INSPIRED BY STÉPHANE GRAPPELLI - One little song can change your life.
I'm a classical musician, and I grew up in such a background. Among my studies at the Academy of Music I also learned singing, dancing and acting. I had the opportunity to perform on stage many kinds of arts: one-woman shows, classical concerts. I sang and danced operettas and musicals, and I was also interested in all kinds of folk music. One day, by chance, I happened to meet one of Stéphane Grappelli's CDs. I wonder why I haven't met the music of Stéphane Grappelli until the age of 26.
I have always loved jazz but I never considered the violin to be a typical jazz instrument. All I can remember are, while listening to Grappelli's first song, I knew that a new era had come to my life. I just listened and listened to his music night and day, and I couldn't get enough of his play. Fanatically I started to collect all his records. I studied with great admire his improvisations performed with unique charm.
For me, as a classical musician learning the technique and style of how to play jazz violin was a great challenge. I have to say, classical musicians have drawback in comparison with jazz musicians. Actually, we are taught to play exactly the same thing that is written in the note. For this, since our childhood we are systematically "instructed" to get out of the ability of how to improvise. It's a long lasting experience which requires a lot of patience to learn how to forget reading the note for a while.
During the years I picked up many improvisations from Grappelli's recordings and these were the first songs that I practiced still from the note of course. Much later after many picked up improvisations, practice and music listening. I started to obtain a routine of how to play "unboundedly" and started to enjoy the endless freedom of the improvisation when you let your fantasy fly and can play showing your present feelings.
Stéphane Grappelli in the style of jazz was unique and unforgettable. Even classical violinists accept his perfect technique. His life-work is extraordinarily rich. In his playing you can always meet a charm, his positive way of life and his endless respect to music. His performance is never an art for art's sake but full of feelings, and it's moreover extremely charming and amusing. I consider him to be a great master, even if I never had the chance to meet him in person. His playing is as if a wise man talked about Life. Moreover, perhaps the following is the greatest thought I got from him: For an artist the most important mission is not only to play the instrument but also to have the ability to hand thoughts over through the music.
STOMPIN AT DECCA (Django Reinhardt)
MY MAN (M.Yvain - C.Pollack)
ALEXANDER'S RAGTIME BAND (Irving Berlin)
HONEYSUCKLE ROSE (Fats Waller - Andy Razaf)
TEA FOR TWO (Vincent Youmans - Irving Ceasar) - No Video Preview
I CAN'T GIVE YOU ANYTHING BUT LOVE (Mc Hugh - Dorothy Fields)
IT HAD TO BE YOU (Jones Isham - Gus Kahn)
THEME THERE EYES (Tracey - Tauber - Pinkard)
I GOT RHYTHM (G. & I. Gershwin)
J'ATTENDRAI (Dino Olivieri - Nino Rastelli - Louis Poterat)
SWEET GEORGIA BROWN (Maceo Pinkard - Kenneth Casey)
OH LADY BE GOOD (G. & I. Gershwin)
EMBRACEABLE YOU (G. & I. Gershwin)
TIGER RAG (La Rocca)
FOUR BROTHERS (Jimmy Giuffre)
LA CHANSON DES RUES (Goehr - Vaucaire - Stillman)
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