasing bouncing between guitar and
trumpet, one can not but notice the stark contrast with the stamp of the most scathing, almost rock, the fourth track.

All other compositions are (more or less, except for "Brunzsezes" inspired hardbop) contours in those brushed by opening and closing songs, as if to
close a series of small paintings musical "Gift in 6 / 4" and "Memories", in fact, are very similar: both rely on the lyrical soprano sax for the display
of themes really well constructed and give the impression of clarity and brightness (the first, also relies on rhythmic momentum given by a time as
the 6 / 4).
How to trace a route, then become co-stars, along with the guitar, the trumpet and flugelhorn Piancastelli Mauritius, in a continuous into the
depths of the most remote musical feeling, until you get to the slow and feline "Blat", in which the flugelhorn finds its ideal size, or sigh visions of
"Florian" (with tasty guitar effects).

All songs are on hold for most solo performances of Ferrara, rarely repetitive and predictable, always pleasantly seeking to paint a world known and

Review: Florian 26/01/12 17.16

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Florian
Lucio Ferrara Quintet (Splasc (h) Records - Italy - 2000)

Louis Sidero

Florian is a particular disc, a blinding light on the edge of shadows and darkness. At first listen, in fact,
Florian
the feeling that prevails is that of a reassuring warmth, the warmth of a live between the notes, but
making more careful, you can see, between the meshes of this dress soft, angularity and hardness first
escaped the ear.
This is because the general atmosphere is that of a slow and peaceful journey to "the South" (also the
title of a composition), as fire meant that southern soul and sultry passion, a theme of inspiration for
many musicians.

Eight would be the stages of this path, except that sometimes it seems that the intention of Lucio Ferrara is not to fall back
to that warm sun, but to follow other directions, abandoning the path of the Mediterranean shores, and other places.
An example of this is intentional lost the song "Tutatitaià" despite having a clear mind and peculiarities, is a thunderclap, or
rather a definite darkening of the sound plot. If you think the clarity of "TYW", heard just before, with the catchy theme
chasing bouncing between guitar and trumpet, one can not but notice the stark contrast with the stamp of the most scathing,
almost rock, the fourth track.

All other compositions are (more or less, except for "Brunzsezes" inspired hardbop) contours in those brushed by opening
and closing songs, as if to close a series of small paintings musical "Gift in 6 / 4" and "Memories", in fact, are very similar:
both rely on the lyrical soprano sax for the display of themes really well constructed and give the impression of clarity and
brightness (the first, also relies on rhythmic momentum given by a time as the 6 / 4).
How to trace a route, then become co-stars, along with the guitar, the trumpet and flugelhorn Piancastelli Mauritius, in a
continuous into the depths of the most remote musical feeling, until you get to the slow and feline "Blat", in which the
flugelhorn finds its ideal size, or sigh visions of "Florian" (with tasty guitar effects).

All songs are on hold for most solo performances of Ferrara, rarely repetitive and predictable, always pleasantly seeking to
paint a world known and popular, but the quintet becomes in practice, many times, a trio of guitar or sax / trumpet.

Rating: * * * !

Site of Splasc (H) Records: www.ijm.it / Splasc (H)

Track List:
01. Gift 6 / 4 - 5:29
02. In the South - 6:42
03. TYW - 4:20
04. Tutatitaià - 6:32
05. Blat (F. Giampaoli) - 7:17

06. Florian - 7:23
07. Brunzsezes (F. Giampaoli) - 7:19
08. Remember - 7:13

Compositions of Lucio Ferrara,

Musicians: Bob Ferrara (guitar)
Maurizio Piancastelli (trumpet, flugelhorn)
Alessandro Bosetti (soprano sax)
Giampaoli Francis (bass)
Stephen Storace (drums)

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Lucio Ferrara | It's All Right With Me 26/01/12 17.03

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It's All Right With Me
GALLERY
Lucio Ferrara | MMC Productions - Live Tuscia in Jazz
(2011)

by Roberto Paviglianiti Review

It's All Right With Me is the result of
three different moments in the career
of Lucio Ferrara, a good strong guitar
tone, excellent technique and great
Recent expressive figure.
All Frontiers I - II Five songs in the lineup - including
Omer Avital include "Twelve Bars for MB" for
Bill Evans snappy interplay millimeter and successful overall -
JMR Mountain Trio resulting from a recording session in the New York, which
Peter King was also attended by Antonio Ciacca on piano, Yasushi
Marraffa-McDonas-Giust Nakamura on bass and Ulysses Owens on drums. Music
Christian McBride formally paid to a well-packed jazz mainstream, able to
Memoirs of Hadrian pass a smooth and comfortable listening delineated, as in
John Surman "Lagos Blues," an original signed by Ciacca reflecting a
Gonzalo Rubalcaba singable melody and its appeal.
Italy | USA
The uncommitted "Oh Lady Be Good" and bubbly "Silver"
are extracted from a sitting Roman, with the excellent
Mannutza Luke Hammond and Nicola Angelucci on drums.
We are also here in the territory of a certain formal and
customary Ferrara is widely appreciated as a caregiver
leaves, alternating with the sound nicely vintage
designed by Mannutza.

Chapter in the reading of "Body and Soul," in that
shooting live in Sorrento in 2008, in which he tracks
down a good leader and soloist of the moment where we
find a formidable Lee Konitz, inspired and passionate.

Visit the Ferrara Lucio .

Rating: 3.5 stars

Track List:
1. Twelve Bars for MB, 2. Who Can I Turn To 3. Perhaps
4. Beatrice 5. Lagos Blues 6. Body and Soul 7. Silver 8.
Oh Lady Be Good.

Musicians:
Ferrara Lucio: guitar, Lee Konitz: alto sax (# 6); Antonio
Ciacca: piano (# 1-6), Ulysses Owens: drums (# 1-6),
Kengo Nakamura: bass (# 6), Yasushi Nakamura: bass
(# 1-5), Luke Mannutza: Hammond organ (# 7.8) Nicola
Angelucci: drums (# 7.8).

Style: Mainstream

Published: 26/05/2011

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The Jazz between two worlds - Interview with Lucio
Ferrara
April 15, 2011
tags: House of Jazz , it's all right with me , Live Music , Luke Mannutza , Lucio Ferrara , Nicola Angelucci , Rome Jazz
by Charles Cammarelle

It 'a project by an international flavor clear what we have heard yesterday in the House of Jazz , an album that
encompasses years of travel and work full of enthusiasm. Let's talk about the last work of guitarist Lucio Ferrara, "It's
all right with me", presented yesterday in one of the most beautiful locations in the capital. Along with him were Nicola

Angelucci (drums) and Luke Mannutza (Hammond), two musicians that Lucius knows, with whom he shared many
experiences and who took part in a project started half a world away, in the U.S. . Thus, a disk which was attended,
besides the names just mentioned, artists such as Lee Konitz, Anthony Ciacca, Ulysses Owens, Kengo Nakamura and
Yasushi Nakamura. Ferrara Lucio told us first hand experience.

Lucio, I wanted to start talking from the genesis of this project: "It's All Roght with me." Why was recorded
several places, between Sorrento, Rome and the state of New Jersey?
"Let's say there's a reason. What I chose were the groups with sonare as I prefer the piano quartet, the trio with Hammond
and the quintet with saxophone. The real choice was the idea of !a record in New York, but in the end I decided to add two
tracks with two musicians, Nicola Angelucci Mannutza and Luke, which are year-round. With them was a real friendship
because we constantly see, and experience with American musicians are occasional moments in which we meet once a
year in New York. "

So, we could say that there is a soul in this project internationally?
Exactly, we say that this project is out of my international related to labor relations and constant travel. It 'something that
actually represents the last years of my career.

And the title of your
project this is perhaps related to your particular mood?
"It's definitely related to the positivity that I encounter when I work with the Americans in the United States and
quell'incoraggiamento they have towards life. This project is all the positivity that I feel when I go in this country. It 'a
time when I hear one in which air and breathe in another environment. With this title I have openly tried to describe this
state of mind. "

The fact of not having a stable formation is probably related to the fact of looking at music as something changing?
"Yes, surely there is the advantage of playing with other musicians and find out how the music comes out in an
increasingly different. Obviously the ideal thing would be to play with a band fixed to work with for a lifetime because
only in this way reach a unique Interplay, but there are also aspects related to innovation. Playing with different people
learn from all experiences and collections that help you grow. "

So, we could say that the approach with the musicians sounds linked precisely to the concept of Interplay?
"I think so, I live it well. The way I play also depends on other musicians, the defendants continued to send me and the
continued development of the idea of !Interplay. "

And the fact that he traveled a lot as it may have influenced your music?
"It certainly has affected a lot. Traveling is essential because at some point, when you think you know everything, you
discover that there are some new. To grow you need to seek new experiences. "

And if we were to make a parallel between the experience live in America and one in Italy ...

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PRESS : Paul Simon and Wynton Marsalis al Jazz at Lincoln Center in Aprile

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Interview with Lucio Ferrara
June 2011
Alceste Ayroldi

Puglia, Bologna, Rome, New York, all places that you have had - or still have - a special role: to whom you are closest to?

At each site are linked for several reasons. Puglia is my region, the place where I was born and raised. I moved to Bologna to study at university and
there I was trained musically. Rome is the city where I live now. New York is the city of my dreams, I go at least once a year and I stop for a few
months.

Are you a self-taught, but you're a professor and director of seminars. With hindsight, therefore, believe that it is important to study jazz?

What I like to do is give my contribution to the growth of the knowledge of this music. In all the
seminars in which they are involved there are teachers who are first of all musicians who are able
to inspire students, focusing particularly on the swing, interplay, respect for tradition and the
importance of listening , directing them to the understanding of jazz music and its exponents. In
this direction I think it is important to study jazz.

Your beginnings are linked to Brazilian music: how did this passion? Today you have set aside at
all?

Besides New York, Rio de Janeiro has always had an influence on me, I love Brazilian composers,
from Jobim to Gismonti, I love the classic samba, choro until Paulinho da Viola. After my trip to
Rio de Janeiro I was a little away 'from the kind dedicated entirely to jazz. I hope soon to record a
CD of this repertoire.

When you "love" of jazz music? What was the first song you heard?

The first song I heard and I was forever marked "In Your Own Sweet Way" played by Wes Montgomery. Then there was a void, you know I lived in a
village where it was not easy to find material and fans to listen to, until I arrived in Bologna where I started listening to Miles and Coltrane, Wes
Montgomery's records with Shearing.

Who are your guitar of reference? And what is the artist with whom you'd want to collaborate?

I listened to all guitarists, from the great contemporary. I have already spoken of Wes Montgomery. In fact, many guitar players do not listen. When
I listen to my attention is directed to the swing, are more interested in the music instrument. I'd like to play with many musicians, a few of my idol,
I was lucky enough to sound like Lee Konitz (see the about the last disc of Ferrara, It's All Right With Me, published by the Tuscia in Jazz Rec, which
is discussed below).

Are you also a director of seminars Orsara Music and the festival's artistic director and conductor of workshops Tuscia in Jazz and La Spezia. Want
to talk about these experiences, these activities?

The seminars were born Orsara my proposal with the crucial support of Orsara Music Festival, which organizes the longest twenty-three years in
Apulia. After a year as an experiment we decided to continue and together with Antonio Ciacca we brought musicians like Lee Konitz , Benny
Golson, Steve Grossman, but Wes Anderson, Billy Harper and Bergonzi this year. We arrived in the eighth edition. With Tuscia in Jazz and, this
year, with La Spezia Jazz, of which I am the director of the seminars, there is a special feeling because the atmosphere is similar to that of Orsara;
with the Artistic Director Italo Leali we are perfect tune from the choice of style and art teachers and the way in which one of jazz education, such
as enhancing young talent.

as enhancing young talent.

In your artistic life seems to have been of great importance your meeting with Antonio Ciacca: would you talk about?

With Antonio we have grown musically together, listening to the same music and we started playing together
twenty years ago. There is an interplay that is reached only after years. Antonio has always believed in me
and has always supported and encouraged. As soon as there is a chance we play together with his band, also
because they are always fantastic. Anthony, among other qualities, has the ability to play the band as they do
just a little 'how did the Great Miles.

"It's All Right With Me" is your last record, with the participation of Lee Konitz. How did this match?

Lee Konitz is one of my favorite improvisers. He plays by ear, "risk" when everything suddenly. I'm going to
find almost every time I go to New York. We played together when we were in Sorrento for a concert I asked
Lee how do you never play a pattern or licks. And Lee said to me simply because I do not play licks little
memory, that's it!

Given the excellent experience of your teacher, how would you rate the level of preparedness of young jazz
musicians?

The preparation is excellent in my opinion, the level is very high. But perhaps they are too fast and skip some
steps.

What tips from - or would you - to a young musician?

Listening to the great masters, study, respect, humility and professionalism.

And, again by virtue of your experience, what rating the current jazz scene is Italian, and European and, later, the U.S.?

As I said before, preparation is high in Italy and in the U.S., Americans are professional musicians, playing deeply love, know and respect the history
of jazz. Musicians upload basses and amps in meters, starting from Brooklyn or Queens to get only a couple of songs in a jam. In Italy, many
musicians are too focused in trying to do something original at all costs, forgetting that sometimes you just do little and swing to make great music,
but fortunately there are excellent musicians. I'd like that in Italy there was more courage to play music that does not fill the theaters.

Who are they, in your opinion, today's most interesting musicians? And why?

There are so many interesting musicians in Italy and abroad, and not all are known as they should. Many Americans do not get talent in Italy. I think
Ryan or Bill Charlap Kisoro or Joe Cohn. In Italy there are good musicians, Dado Moroni , John Amato, Andrea Pozza , with whom I had the good
fortune to play occasionally, Nicola Angelucci and Luke Mannutza who have played in my last CD. If we look around I think, therefore, that the Jazz
now enjoys excellent health, In my last U.S. tour I played with musicians very "interesting" like Lew Tabackin, Joe Magnarelli, Rodney Green, Paul
Gill, John Webber and Joe Farnsworth, Andy Farber, Ben Wolfe, along with Antonio Ciacca that was the glue and many other talents.

What are your future plans?

I intend to spend much more time in New York to develop and learn better the true nature of jazz. Being more and more essential, direct and not
lose the love for this music with the help of festivals and clubs with the hope that they rely a bit 'more to quality than to the success of ticket sales.

Your current playlist ...

Prelude to a Kiss Strayhorn. Songs like: I'll Be Seeing You or Who Can I Turn To, Poor Butterfly. Something Monk never fails, Ligia Jobim's originals ...
...

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PRESS : James Senese e i Napoli Centrale in "E' Fernut ‘o Tiempo" al Moro Jazz Club

Lucio Ferrara
It's all right with me
Bruno Chevillon in
"Improvisation does
not happen suddenly,"
master class at the
CEMM of Busselton

For your trip to the
U.S., the largest book
American concerts:
tickets for Alicia Keys
, American Idols Live ,
Tom Petty . Or do not
miss the latest from
Broadway shows such
as Billy Elliott , South
Pacific and Gypsy !

Multiculture X
Anniversary "Contest
Europe." Competition
for groups across Tuscia in Jazz Live 2011
Europe to free
participation. 1. Twelve bars for MB
Registration before
May 5, 2012. 2. Who Can I Turn To
Enrolment at the 3. Perhaps
European Jazz 4. Beatrice
Contest 2012, now in 5. Lagos Blues
its fifth edition. 6. Body And Soul
Conad Jazz Contest in
7. Silver
the first edition of the
national competition 8. Oh Lady Be Good
in search of new
talents among young
Italian musicians Lucio Ferrara - Guitar
Jack De Johnette, Von Lee Konitz - sax
Freeman, Charlie
Haden, Sheila Jordan Antonio Ciacca - piano
and Jimmy Owens won Ulysses Owens - piano
the prestigious NEA Kengo Nakamura - bass
Jazz Masters 2012
Yasushi Nakamura - bass
In the Luke Mannutza - hammond organ
premiere,
the Nicola Angelucci - drums
sensational
Sarah Jane
Morris presents the
brand new "Cello
Songs" on the occasion Guitarist of great interest and high-impact, Lucio Ferrara is the general public with this record of exquisite workmanship, great
of the tenth usability and sophisticated construction.
Anniversary of
Multiculture 2012 The idea comes straight off the disc in an afternoon in Manhattan when Ferrara, the first of a departure for Italy, gathers traveling
The winners of the companions with whom he shares the music for many years, Ulysses Owens, Antonio Ciacca and Yasushi Nakamura, to record disk
referendum Top Jazz
2011: Marcotulli R., L. after the experience of many concerts together. The idea appeals to everyone, and two days later, on the night of March in the study
Minafra, F.D 'Andrea, Kaleidoscope Sound in New York, takes the form "It's All Right With Me", guitarist, leader of the second disc from Puglia. To complete
G. Falzone, Bearzatti the record the extraordinary presence of Lee Konitz , a song recorded live in Sorrento, and two talents made in Italy as Mannutza Luca
F., L. Malaguti, E.
Pietropaoli, Z. De
and Nicola Angelucci , these two tracks "Roman".
Rossi, MPDe Vito, F.
Sigurtà Van der Noot Cultured and elegant music breathes the eight tracks that make listening to "It's all right with me", headed by interpreters rich
and D. Betti S. Pastor imagination, skill and passion.
Scott Colley & In addition to the extraordinary reinterpretation of five standards, among which the fantastic "Body And Soul", in which appears a
Antonio Sanchez on
March 5 and March 22 monumental Lee Konitz very inspired, and "Oh Lady Be Good" in which the talented Luke Mannutza Hammond B3 gives a real essay of
Gretchen Parlato lyricism and excellent technique, the remaining original songs, most of the same signed by Ferrara, confirming the successful creative
guests of Saint Louis in
Rome
side of this guitar, traveling between America and Italy, always traveling, always listening and musically never stopped.
Ferrara demonstrates a refined and eclectic guitarist who knows perfectly dosed his outstanding technical qualities to the passion and
lyricism to all shades giving very specific and extremely original, full of personality.

The musicians that make up the rhythmic give their contribution to the success of this excellent disc with dynamism and expertise
Ten Events that without ever overdoing it, or want to excel. The solos are original, with no repetitions and rich in expressiveness. The harmony and the
investigate the Jazz in interplay is pure, well-balanced distribution of species in space and time variation.
every nuance and
every level: from
January 27 to February
"It's All Right With Me" is an extremely enjoyable, well-maintained and high moments of jazz, but mostly it is just another proof of what
26 edition of the Xixa the Italian jazz is alive and pulsating.
Valdarno Jazz Winter
Festival Alessandro Carabelli for Jazzitalia
He died at the age of
88 years, the
saxophonist-composer
Sam Rivers.
I like Likes to 8 people. Register to see what your friends like.

Lines Translated

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!

TUTTE LUCIO FERRARA: IT’S ALL RIGHT WITH... YOU! [ 06/06/2011 ]

EDITORIALE ANNO: 2011
REDATTORE : Diego Librando
GOLD SOUND

I REMEMBER...

INTERVISTE

ORSARAJAZZ FESTIVAL

POMIGLIANOJAZZ FEST

SENZA ORARIO

SOUND FLASHBACK Abbiamo “inseguito” Lucio Ferrara fino a New York, dove ormai e' di casa e da dove
SOUND RAID
tornera' appena in tempo per l’appuntamento ormai consolidato con l’Orsara Musica Jazz
Festival. Dai suoi racconti (sugli esordi, sui fortunati incontri musicali, sui viaggi) emerge
SOUND TALES
soprattutto un grande amore per la musica, amante perfetta e da non tradire mai…
SPECIALI

UMBRIA JAZZ
Sound Contest: Cominciamo dall’ultimo disco. “It’s all right
with me” registra presenze importanti (Lee Konitz) e altre,
altrettanto significative, che pero' sono piu' legate al tuo
giro di amicizie musicali storiche (Antonio Ciacca). Da quali
esperienze nasce questo disco?

Lucio Ferrara: Il disco e' stato registrato a New York, Sorrento e
Roma. Roma e' la citta' dove mi sono trasferito da poco e dove
vivono i musicisti con cui suono nei miei progetti in Italia. New
York e' l’altra citta' importante dove ho registrato gran parte del
cd con Antonio Ciacca, Ulysses Owens e altri. A Sorrento, invece,
abbiamo suonato con la band del cd in studio piu' Lee Konitz, tre
giorni fantastici parlando e studiando con Lee, il mio idolo.

S.C.: Concettualmente e' un lavoro molto organico. Prima un quartetto che tocca
l’apice con l’inserimento del maestro Konitz. Poi un trio al quale sei molto legato.
E’ cosi'?

L.F.: Le tre formazioni sono gli organici che ho sempre amato e i musicisti che suonano li
amo allo stesso modo. Il quartetto con il piano di Antonio Ciacca e' la formazione piu'
familiare, potrei suonare per giorni interi con Antonio senza annoiarmi. Il trio con l’organo
arriva dall’ascolto dei dischi di Wes Montgomery. In quintetto con Lee Konitz, invece, e'
come essere al fianco di un poeta che riesce a trovare sempre le parole giuste per
descrivere un sentimento senza cadere mai nella banalita' e nello scontato.

S.C.: Piu' che mai in questo ultimo lavoro vengono fuori le tue peculiarita'
stilistiche. Uno stile pacato, pulito, attento al fraseggio senza inutili manierismi,
che si inserisce nella lezione piu' autentica del bop. Che evoluzione ha registrato
questo disco nel tuo modo di fare musica e nel tuo stile da “Florian”, tuo disco
d’esordio? Quali sono i musicisti di riferimento che hanno forgiato il tuo stile e a
quali guardi nel fare musica?

L.F.: Da “Florian” sono passati molti anni, anni di esperienze molto significative. Lo stile
credo sia rimasto simile, ma le esperienze che ho avuto mi hanno maturato moltissimo da
tanti punti di vista. Ascolto molta musica in giro nei club e nei teatri di Roma e New York,
ma quando sono a casa non manca mai la musica di Louis Armstrong, Ella Fitgerald, Frank

ma quando sono a casa non manca mai la musica di Louis Armstrong, Ella Fitgerald, Frank
Sinatra, Parker e Ellington, solo per citarne alcuni.
INSERIRE LA PAROLA DA CERCARE

S.C.: Quando e come e' entrata la musica nella tua vita?
Cerca
Che percorso hai seguito? Quando hai capito che
ricerca avanzata sarebbe stata la tua professione?

L.F.: Mi sono avvicinato alla musica all’eta' di sette anni. I
miei due fratelli maggiori suonavano la chitarra e mi hanno
insegnato le cose basilari oltre che ad amare la musica in
generale. Per i primi due terzi della mia vita sono stato un
autodidatta, ideando un mio personale modo di suonare.
Poi a Bologna, durante i primi anni universitari, ho sentito l’esigenza di approfondire la
musica jazz dopo aver seguito l’ultima grande rassegna del Festival Jazz di Bologna:
c’erano Winton Marsalis, Max Roach e le jam session con Sal Nistico e Steve Grossman.
Ho amato la musica di Errol Gardner, Wes Montgomery, Bill Evans, Oscar Peterson e Miles
con Coltrane, dividendo molto studio col grande pianista e amico Antonio Ciacca. I
seminari di Barry Harris mi hanno offerto una visione piu' chiara di come avvicinarmi e
studiare il jazz. Nel 1998 ho vinto il concorso Iceberg, sez. musica jazz, e ho realizzato il
mio primo CD “Florian”. Successivamente ho conseguito il diploma in Musica Jazz al
Conservatorio di Bologna e la relativa laurea specialistica al Conservatorio di Andria.
Parallelamente alla mia carriera di leader ho portato avanti quella di sideman al fianco di
molti musicisti bolognesi e per un periodo ho approfondito la musica brasiliana, bellissima
esperienza. Dal 2004 sono docente di chitarra all’Orsara Musica Jazz Festival ed
attualmente sono anche direttore dei seminari. Ho insegnato anche in alcuni Conservatori
italiani.
Quando ho capito che la musica sarebbe stata la mia professione? Sono stato l'ultimo a
capire che avrei fatto il musicista, intorno a me tutti lo sapevano. Ricordo in particolare un
giorno, mentre parlavamo del nostro futuro con i miei amici, dissi : non so ancora cosa
faro' da grande… mi guardarono tutti perplessi e dissero: Lucio... tu farai il musicista,
nessuno ha mai avuto dubbi su questo! Wow... ecco questo e' l'inizio.
Tornando ad oggi, oserei affermare che come chitarrista ho avuto la fortuna di suonare
con musicisti che ho sempre ammirato e stimato, da Lee Konitz a Benny Golson. E da
qualche anno mi reco sempre piu' spesso a New York, dove non potevo non registrare una
parte importante del mio ultimo CD.

S.C.: Com’e' nato il tuo legame con New York? Come ti
ha maturato? Quali musicisti frequenti e quali locali?
Da li' certamente guarderai alla musica con occhio
diverso rispetto all’Italia. Com’e' la “situazione” del
jazz e come sono visti i jazzisti italiani?

L.F.: Il tramite e' stato Antonio Ciacca, che mi ha spinto a
visitare e conoscere questo posto in cui il jazz ha un
significato profondo e maturo. Dall’Italia non si comprende il
vero feeling di questa musica, l’abbiamo importata e come
tutte le cose importate l’abbiamo modificata innestandola nella nostra cultura. E ora New
York e' diventata una della mie “case”. A giugno saro' a New York con Antonio e la sua
band al Rochester Jazz Festival con Lew Tabakin e Joe Magnarelli. Ho suonato con
moltissimi musicisti negli Stati Uniti, al Dizzy’s jazz Club (Jazz At Lincoln Center) con Joey
de Francesco, allo Smalls, allo storico Mynton’s e altri club newyorkesi con tanti altri
splendidi musicisti.

A New York c’e' l’originale, c’e' l’amore per il Jazz… c’e' lo swing.

S.C.: Oltre alla musica suonata la didattica occupa buona parte del tuo tempo. Dal
2004 poi dirigi i seminari internazionali dell’Orsara Musica Jazz Festival. Ci parli
di questa esperienza? Cos’ha Orsara rispetto ad altri festival?

L.F.: E’ nata sette anni fa. Volevo dare il mio contributo allo sviluppo della didattica del
jazz in italia. Orsara Musica mi ha dato questa possibilita' e credo che abbiamo fatto un
ottimo lavoro e con questi risultati continueremo con sempre maggiore determinazione.
Sono particolarmente legato a Orsara, perche' sono nato e cresciuto in questo paesino
della provincia di Foggia. Per raggiungere i risultati che stiamo ottenendo ci vuole molto
lavoro e noi lo facciamo. Ospitiamo studenti da tutto il mondo, mandiamo i nostri allievi in
giro a fare esperienza e ci prendiamo le nostre soddisfazioni perche' i nostri studenti
ricevono complimenti e riconoscimenti importanti.

S.C.: Cosa state preparando per l’edizione 2011? I docenti cambiano o sono scelti
docenti diversi ogni anno? Che rapporto creano con gli allievi?

L.F.: Il 2011 sara' un anno straordinario, gli allievi sono cresciuti di numero e di livello. Il
paese sara' invaso da un numero record di studenti provenienti dagli Stati Uniti,

paese sara' invaso da un numero record di studenti provenienti dagli Stati Uniti,
Inghilterra, Francia, Spagna e Italia ovviamente. In genere i docenti cambiano ogni anno,
anche se a volte accade che qualcuno venga riconfermato. Essendo musicisti in tour
durante l’anno non e' sempre facile avere conferma della loro disponibilita'.
Spesso tra docente ed allievo si instaura una sorta di feeling musicale che va oltre le aule
dei seminari e che va avanti nel tempo. E l’organizzazione del Festival e' orgogliosa di
questo.

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Spezia Jazz, Leonardo Corradi and Lucio
Ferrara Featured
La Spezia - The 43rd International Festival of Jazz is at the door
of La Spezia. The association of La Spezia 'Spezia Jazz', an integral
part of the organization, organizes meetings with the artists who
will present their latest disc. These are two separate evenings will
begin at 19 of June 26 and July 2 and end of the first of 21 concerts
at the NH Jolly Hotel will offer a drink to all participants.
This is Leonardo Corradi in 'Tuscia in Jazz', organist of La Spezia
with Abraham Burton on sax, Eddy Palermo on guitar, sax Gege Munari, Fabio Rotondo batteries with special
guest Tony Monaco on Hammond organ. Corradi, crystalline class, will present the record to 19 on Saturday
26th June.
The other meeting is scheduled for July 2 with the guitar Lucio Ferrara presents 'It's all right with me'. With Leo
Konitz on alto sax, Antonio Ciacca floor, UlyssesOwens, Kengo Nakamura on bass, Yasushi Nakamura on bass,
Luke Mannutza, Hammond organ, and finally Nicholas Angelucci batteries.
"It's all right with me", Nicola Angelucci (drums) and Luke Mannutza (Hammond), two musicians that Lucius
knows, with whom he shared many experiences and who took part in a project started from? Else in the world,
in the United States. Thus, a disk which was attended, besides the names just mentioned, artists such as Lee
Konitz, Anthony Ciacca, Ulysses Owens, Kengo Nakamura and Yasushi Nakamura. 2 July 1900 to meet with the
artist. In addition, the special events include the project for the label "SPICE LIVE JAZZ." Arriving at the 43 th
edition of the "International Jazz Festival of La Spezia," he finally decides to accompany the longest running jazz
festival Italian, a whole series of CDs recorded live. A product record that is the exact picture of the moment and
its implementation, which captures its value over time and be indelible. Jazz is not, in fact, a music mode or
subject to external influences. The artistic value of a Charlie Parker '45, the Miles Davis quintet of '56 or '70 the
trio of Bill Evans is always of great value and relevance.
The collection of live recordings will be the result of the experiences and concerts chosen out of many that the
festival brings in its institutional activities and extraordinary. These works will record the exact photograph and
document will leave this institution for the future. Obviously this will be of great promotion for the structure, the
organization that manages and also for the city that I strongly wanted the constitution.
The work to create a catalog record takes his time and above all a fundamental task of artistic choice. That
should make a correct evaluation of strategic international soloists such and not be interesting or band for the
label. This possibility also arises in a privileged position because the performances of international artists often
rely on the collaboration of Italian sideman of great value is this only to emphasize the uniqueness of our
records.

Thursday, June 23, 2011 at 09:35:28 FL
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Mark Sherman's Blog
My life, my music, my family, my spirit, and everything I live for.

August 10, 2011

Orsara Jazz Camp and Festival
Posted by Mark Sherman under Antonio Ciacca, Jazz At Lincoln Center, jazz bass, jazz club, jazz drums,
jazz education, jazz guitar, Jazz in Europe, Jazz In italy, JAZZ IN NEW YORK, jazz innovation, Jazz
performance, Jazz Piano, Jazz Saxophone, Jazz trumpet, Jazz Vibes, Jerry Bergonzi, Jim Rotundi, Joe
Farnsworth, John Webber, Juilliard Jazz, Lincoln Center, Lucio Ferrara, Mark Sherman, Mark Sherman in
Italy, Mark Sherman Quartet, miles high records, New England Conservatory, Original music, Orsara
Jazz Festival, Practicing Jazz, Practicing music, Studio Music, The Juilliard School, Uncategorized | Tags:
Antonio Ciacca, bass, drums, Italian jazz, Jazz, Jazz at Lincoln Center, jazz education, Jazz in Foggia
Italy, Jerry Bergonzi, Jim Rotundi, Joe Farnsworth, John Webber, Juilliard, Lucio Ferrara, Mark Sherman,
New York studio scene, Orsara Jazz Festival, performers, Teaching Jazz, Vibraphone |
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The Orsara Jazz Festival Faculty Band

I had just an amazing week in Orsara Italy from August 2-7. The faculty and band for the festival was
Jerry Bergonzi, Jim Rotundi, Mark Sherman, Antonio Ciacca, Lucio Ferrara, John Webber, and Joe
Farnsworth. Everyday we taught workshops, private lessons, and ran combos for 100 students at the
camp. At night there were concerts, and all night jam sessions, and of course the food as usual in Italy is
amazing. We ate incredible meals every night and lots of wine. I am not a huge drinker, but it is
impossible to turn down. In fact if you try to say, “no thanks I don’t want any”, people look at you like
your nuts. Anyway, I want to say something about each faculty musician individually.

Jerry Bergonzi is a musician, and saxophonist who I personally have looked up for many years.
Especially since the death of my colleague Michael Brecker, Jerry is certainly the closest living sax player
to Coltrane. Clearly he is deeply influenced by Coltrane, and of course all the great masters on his
instrument. He has a deep understanding of the language, a fat fat sound on tenor sax, and the heart of
giant. Deeply sensitive, and in touch with all the positive, and negative things happening in the world
today. I truly enjoyed bonding with Jerry, and of course sharing the bandstand, and the music with him.

He is gentle giant in the music, and his presence made it a very special week for me. It was really an
honor, and I look forward to touring with him next year in a quartet setting.

Jim Rotundi is trumpet player that I certainly knew of as he has a huge reputation as a great player, but I
had never really worked with him on the bandstand. It was great to meet him and play quartet with him on
a separate concert in Foggia Italy sponsored by the festival. Jim is a humble, yet powerful player with
incredible technique, and sound. And of course his language, and solo concept comes straight from the
heart. I consider him one of the best trumpet players in the world. In addition he is a great guy, who
clearly cared about the students, and bonding with all the musicians. A great guy to have on the
bandstand, or on the road. Currently he is a professor of trumpet in Graz Austria, where he has relocated,
and surely is bringing his genius to that program.

Antonio Ciacca is a truly fine pianist, arranger, and composer, and it was because of Antonio’s
recommendation that I was chosen as a teacher, and performer at the Orsara Jazz Festival. I am quite
grateful for this. Heavily influenced by all the bebop piano masters like Bud Powell, Sonny Clarke,
Tommy Flanagan, Red Garland, Oscar Peterson etc. Antonio and his wife Giusy have for many years
been on the forefront of the jazz world as they together have a jazz booking agency call C-Jam
productions, and have promoted many huge jazz concerts, and tours with the likes of Elvin Jones and the
Jazz Machine, and many others. Because of Antonio’s extensive knowledge of the music history, and
business, he was chosen by Wynton Marsalis to be the director of programming for Jazz At Lincoln
Center in New York City for the last 5 years. He is also on the Juilliard faculty with me, where he teaches
the business of music. These days however Antonio is all about playing as he has stepped up to
performing, and composing full-time. On Saturday August 6th the faculty band of the Orsara Jazz Festival
played a work Antonio wrote specifically for the festival, entitled “The Orsara Suite”, in which each
musician was featured in a movement. A well-calculated work with great purpose that gave each of us
many solos on all the movements, but between each movement each one of us had an extended solo
feature. We rehearsed it several times during the week, culminating with a kick ass performance, and
recording of the Suite on the Saturday night concert on the big stage. It was mobbed with maybe 1500-
2000 people as we ripped through this piece. Antonio used a composing technique that we all often apply,
in which he takes well-known tunes like “Woody And You”, or “Like Sonny”, and changes the melody,
and or chord changes a bit, and turns it into his own version. It is quite effective, and of course we all had
a ball playing this extended suite. It has been my great pleasure to work with, and befriend Antonio since
I recently met him at the beginning of last school year at The Juilliard School. He is a fine musician.

Lucio Ferrara guitarist, and director of the Orsara festival has only recently become one of my
colleagues. He is a fine guitarist, influenced heavily by guitar master Wes Montgomery, and truly plays as
if he loves the music deeply. On Friday night August 5th Jim Rotundi, and myself were driven about 30
minutes away from Orsara to the city of Foggia, where we played quartet with Luca Santaniello, and Joe
La Piore, two fine Italian jazz players currently living in New York. Lucio played trio with Luca, and Joe
before Jim, and I did our quartet segment of the evening’s festivities. I loved the deeply rooted bebop
approach that Lucio takes towards the music. Much like my close friend and colleague Rodney Jones who
also comes out of Wes Montgomery, and Kenny Burrell. What better place to come from as a jazz
guitarist today. As a director Lucio did an incredible job managing, and administrating the day to day
activities of the festival, as his cell phone never stopped ringing, as with 100 students, and the faculty he
had to constantly deal with many issues that had nothing to do with playing the music, but when it was
time to play Lucio really sounded great. A crisp clear sound, with great command of the jazz language.

John Webber is clearly one of the finest bass players around having performed with just about every big
name in the business. I know him from his work the great tenor saxophonist Eric Alexander. I really
enjoyed hanging with John as he has a great sense of humor, and many great stories of his experiences
having played with Benny Golson, George Coleman, Cecil Payne, Pharaoh Sanders Jon Hendriks, and list
of jazz masters that goes on and on. He plays immaculately in tune with a great feel that sends the
message of authentic jazz. Flat out a fun guy to have around. His playing made me feel very comfortable
which I see as the goal of any musician. When you walk into a playing situation make those around you

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